G’day Gertie: Star! debuts Down Under  

After its global premiere in London and subsequent release to select international markets such as Japan, the Julie Andrews mega-musical Star! made its way to Australia in early-October 1968, fifty years ago this week. Release patterns for films in this era could be a little idiosyncratic, and the Australian release of Star! was no exception. The film was treated to two lavish “preview” premieres in Sydney and Melbourne on October 4 and 8, respectively, but didn’t open to the general public till October 24 with a premiere roadshow engagement at Melbourne’s Paris Theatre. Even more strangely, Melbourne was the only Australian city to screen Star! for the first six months. The film didn’t open in Sydney till 23 May 1969 with other Australian cities to follow.*

The three previous Julie Andrews film musicals –– Mary Poppins, The Sound of Music, and Thoroughly Modern Millie –– had all been major hits in Australia with Millie and Music still in theatrical release when Star! opened in late-1968. In point of fact, The Sound of Music enjoyed longer roadshow runs in Australia than anywhere else in the world: 181 weeks in Sydney (140 at the Mayfair before transferring to the Paris for a further 41 weeks), and 178 weeks in Melbourne (140 at the Paris, then transferring to the Esquire for a final 38 week run). By 1968, it was estimated that just under half the national population had seen The Sound of Music with more to come as the film entered suburban and regional release (Dale: 15; Keavney: 4-5).

As a result, Twentieth Century-Fox had high hopes Star! would do well in Australia and sent director Robert Wise on a special PR trip to the country to help launch the film. Accompanied by his wife, Patricia, Wise touched down in Sydney on 31 September 1968 where he was treated to a round of civic and industry receptions before officiating at a special gala invitation-only premiere of Star! on October 4 at Sydney’s Mayfair Theatre, home to The Sound of Music for so many years  (“New Boom”: 18). The following week, Wise flew on to Melbourne for the second Australian premiere at the Paris Theatre, another Sound of Music alma mater, on October 8. While in Melbourne, Wise gave a host of press interviews and even helped the Lord Mayor lay a plaque for a new $4-million cinema complex in the city (Messer: 8; see also, Bennett: 14; Musgrove: 2; Veitch: 18).

As with the UK response, Australian critical reception of Star! was generally very positive. In Melbourne, Howard Palmer of The Sun wrote:

“Star! the Julie Andrews epic is indeed one of those films that a critic sees with relief, because he can let his his hair down and quite safely say it is wonderful in every way...Wise has put theatre on the screen better than anyone else before him...Julie Andrews gives the drama of the Lawrence love affairs so well...Add to this the many comic scenes of her early career....and you have a complete actress...It’s a wonderful film not to be missed” (27).

Alec Martin of the Melbourne Truth was equally enthusiastic:

“[I]f Gertrude Lawrence was alive today she would be the first to whistle and  stamp her feet at...Miss Andrews’ brilliant performance in Star!...Miss Andrews sheds her wholesome Mary Poppins and Sound of Music image to play the glamorous, temperamental Gertrude Lawrence with perfection....Star! will be a box-office success, that’s for sure” (39). 

Ronald Conway of Melbourne’s The Advocate declared Star! “[a]n agreeable, civilised musical...Julie Andrews sings and acts splendidly and it is a relief to see her in something other than Sound of Music which lasted at the Paris for ever so long...A handsome production to be enjoyed by patrons of all ages” (20). While Kay Mealun of The Australian Women’s Weekly gushed, “I found it rich and big and happy–– could have sat it through, three hours and all, all over again right away” (56). 

Not all Australian reviews of Star! were as unreservedly laudatory, though even naysayers conceded the film had charm. Colin Bennett of The Age wrote that Star! “is well set in theatreland and reproduces...a series of splendid old favourites performed to perfection by Julie Andrews who looks fabulous and sings beautifully...But [she] lacks the bite of a Gertrude Lawrence. She is too fundamentally ‘nice’ and tasteful and efficient to be really insolent or bitchy” (6). 

