Part One: Film Information

Director — Simon Wincer

Before relocating to the United States, Simon Wincer made a strong impact on the screens in his native Australia. A career spanning almost 25 years has seen the production of a number of quality films. In 1982, Wincer took the position of executive producer for the Australian classic, The Man From Snowy River, (Miller, 1982). Two years later, he directed Phar Lap, (Wincer, 1984), another Australian classic tracing the story of the legendary horse whom won thirty races in three years. Adding to the mystique of Phar Lap was his strange death, which occurred under mysterious circumstances.

In 1993, Wincer made his mark on the international market when Free Willy, (Wincer, 1993), grossed more than $200 million worldwide. He has also been involved in the production of a number of American television movies, for example, Lonesome Dove, (1989), which was nominated for 18 Emmy Awards, one of which being Best Director. Emmy nominations were also received earlier, in 1989, when Wincer directed PJ Barnum, a four-hour miniseries starring Beau Bridges.

Over the years of 1995 and 1996, Wincer directed The Phantom, (1995), and Operation Dumbo Drop, (1996). Some other of his Australian features include Snapshot, (1979), Harlequin, (1980) and The Lighthorsemen, (1988), the latter being an epic drama focussing on Australia’s Light Horse Cavalry in Gaza during World War One.

When presented with the opportunity to direct Crocodile Dundee in LA, Wincer was reluctant to begin with. Faced with the challenge of having to compete with the previous two hits, Wincer stated that "it was a lot of pressure for me, but I’m very happy with the way it’s going." Confident that the film will be a success, he also commented on the work of scriptwriters Matthew Berry, Eric Abrams and Paul Hogan. "We have a very strong script. I read it and it made me laugh. It’s a very funny movie."

Best known for his roles in the Crocodile Dundee films, the sixty one year old actor has also appeared in Lightning Jack, (Wincer, 1994), Almost an Angel, (Cornell, 1990), "Flipper, (Shapiro, 1996) and the Nine Network’s "The Paul Hogan Show."

Also renowned for her roles in the Crocodile Dundee films, Kozlowski is a graduate of the Julliard School of Performing Arts in New York’s Lincoln Centre. She has also appeared in Almost an Angel, (Cornell, 1990), Death of a Salesman, (Schlondorff, 1985), and Backstreet Justice, (McIntyre, 1994).

At only ten years of age, Cockburn makes his acting debut in Crocodile Dundee in LA, (Wincer, 2001).

Wilson may also me seen in the feature films, Return From Snowy River, (Burrows, 1988), and Cool Change, and in the television series, "The Black Boomerang."

WRITING CREDITS - Matthew Berry, Eric Abrams, Paul Hogan

PRODUCERS — Lance Hool, Paul Hogan

PRODUCTION DESIGN — Lesley Binns

EDITOR — Terry Blythe

CINEMATOGRAPHER — David Burr

COSTUME DESIGN — Lesley Binns

COMPOSER — Basil Poledourrs

PRODUCTION COMPANY AND DISTRIBUTOR — Paramount Pictures

RELEASE DATES — Australia, April 9, 2001, United States, April 20, 2001,

Netherlands, April 26, 2001, France, June 20, 2001

AUSTRALIAN BOX OFFICE TOTAL, (THUS FAR) — AUD$6, 214, 560, (after 3 weeks)

AVAILABILITY OF INFORMATION — The fact that the film has only recently been released in Australia contributed to a slight lack of information. The Internet proved to be a great help, however, as the film has already acquired a strong presence in web literature. The film’s web page, www.crocodiledundeeinla.com, provided cast and crew information and also a plot synopsis. Other web sites were also helpful in supplying reviews of the film and therefore I was able to gage the general consensus when considering film quality. One such site was www.rottentomatoes.com, which allows both critics and general filmgoers to rate films that they have seen recently, or in the past. Yahoo Movies and Movie Source also provided comments from critics, and I came across both positive and negative reviews.

In the third installment of the Dundee saga, Mick, (Paul Hogan), finds himself in Los Angeles, after his wife Sue, (Linda Koslowski), is assigned a position at her father’s newspaper due to the mysterious death of the original bureau chief. In the opening scenes of the film however, the audience is re-introduced to "Walkabout Creek" — the town with a population of twenty and a pub that only sells beer. Mid August 2000 saw shooting begin on the Gold Coast and by September 18, the crew had moved to Los Angeles. Locations included Pasadena, Beverly Hills, Century City, Santa Monica, Venice and in the city’s consumer mecca, Rodeo Plaza. Opening with shots of typically Australian footage, particularly native wildlife and crocodiles, audiences from around the world can sense that they are "Down-under."

