Newsfront


1h 50m 1978
Newsfront

Brief Synopsis

This film follows the exploits of movie newsreel reporters.

Film Details

MPAA Rating
Genre
Drama
Release Date
1978
Location
Australia

Technical Specs

Duration
1h 50m
Sound
Mono
Color
Black and White, Color
Theatrical Aspect Ratio
1.66 : 1

Synopsis

Surprisingly adventurous saga of an intrepid group of cinematographers and reporters who risk life and limb to capture footage of breaking news for the movie-going public.

Film Details

MPAA Rating
Genre
Drama
Release Date
1978
Location
Australia

Technical Specs

Duration
1h 50m
Sound
Mono
Color
Black and White, Color
Theatrical Aspect Ratio
1.66 : 1

Articles

Newsfront


Newsfront (1978), from smack in the middle of Australia's film resurgence, charts the profound changes through which the country hurtled with barely enough time to blink as it moved from remote semi-provincial status to claim a place on the world stage. It's Phillip Noyce's breakthrough film and if you didn't know his age (b. 1960) ruled it out, you'd think it autobiographical. It's a loving, respectful genuflection to the vanished newsreel photographer. Through the late 1940s, newsreels at theaters were Australians' only way of seeing themselves at work, at play, at war, and being orated to by politicians. TV elbowed newsreels into oblivion fast. Why should people wait a week, or more, to see images of newsmakers when TV supplied them the same day?

The film is bookended by images of the same theater in 1946, when it was filled with people soaking up images of Australia at war. These include the now iconic sequence of a brave photog filming a Japanese sniper in New Guinea moments before the sniper shot him to death. The marquee of the same theater 10 years later spells out what happened. A decade later, it's showing Brigitte Bardot in And God Created Woman (1956). No more newsreels. Noyce has set up the story in classic fashion, centering it on two brothers working for Australia's rival newsreel networks, and following divergent paths. Len Maguire, played by the late, great Bill Hunter, is the one walking past the repurposed theater, not liking when he sees.

Skilled and intrepid, he's good at his job, is totally devoted to it, and has a broken marriage to show for it. He's not in denial. He knows what's coming. Still, he can't bear TV, can't abide its cheap, shoddy, sensationalizing ways and its lowering of journalistic ethics. His brother, Frank (Gerard Kennedy), is the worldly one. For starters, he works for management, not in the field. He's one of the first to read the handwriting on the screen, boards a ship to Los Angeles and doesn't stop climbing until he's a TV and movie producer. He tries to place Len in the not so brave new world. But Len won't have it. As the film ends, he's getting ready to shoot the 1956 Melbourne Olympics, Australia's first, marking its emergence among nations. Even though he's wearing a smile, it may be his last hurrah, and he knows it.

The cast also includes the recently deceased Wendy Hughes, whose second in command thinks she should be boss, sleeping first with Len and later with Frank to see that her career agenda happens. Also in a small but flavorful role: Bryan Brown, who soon would headline his own movies. The durable Chris Haywood makes his presence felt as Len's happy-go-lucky cameraman, performing an act of heroism during their coverage of the lethal Maitland Flood of 1955. This is probably the place to say that the footage shot depicting those designed to personalize the story and generate emotion is in color, set against loads of newsreel footage. A curious thing happens, though, as the film proceeds. Perhaps trying to go Hunter's route and internalizing, the others seem to fade in presence until by the end there's a sense that Noyce should have turned the flame under them higher.
Ultimately, the archival footage eclipses the dramatized bits. It could hardly do otherwise, with its subjects ranging from Queen Elizabeth II to Chico Marx. Mostly, though, it's the expressions on the faces of the real people that make the made-up bits seem hollow. These are real people feeling real things and they count for more even than the flood footage or the 1956 Olympics. It could be argued that the choppy, disjointed feeling echoes the tumultuous events through which the characters swirl. Still, Newsfront deserves an A for ambition, if not execution, and of how many films can that be said? It also harbors a baleful and unforeseen topicality. Images don't change, but delivery systems do. Words don't change, but delivery systems do. If you doubt it, ask any ex-newspaperman where his defunct paper went.