In a similar vein, Valda Marshall of The Sun Herald wrote: 

“Star! is like an unrealised and long-forgotten musical script of the 30s...a conglomeration of vaudeville numbers, revue material and musical acts...It lacks a central sustaining interest [and] the star herself is without a unified character...Julie Andrews is...in top form. Her voice is as sure and strong as ever. Her acting still has the same unabashed directness and warmth. But the spark of mischievousness and spontaneity are missing” (87).

Charles Higham of the Sydney Morning Herald –– who summarily titled his mixed review, “Julie glitters but she isn’t Gertie Lawrence” –– declared Star!  “a carefully made picture...with fine dramatic moments [but] there is something tame and bloodless about it...Julie Andrews in the title role...brings a brittle professionalism and impeccable coldness to a part that demanded vulnerability, anguish, a maddening neurotic edge. Impossible to imagine this athlete of the musical screen missing an appointment or failing to pay a bill, falling hopelessly and foolishly in love or singing out of tune” (6). Still, Higham mused in another column, “[o]ne hopes Sydney audiences will respond warmly to this very well-made film” (Higham: 19).  

And, for the most part, Australian audiences did respond with comparative warmth to Star!. While the film didn’t score anywhere near the record-breaking success of The Sound of Music, it enjoyed respectable theatrical runs, playing in roadshow release in Melbourne for just under six months (23 weeks from 24 October 1968-26 March 1969) and in Sydney for five months (20 weeks from 23 May 1969-9 October 1969), two of the longest roadshow runs of Star! anywhere outside London (Davies: 198. 206; Louden: 6). 

Star! also went on to a fairly solid theatrical after-life in Australia. The film avoided the debacle of post-release editing that occurred in North America and the full roadshow print screened in residual first release in suburban and regional Australian markets well into the early-70s. Star! even ran as a 70mm double-feature with Hello Dolly at Sydney’s Village Cinema City in late-1974. The film continued to pop up intermittently in subsequent years in repertory screenings. It played several times throughout the 1970s and 80s at Sydney’s Ritz and Mandarin cinemas. The National Library in Canberra hosted a special archival screening of Star! in March 1980, and the film was given a lavish one-week showcase season at Melbourne’s Astor Theatre in November 1998 to celebrate its 30th anniversary.

Star! was also a frequent feature on Australian TV screens. It made its national small screen debut as the Sunday Night Movie of the Week in October 1973 and was rebroadcast every few years thereafter: 1975, 1979, 1980, 1981, 1986 and 1989. As far as can be ascertained, the first two broadcasts were edited for running time, but most later broadcasts appear to have been the 176 min. roadshow release.

Notes:

* In a sign of the times, the delay of the Sydney release of Star! was due to the unexpected success of The Graduate which had been booked in to the Mayfair, Sydney’s “home” of Todd-AO roadshows. The theatre’s previous roadshow offering, Doctor Dolittle, closed earlier than anticipated and The Graduate was scheduled as a “filler” –– it ended up running at the Mayfair for 11 months (Louden, 6).

Sources:

Bennett, Colin. “Box Office Wisdom.” The Age Saturday Magazine. 5 October 1968: 14.

________. “New Films: Star.” The Age. 28 October 1968: 6.

Bishop, Barbara. “Julie Misses the Point.” The Sun. 25 October 1968: 14.

Conway, Ronald. “Star.” The Advocate. 31 October 1968: 20.

Dale, David. “The Tribal Mind: What Australians Love the Most.” The Sydney Morning Herald. 12 February 1999: 15.

Davies, Keith. 50 Years of Cinema and Movie’s in Melbourne’s CBD (1940 – 1989). Melbourne: (n.p.), 2016.

“Films on TV.” The Age Green Guide. 21 December 1978: 8.

Higham, Charles. “Star-Maker.” The Sydney Morning Herald. 5 October 1968: 18.

________. “Turmoil in Film City.” The Sydney Morning Herald. 24 May 1969: 19.

________. “Julie Glitters but she is not Gertrude Lawrence.” The Sydney Morning Herald. 26 May 1969: 6.

________. “Films like Mother Used to Cry Over.” The Sydney Morning Herald. 21 June 1969: 17.

Keavney, Kay. “‘The Sound of Music’ Greatest Film Bonanza.” The Australian Women’s Weekly. 36: 1, 5 June 1968: 4-5.

