Brian Trenchard -Smith – “Turkey Shoot” (1982)

Moreon its qualitieses intrinsicseWhat, madmax arsucceeded, by his successeworld in 1979, on put theAustralia on the cinema genre map. COMMANDING LEAD patrick by Richard Franklin, then films such as Harlequin (Simon Wincer, 1980) o RAZOR (Russell Mulcahy, 1984), knows how to popularize the movement, untilon confidential, in Ozploitation. Antony I. Ginnane, figurehead of this new wave, decided, in coteby John Daly (terminator, Platoon) and comeodien David Hemmings, to fund theambitious new feature filmtragedy dfivelocal director: Brian Trenchard-Smith. Enthusiastic aboutuniverse of the fountain, where he isSAYSdocumentaries (The Stuntmen) and fiction (Deceivers of death), the directoreayaw stested in various bisseux projects (Lfrom Hong Kongre-reading of James Bond on Bruce Lee sauce with George Lazenby) and now wants to sharness in his firsteD work ” honorable ». Written by Jon George and Neill D. Hicks (scnarist sa Harlequin) dcompletioneA story by George Schenck, Robert Williams and David Lawrence, originally set Iaction amid the Great Depression, Turkey Shoot want to be a cross in between The Most Dangerous Game and 1984. In the foreseeable future, a totalitarian government will arresteconsidered citizensras dangerous and intern them in the terrible ree campseducation oemphasis humiliation, abuse and torture were committed. Thatcher (Michael Craig), the director ofone of the prisons, decide dorganizing and hunting onmen: several inmates, including Paul (Steve Railsback) and Chris (Olivia Hussey), are there.achis in the forestet close and sought like the game. Rimini Editions offers a new HD master of this film that has earned its status as a small cult reel among amateurs despite an even more stormy growth and acceptance.

(© Copyright Rimini Editions – 2022)

Lfirst ambitionere of Trenchard-Smith for this Stalkedes sayear 2000 clear: to address the political or social issues that divide the world and especially the Commonwealth, through the prism of dystopia. The choice of surnameThe antagonist, Charles Thatcher, is good at saying this. Britain was subjected to two years of ultra-liberal authoritarian policy by the Iron Lady and micro-society.youbuilt within the prison camp, as described in tall meinclined on includes a variety of inequalitiesbirthed by managing it. Idle dominants veMen dressed in colonial costumes played chess, drank exorbitant whiskey, enjoyed the life of the heart in their luxurious residences, and witnessed the daily life of the imprisoned only byinterimedary on monitoring screens. Hunting has become a sacred pastime whose rules they do not respect.erules, betraying their own moral code (no extortion). Under their command, guards armed with whips were condemnedher slave and prey. Although fidethe and dedicatedher some mamaîvery, the guards reveslow burningprivatelyto enjoy memy pleasures than the rich, blind obedient on foolish laws contrary to their interestrested. This rethe regulation is reexcerptslike a mantra of timea test sequence oremphasis the edit intersects each sentence thereno Ned to the director with shots of a brutally beaten young woman. The ecclesiastical dress reveThatcher emphasized a critical metaphor for religion and the return to moral values, understandable even by the name pointing to the rebels: ” passed away ». Lhomosexualityis responsible for the death penalty, the women are placed on the disposition of the wealthy crooked and Rita (Lynda Stoner) is convicted of prostitution. The past of heroes for uselsewhere reveIé through brief flashbacks when they entered the penal colony (lone holding a pirate radio, lthe other defends a brutalized man) but the filmmaker chooses to continue the ambiguity of on their past lives and their actual involvement in the rebellion. Here they are just numbers, just stars.Icolored elements (the yellow of their uniforms) insidean environment with gray or brown colors oremphasis every universe seems to be blocked. Margins used by the systemeto me and to whom the quote from HG Welles, cloht the movie, honors, onlike this freak echappe a circus and used as a hunting dog, also victim ofa form of voluntary service. The promise ofa freedom Obtained on the sweat from their foreheadsvethe illusion of the heart ofa film that oscillates despite itself between the first and second degreeCarry Oné of commitment speech and respect for cinema conventions to benefit.

(© Copyright Rimini Editions – 2022)

Leave a Comment