By Jay Carr
Newsfront

Newsfront

Newsfront (1978), from smack in the middle of Australia's film resurgence, charts the profound changes through which the country hurtled with barely enough time to blink as it moved from remote semi-provincial status to claim a place on the world stage. It's Phillip Noyce's breakthrough film and if you didn't know his age (b. 1960) ruled it out, you'd think it autobiographical. It's a loving, respectful genuflection to the vanished newsreel photographer. Through the late 1940s, newsreels at theaters were Australians' only way of seeing themselves at work, at play, at war, and being orated to by politicians. TV elbowed newsreels into oblivion fast. Why should people wait a week, or more, to see images of newsmakers when TV supplied them the same day? The film is bookended by images of the same theater in 1946, when it was filled with people soaking up images of Australia at war. These include the now iconic sequence of a brave photog filming a Japanese sniper in New Guinea moments before the sniper shot him to death. The marquee of the same theater 10 years later spells out what happened. A decade later, it's showing Brigitte Bardot in And God Created Woman (1956). No more newsreels. Noyce has set up the story in classic fashion, centering it on two brothers working for Australia's rival newsreel networks, and following divergent paths. Len Maguire, played by the late, great Bill Hunter, is the one walking past the repurposed theater, not liking when he sees. Skilled and intrepid, he's good at his job, is totally devoted to it, and has a broken marriage to show for it. He's not in denial. He knows what's coming. Still, he can't bear TV, can't abide its cheap, shoddy, sensationalizing ways and its lowering of journalistic ethics. His brother, Frank (Gerard Kennedy), is the worldly one. For starters, he works for management, not in the field. He's one of the first to read the handwriting on the screen, boards a ship to Los Angeles and doesn't stop climbing until he's a TV and movie producer. He tries to place Len in the not so brave new world. But Len won't have it. As the film ends, he's getting ready to shoot the 1956 Melbourne Olympics, Australia's first, marking its emergence among nations. Even though he's wearing a smile, it may be his last hurrah, and he knows it. The cast also includes the recently deceased Wendy Hughes, whose second in command thinks she should be boss, sleeping first with Len and later with Frank to see that her career agenda happens. Also in a small but flavorful role: Bryan Brown, who soon would headline his own movies. The durable Chris Haywood makes his presence felt as Len's happy-go-lucky cameraman, performing an act of heroism during their coverage of the lethal Maitland Flood of 1955. This is probably the place to say that the footage shot depicting those designed to personalize the story and generate emotion is in color, set against loads of newsreel footage. A curious thing happens, though, as the film proceeds. Perhaps trying to go Hunter's route and internalizing, the others seem to fade in presence until by the end there's a sense that Noyce should have turned the flame under them higher. Ultimately, the archival footage eclipses the dramatized bits. It could hardly do otherwise, with its subjects ranging from Queen Elizabeth II to Chico Marx. Mostly, though, it's the expressions on the faces of the real people that make the made-up bits seem hollow. These are real people feeling real things and they count for more even than the flood footage or the 1956 Olympics. It could be argued that the choppy, disjointed feeling echoes the tumultuous events through which the characters swirl. Still, Newsfront deserves an A for ambition, if not execution, and of how many films can that be said? It also harbors a baleful and unforeseen topicality. Images don't change, but delivery systems do. Words don't change, but delivery systems do. If you doubt it, ask any ex-newspaperman where his defunct paper went. By Jay Carr

Newsfront - Acclaimed Australian Film on DVD


Blue Underground DVD has been releasing some of the top films of the Australian cinema boom of the late 1970s, like My Brilliant Career. This 1978 picture is almost unknown in the United States but won almost every Australian award there is. Using actual stock newsreel footage, it tells the interesting story of the last years of the newsreel business in Sydney. The mostly unfamiliar actors are fresh and the story entirely unpredictable.

Synopsis: The lives of a small group of Australian news film cameramen and staffers is examined from directly after WW2 until the late 1950s. Len McGuire (Bill Hunter) is Newsco's dedicated top cameraman breaking in a new man, Chris Hewitt (Chris Haywood). Len's footloose brother Frank (Gerard Kennedy) has already bolted to another company and is considering going to America, leaving his girlfriend Amy Mackenzie (Wendy Hughes) in the lurch. She's carrying on with more than one beau, including ace editor Geoff (Bryan Brown). As the years go on we see the effects of political pressure on the business, along with economic factors that make Len's loyalty to the grind seem ill advised. His own marriage becomes a disaster when his wife decides that they can't make love any more on Catholic principles - they have too many children already. The hazards of the job take a cost in lives, and it's hard to tell if the effort is worth the risk when Television will render newsreels obsolete.

