Mark Hartley’s documentary, a unashamed fanboy look at Ozploitation movies, is fast-paced and frantic, and it’s a lot of fun. As someone who enjoys a good exploitation movie (here I’m using the term to describe the lurid 1970’s movies, filled with sex, gore and fast cars, rather than the classical exploitation films like Reefer Madness or Maniac) but knows little about the output from down under (Braindead is probably the closest I’ve come), Not Quite Hollywood plays out like a “best of” – it’s the kind of movie you feel you should watch with a pen and paper, just so you can make note of all the films to find on DVD later. Luckily for us, I’m pretty sure we have The Howling III: The Marsupials as part of a cheap double feature, but there were plenty more mentioned that looked just as ridiculous, and just as entertaining.
Among the various talking heads, mainly industry people who speak with both fondness and enthusiasm for their past lives, Hartley’s biggest name (for non-Australian audiences, at least) is easily Quentin Tarantino. He’s not listed as “filmmaker” or “director” but as “fan”, and he plays his role to perfection. Whether you’re a fan of Tarantino himself or not will probably influence your reaction to his segments – he drops bits of his own knowledge in, but mostly he comes across as someone emphatically trying to prove that he’s part of the gang. As a “fan” the anecdotes he details are the least interesting – it’s far more fun (and informative) to hear the stories from the people actually involved in the movies – but he does at least provide some context, and a recognisable face.
It is the films themselves who are the stars of the documentary, however. Hartley breaks up his narrative with sections focusing on specific strands of Ozploitation – the nudie pictures, the gore films, the racing movies. The general attitude running throughout is most definitely one of appreciation, with a healthy dollop of nostalgia thrown in for good measure: these were low-budget movies, made at a time when the Australian film industry was still a fledgling trying to find its place in the world, and for every Picnic at Hanging Rock, there were fifteen Turkey Shoot‘s being made to muddy the waters. It was a time of limited regulations, when stunt men risked their lives on a daily basis and women stood full frontal on screen and, while the rose-tinted glasses are definitely on, it’s difficult to not be slightly shocked at the hazardous working conditions rife in the 1970s. Even those involved must be quite surprised at how few deaths there were, considering what was going on.
While the films themselves are undeniably fun, compiled together in rapidly edited “best of” montages, Not Quite Hollywood starts to outstay its welcome a little bit. Perhaps it’s the obvious fan-nature of the movie that starts to grate – it’s interesting and informative, but at times feels a bit directionless, throwing another sequence of explosions and screaming women in rather than going beyond the surface. Evidently, while Ozploitation is not well known, there were a huge amount of films to emerge at the time, and Hartley seems to be trying to fit them all in, without really going into much detail about any of them. It is a fast movie, and it’s easy to be distracted by yet another reel of spectacle but, without my pen and paper at hand, the countless movies I saw clips of – the films I wanted to hunt down and watch in their entirety – have all blurred together to make one giant, mostly naked, slightly seedy, bloody, violent, apocalyptic road movie that only exists in montage. In fact, perhaps watching compilation videos of all the best bits of these films is actually the best way to watch them – surely I’ll be disappointed now, if I watched them; surely they’d never live up to the breakneck speed and apparently constant insanity that Hartley suggests?
After Not Quite Hollywood, Hartley went on to shoot the superbly titled Machete Maidens Unleashed!, another documentary, with the same formula (talking head segments interspersed with numerous movie montages), this time focusing on the American exploitation films shot in the Philippines. This is an area I’m more familiar with – Roger Corman shot several films there, as did Al Adamson and Eddie Romero – and the documentary was more fun for me as a result. However, my knowledge of the “Blood” series (Brides of Blood, Mad Doctor of Blood Island, etc) means that I am all too aware of the fact that many of these movies are slow, shoddy, and dull – until the few moments of outlandish stupidity. Is Ozploitation the same? If it is, Not Quite Hollywood does a good job at hiding this fact. And maybe really all you can do is watch the movies themselves to find out – if you do, I’m sure Hartley would consider his job done.