We are then re-aquatinted with our mate Mick Dundee, the rugged crocodile hunter who has somewhat aged since he first hit the screens in 1986. Perched in a small wooden rowboat, he scans the water for crocs. Despite his age, Mick displays his agility as he climbs onto an overhanging branch to escape the jaws of a massive croc that destroys his boat. It is here that a new character, Jacko, (Alec Wilson), is introduced, a young and up and coming crocodile hunter also living in the Creek. It seems as though there has been an influx of crocodiles as there is also another hunter in the Creek whom is also a tour guide. Crocodiles are of great importance to Mick, when having a "yarn" to Jacko he states —

A slightly older looking Sue Charleton, (Linda Koslowski), is still a resident of Walkabout Creek, and also the love interest of Mick. The couple has since produced a child, Mikey, (Serge Cockburn), whom is now ten years of age. Attaining many of his father’s characteristics, Mikey has a strong awareness of his surroundings, due to Mick’s teachings in the field of bushman ideology.

The first two Dundee films both presented underlying notions relating to Australian issues. Crocodile Dundee in LA also does so, despite the fact that the film is set largely in the United States. The film re-visits notions associated with Aboriginality and the tourism industry. Whilst picking up son Mikey, from school he meets an Aboriginal friend whom is dressed in a tribal manner. He comments on Aboriginal ways of communication, ways that "no white man could understand." He then answers his mobile telephone. Here, the deeper issue of colonisation is displayed however, it is displayed in such a manner that is not negative. The tourism industry is indicated through the American sightseers whom have traveled to see the infamous crocodile hunters of Walkabout Creek. Mick is also shown as being aware of the importance of tourism as he states —

Mick’s third foray onto our screens allows for the identification of further similarities between the three chapters of the Dundee tale. In Crocodile Dundee in LA we see him lounging in a bathtub, and walking around the city making amusing observations, both of which were also elements of the original narrative. Reminiscent of an event occurring in New York, Mick is almost mugged however, outwits the criminals in an entertaining and ‘occer’ manner. Finally, Mick is again positioned in a fancy restaurant, so as to initiate a comedic outcome. It is somewhat difficult to relate such a film to prior work accomplished by director Simon Wincer, as he attains such a vast background in regards to film production. Films that range from light family movies, Free Willy, (1993), to the epic war drama of The Lighthorsemen, (1984). He may however, be identified as often making use of landscape. The strong presence of landscape in Australian film maintains a difference from the rest of the world, (Gibson, 1992:69), and has proved to be of great importance in many films throughout the past three decades. Wincer also utilizes landscape in some of his American productions, for example, Lonesome Dove, (1989). The use of landscape may be noted in Crocodile Dundee in LA, particularly in the scenes set in Australia, perhaps presenting the dichotomy between the outback’s wide open spaces and Los Angeles’ cramped city atmosphere.

When presented with the opportunity to return to the United States, (after his visit to New York in the first Crocodile Dundee), Mick somewhat jumps at the chance, feeling that it was time to expose son Mikey to the world outside Walkabout Creek. After arriving in LA on their Qantas flight, the Dundee’s travel, by limousine to their lavish new home in Beverly Hills. When Sue returns to work at her father’s newspaper, Mick and Mikey explore the city, encountering a number of events producing entertaining results. Whilst driving along a busy LA freeway, Mikey points out something resembling a dog in the middle of the road. Slamming on the breaks, Mick causes a pile up of cars, (without any carnage of course). Signaling that he has everything under control, one motorist misunderstands him and announces that Mick has a bomb. Within minutes, helicopters are circling the scene, and a police force has pulled up on the freeway. Mick and Mikey then discover that it was not a dog that had caused the disturbance, but rather a skunk, (an animal Mick is not familiar with). Mikey however is aware of its species because of watching Pepi La Pew on television, (this may be seen as displaying an underlying notion of American children’s culture infiltrating that of Australian culture.). The story is then broadcast on every television station.

At her first day of work, Sue uncovers some information that suggests the death of the former bureau chief occurred under mysterious circumstances. Whilst discussing her discovery with Mick, he vows to help her find the truth. Sue feels that the last story the chief was working on may provide some answers, and arranges to meet with someone related to such a story. Such a man is Arnon Rothman, (Jere Burns), the sleazy motion picture studio head in charge of "Silvergate Studios" that has just released a new action movie, "Lethal Agent," (the third in a series). The following day, Sue meets with Rothman at Paramount Pictures, suspecting he may be involved with organised crime in the Balkans. Mikey and Mick also come along and go on a tour of the studios whilst Sue is in the meeting. The tour bus ventures into the set of an African Jungle, where Mick proceeds to stab a mechanical Anaconda, which lurches out of the bushes. Embarrassed, he and Mikey leave the tour and wait for Sue outside.