Newsfront has a sprightly, punchy style reminiscent of old pictures about telephone linemen or air mail pilots. Director Phillip Noyce (Dead Calm, Patriot Games, The Quiet American) turns a small budget to his advantage by cleverly incorporating oldl newsreel footage into the tale. The movie opens in B&W and only switches to color after the first few minutes, but by then we've accepted that the shots of Len McGuire filming are associated with newsreel clips twenty and thirty years old. The movie starts with a montage of raw newsreel footage that includes horrendous airplane and auto race accidents and Chico Marx playing "Waltzing Matilda" to a group of Australian soldiers.

The apparent object is to use the Newsco story to present a liberal's view of Australian history after WW2. Australia's Communist and Socialist parties operate in the open, and we see pressure applied to the newsreel companies to offer a conservative view of events. Editor Geoff (played by Bryan Brown, the one really familiar face in the cast) is reprimanded for resisting official policy, and our hero Len is also ostracized for his beliefs. He may seem the complacent company man, but he stands by his principles and politics as others cave in.

Len's wife is unhappy with the crowding in their small house. A devout Catholic, she expects Len to do without sex. He becomes surly when their priest tries to bully him with conservative political pressure, and the wife's disgusted reaction tells us what poor shape their marriage is in. Len's brother Frank has already run off to America in search of opportunities, leaving his girlfriend Amy free to take up with Len out of mutual attraction. Meanwhile, camera assistant Chris marries a girl he beds on an out-of-town filming trip, after she shows up pregnant at the company offices.

The personal stories develop as the era of the newsreel dies down. The Australian newsreel companies engage in a fierce competition. Bad boy cameraman Charlie Henderson (John Ewart) is not above sabotaging Len by sticking his arm in front of the Newsco camera during a shot. Newsco is unable to afford foreign 'stringers' and compensates by concentrating on domestic subjects that often seem trivial. Standards drop after the death of the company's managing director. Amy is ignored when she objects to Richard Nixon being misidentified in a newsreel narration. Eventually the newsreel companies have to consolidate under the threat of Television, which can put their stories out instantaneously. Fast news of rough quality is preferred to quality photography seen a week later. Len is pressured to take risks to get more exciting footage, and to dishonestly hype coverage by cutting in stock footage.

The personal stories are kept interesting by the novelty of the situation. Middle-aged and ordinary looking, Len McGuire is an unlikely leading man. We finally decide he's our hero when his stubborn streak reveals an underlying ethical foundation. Len doesn't get rich but finally prevails by being named director for all Australian coverage of the 1960 Olympics. By contrast, his flashy brother Frank goes for the big money in America and ends up frustrated when Len won't sell out Newsco for a big payoff. All of these melodramatic events are covered in a breezy, fast moving style that reminds us of 1930s Warner Bros. product - the show even begins with a visual round-up of the top cast members.

Blue Underground presents Newsfront in a sparkling enhanced transfer. Most of the news film is in excellent condition and the audio track is clear as well. Director Noyce, writer Bob Ellis and producer David Elfick contribute a proud commentary track, as Newsfront is the title that put their careers into serious motion. A mock documentary about Newsco is really a public service plea for more news film to be donated to the Australian film archives. An excerpt from the Australian Film Awards program shows American actors Fred MacMurray and Brenda Vaccaro helping to hand the film a near sweep of the top honors. Besides a trailer, a hefty stack of DVD-Rom extras include a study guide, all of the film's reviews, a document about its restoration and other film related documents.

For more information about Newsfront, visit Blue Underground. To order Newsfront, go to TCM Shopping.

