HERCULES RETURNS

Australia, 1993, 90 minutes, Colour.
David Argue, Bruce Spence, Michael Carmen.
Voices of Des Mangan, Sally Patience, Matthew King.
Directed by David Parker.

Hercules Returns is based on the stage performance Double Take Meet Hercules, spoken by Des Mangan and Sally Patience. Old films, especially Italian spectacles of the '60s, are taken and dubbed with a spoof story. Hercules, Samson, Ursis and Machiste, the Invincible, was directed by Giorgio Capatini in 1964. Even without the spoof dialogue supplied by the actors, the Italian spectacle seems fairly ridiculous, beefcake parades with sinister intrigues. However, with the substitution, Hercules becomes a pop star of ancient Greece looking for a gig. The humour is fairly basic, many touches of the teenage schoolboy humour about sexuality and bodily functions. However, they raise a laugh in their straightforward way.

David Parker (photographer and writer - Malcolm) directs his first feature film and puts a framing device where Sir Michael Kent, tycoon, wants to control all the cinemas in Melbourne, and film buff Brad with his friend Sprocket the projectionist, and publicist Lisa, have to dub the film because Kent has supplied them with an unsubtitled Italian print. David Argue, Bruce Spence and Mary Koustas give vigorous performances - especially with their voice-over. Michael Carmen is Sir Michael Kent. Local celebrities like Margaret Pomerantz and Ivan Hutchinson appear at the premiere of this reworked Hercules.

1.Old epics from Italy in the '60s, beefcake, exaggerated performances, the comic element - intended and unintended?

2.The skill at dubbing, the plot, the tough heroes, the ambiguities, the fights and romance? The language, the jokes, the level of the humour?

3.The situation: the movie complexes, Sir Michael Kent and his board meetings, Brad the film buff, the yes-men, Brad losing his job, renovating the theatre, getting Sprocket, Lisa and her help? The sabotage with the print? The group, their plan, the eccentric characters in themselves, at the theatre, their skill in dubbing, the happy ending?

5.The idea as a basis for parody - the one joke and its variations rather than subtle comedy?