Mick will however, return to the studio, but this time as an employee, taking the role of an extra in one of Rothman’s films. In doing so, he is able to investigate the goings on at and around the studio. From being an extra, he "moves up" and becomes the set’s animal wrangler after communicating on-set with a chimpanzee and encouraging it to perform an act that it previously could not accomplish. His new role as animal wrangler means he can no longer pick Mickey up from school and thus, Jacko joins the Dundee’s in LA to serve as Mikey’s nanny. He also assists Mick in his investigations.

Initially suspecting that drugs are involved in the secret operation underway at Silvergate, Mick becomes aware of a mysterious character named Milos Drubnik, (Jonathan Banks), one of Rothman’s henchmen. Whilst spying on members of the crew, he witnesses them handling the set’s paintings with more care than he feels necessary. The paintings are supposedly replicas of masterpieces that were destroyed by fire in a museum in Europe. After discussing the possibility of such paintings being authentic, (and thus the fire being a sham), with an art critic, Mick proceeds to steal one of the pieces of art. When doing so, he is noticed by one of Rothman’s associates, stimulating a frantic chase scene. Mick, again displays his strength and agility despite his age, managing to outsmart those following him. In a final showdown in the Jungle set, (seen previously on the studio tour), Mick and Rothman confront one another. It is Mick’s wit and closeness to animals which saves the day as he keeps two lions at bay whilst ordering Rothman, Drubnik, Jacko and Sue, (whom had been caught ), into a cage. Jacko then proceeds to render Rothman and Drubnik unconscious. The paintings are found to be authentic, and once again Mick is the hero. The film ends on a romantic note when Mick asks Sue to officially become "a Dundee," and the couple return to Australia to marry. When Mick asks his son if he had fulfilled one of the reasons for travelling to LA, (to make the decision on whether to become a crocodile hunter, or a newspaper editor), Mikey retorts, in true childhood innocence, that he had decided to undertake both roles. A crocodile catching Sue’s bouquet initiates the ending of the film, and Wincer employs an old cliché to do so. Mick and Jacko turn to face the camera, wink, the frame freezes, and credits begin to role, (accompanied by the Men at Work track Land Downunder.).

Overall, I enjoyed the film, despite the lingering similarities between the first two films and the slight mockery of Australian culture. It may be described as "fluffy entertainment," a film that does not require too much brainpower. From what I can gather, critics worldwide have felt much the same. Many negative responses to the film were fuelled by the lack of a strong story line. I also came across a fair amount of sarcasm, for example, "Crocodile Dundee in LA is a shrimp that should have been cooked more thoroughly on the barbie, or never tossed on in the first place." A New York Post reviewer — Lou Lumenick, found the film’s "lackadaisical pace" a disappointing surprise, given that it was filmed by Simon Wincer. Ted Pfeifer from "Realinsider" applauded Crocodile Dundee in LA’s ability to "poke fun at itself," a characteristic that may be seen in many Australian films, especially the "ocker" films from the 1970’s, thus raising the notion of Australian national cinema as a medium sized English language cinema.

O’Regan argues that for Australian national cinema to be a medium sized English language cinema, it must provide both a similarity to and a difference between itself and the Hollywood product, (O’Regan, 1996: 96). Therefore, Crocodile Dundee in LA can be identified as successfully achieving such a balance as it presents notions that are both central to Australian culture, and also that of international cultures, particularly English speaking. American audiences would immediately have been able to identify with the narrative, due to the fact that a large portion of the film is set in Los Angeles. Its predecessors, (Crocodile Dundee I and II), may be seen as two of the first films to adhere to the notions of a medium sized English speaking cinema and they also allowed Australian cinema to gain international recognition. O’Regan sited Crocodile Dundee as a means through which Australian film producers tackled the competition head-on at home and abroad, (1996: 49). Thus, one may ask how the current Dundee film presents the immediate position of Australian film and its value. In regards to the critical uptake of the film, it seems as though it is not a good indicator of the position of Australian film at present. The strong feeling that resonated through the reviews was that Crocodile Dundee has had its day, (and that day was back in the eighties). Therefore, in relation to the contemporary critical and market horizons, such a film should not be used to gage the quality of current Australian filmmaking. In retrospect, Crocodile Dundee in LA was not intended to be used as mode of comparison or reference, but rather, as a light hearted comedy, that allows the return of somewhat of an Aussie icon — Mick Dundee.

Bordwell, T. and Thompson, K., (1997), Film Art: An Introduction, fifth edition, McGraw Hill, International.