Louden, Doug. Sydney in 70mm. Sydney: (n.p.), 2016. 

MacDonald, Dougal. “Julie Never Stops Being Julie.” The Canberra Times. 28 September 1969: 30.

Marshall, Valda. “It’s a Happening World: Star!” The Sun-Herald. 25 May 1969: 87.

Martin, Alec. “She is the True Star.” The Melbourne Truth. 2 November 1968: 39.

Melaun, Kay. “Julie as Gertrude.” The Australian Women’s Weekly. 36: 20, 4 December 1968: 56.

Messer, John. “From Horror to the Sound of Music––That’s Wise.” The Age. 8 October 1968: 8.

“Movies on TV.” The Sydney Morning Herald: TV Guide. 12 May 1975: 1.

“Movies on TV.” The Sydney Morning Herald: Monday Guide. 27 March 1978: 3.

“Movies on TV.” The Sydney Morning Herald: 7-Day Guide. 29 January 1979: 3.

“Movies on TV.” The Sun-Herald. 15 April 1984: 84.

Musgrove, Nan. “Two Women on His Mind.” The Australian Women’s Weekly. 36: 20, 16 October 1968: 2.

“New Boom for Star Musicals.” The Sydney Morning Herald. 1 October 1968: 18.

Palmer, Howard. “Julie Proves It.” The Sun Weekend Magazine. 26 October 1968: 27.

“Sunday TV.” The Age TV-Radio Guide. 30 March 1975: 8.

“Television.” The Age. 3 April 1980: 2.

“Television.” The Age. 28 August 1981: 2.

“Television.” The Age. 21 January 1989: 18.

“Today’s TV.” The Sun-Herald. 21 October 1973: 71.

Veitch, Jack. “Why Robert Wise Doesn’t Need to Work Again.” The Sun- Herald. 6 October 1968: 18.

“What Was the Name of that Film?” The Age. 8 October 1968: 16.

EDIT 15/5/17:

@dickslapthestate​ let me know I made a mistake by conflating /r/theredpill and PUAs with the communities discussed in ‘The Red Pill’ – here’s a quote from Cassie Jaye’s October 2015 AMA on the documentary’s title:

my film’s title is not referring to TRP subreddit, it is in reference to its original popular culture usage (which is used my many other groups and conspiracists as well, it is not owned by the subreddit).

I acknowledge and apologise for this conflation in my original post (unedited, below). Certainly, it weakens the validity of my criticism. I stand by my opinions on the toxicity of MRA rhetoric, but I respect the importance of using accurate terminology when being critical, so I’m grateful to everyone who educated me on the differences between MRA/PUA/TRP/MGTOW.

***

Hey, this is a petition a dear friend of mine made, please sign if you’re as tired as I am of the normalisation of toxic masculinity.

'Hate groups masquerading as a rights movement' hits the nail on the head. I was on Reddit during /r/theredpill's early days; visiting its forums and reading their discussions made me afraid for myself and all the other young internet-going people I cared for, especially my younger brothers. Supporting discourse on gender politics is important, but that is not what MRAs have ever done or tried to do. /r/theredpill users had a large overlap with PUA (pick up artist) and 'incel' ('involuntary celibate') forums, which rallied around silly and backwards "evolutionist" attitudes to sexuality, misapplied gender politics, and disturbing narratives about people's romantic and sexual needs, all of which ignored or degraded the LGBTQ+ community and vilified women. TRP is just another toxic Reddit group ""founded on"" ""logic"" and ""reason"" that, really, is fueled by the fear of people, esp. men, who have fallen prey so deeply to outdated expectations re: sexual "conquest" and "keeping" women that they channel all their intellectual energy into strengthening and achieving instead of fighting those expectations. It's a sad existence as well as a dangerous one, and absolutely not one that should be legitimized and shared through film.