by Glenn Erickson

Newsfront - Acclaimed Australian Film on DVD

Blue Underground DVD has been releasing some of the top films of the Australian cinema boom of the late 1970s, like My Brilliant Career. This 1978 picture is almost unknown in the United States but won almost every Australian award there is. Using actual stock newsreel footage, it tells the interesting story of the last years of the newsreel business in Sydney. The mostly unfamiliar actors are fresh and the story entirely unpredictable. Synopsis: The lives of a small group of Australian news film cameramen and staffers is examined from directly after WW2 until the late 1950s. Len McGuire (Bill Hunter) is Newsco's dedicated top cameraman breaking in a new man, Chris Hewitt (Chris Haywood). Len's footloose brother Frank (Gerard Kennedy) has already bolted to another company and is considering going to America, leaving his girlfriend Amy Mackenzie (Wendy Hughes) in the lurch. She's carrying on with more than one beau, including ace editor Geoff (Bryan Brown). As the years go on we see the effects of political pressure on the business, along with economic factors that make Len's loyalty to the grind seem ill advised. His own marriage becomes a disaster when his wife decides that they can't make love any more on Catholic principles - they have too many children already. The hazards of the job take a cost in lives, and it's hard to tell if the effort is worth the risk when Television will render newsreels obsolete. Newsfront has a sprightly, punchy style reminiscent of old pictures about telephone linemen or air mail pilots. Director Phillip Noyce (Dead Calm, Patriot Games, The Quiet American) turns a small budget to his advantage by cleverly incorporating oldl newsreel footage into the tale. The movie opens in B&W and only switches to color after the first few minutes, but by then we've accepted that the shots of Len McGuire filming are associated with newsreel clips twenty and thirty years old. The movie starts with a montage of raw newsreel footage that includes horrendous airplane and auto race accidents and Chico Marx playing "Waltzing Matilda" to a group of Australian soldiers. The apparent object is to use the Newsco story to present a liberal's view of Australian history after WW2. Australia's Communist and Socialist parties operate in the open, and we see pressure applied to the newsreel companies to offer a conservative view of events. Editor Geoff (played by Bryan Brown, the one really familiar face in the cast) is reprimanded for resisting official policy, and our hero Len is also ostracized for his beliefs. He may seem the complacent company man, but he stands by his principles and politics as others cave in. Len's wife is unhappy with the crowding in their small house. A devout Catholic, she expects Len to do without sex. He becomes surly when their priest tries to bully him with conservative political pressure, and the wife's disgusted reaction tells us what poor shape their marriage is in. Len's brother Frank has already run off to America in search of opportunities, leaving his girlfriend Amy free to take up with Len out of mutual attraction. Meanwhile, camera assistant Chris marries a girl he beds on an out-of-town filming trip, after she shows up pregnant at the company offices. The personal stories develop as the era of the newsreel dies down. The Australian newsreel companies engage in a fierce competition. Bad boy cameraman Charlie Henderson (John Ewart) is not above sabotaging Len by sticking his arm in front of the Newsco camera during a shot. Newsco is unable to afford foreign 'stringers' and compensates by concentrating on domestic subjects that often seem trivial. Standards drop after the death of the company's managing director. Amy is ignored when she objects to Richard Nixon being misidentified in a newsreel narration. Eventually the newsreel companies have to consolidate under the threat of Television, which can put their stories out instantaneously. Fast news of rough quality is preferred to quality photography seen a week later. Len is pressured to take risks to get more exciting footage, and to dishonestly hype coverage by cutting in stock footage. The personal stories are kept interesting by the novelty of the situation. Middle-aged and ordinary looking, Len McGuire is an unlikely leading man. We finally decide he's our hero when his stubborn streak reveals an underlying ethical foundation. Len doesn't get rich but finally prevails by being named director for all Australian coverage of the 1960 Olympics. By contrast, his flashy brother Frank goes for the big money in America and ends up frustrated when Len won't sell out Newsco for a big payoff. All of these melodramatic events are covered in a breezy, fast moving style that reminds us of 1930s Warner Bros. product - the show even begins with a visual round-up of the top cast members. Blue Underground presents Newsfront in a sparkling enhanced transfer. Most of the news film is in excellent condition and the audio track is clear as well. Director Noyce, writer Bob Ellis and producer David Elfick contribute a proud commentary track, as Newsfront is the title that put their careers into serious motion. A mock documentary about Newsco is really a public service plea for more news film to be donated to the Australian film archives. An excerpt from the Australian Film Awards program shows American actors Fred MacMurray and Brenda Vaccaro helping to hand the film a near sweep of the top honors. Besides a trailer, a hefty stack of DVD-Rom extras include a study guide, all of the film's reviews, a document about its restoration and other film related documents. For more information about Newsfront, visit Blue Underground. To order Newsfront, go to TCM Shopping. by Glenn Erickson

Quotes

Trivia

Miscellaneous Notes

Released in United States Winter January 1, 1979

Released in United States 1978

Shown at 1978 New York Film Festival.

Released in United States Winter January 1, 1979

Released in United States 1978 (Shown at 1978 New York Film Festival.)