They're a weird mob

Peter Rowe

19812153

They're a Weird Mob

1966 112 mins Comedy 35mm Colour

Optical Soundtrack: Mono Rated G

Director: Michael Powell

Production Company: Williamson-Powell International Films

Producer: Michael Powell

Associate Producer: John Pellatt

Unit Manager: Bruce Bennett

Scriptwriter: John Imrie (Emeric Pressburger). From a novel by Nino

Culotta (John O'Grady). (Imrie & Culotta are both

pseudonyms).

Cinematography: Arthur Grant (Eastmancolor)

Camera Operator: Keith Loone, Graham Lind, Dennis Hill

Editor: Gerald Turney-Smith

Art Direction: Dennis Gentle

Production Management: Emeric Pressburger

Production Supervisor: Lee Robinson

Casting: Gloria Payten

Sound: David Copping

Sound Recording: Alan Allen,

Sound Re-recording: Ted Karnon

Sound Editors: Bill Creed and Don Saunders

Costume Design: Chris Jacovides

Wardrobe Mistress: Barbara Turnbull

Make-up: Joan Adelsteine, Barbara Still

Hair: Leon Daunais

Dialogue Coach: Max Meldrum

Location Manager: Jefferson Jackson

Assistant Director: Claude Watson

2^nd Assistant Director: David Crocker

Continuity: Doreen Soan

Music: Alan Boustead and Laurence Leonard

Music Director: Laurence Leonard

Songs: Walter Chiari - 'I Kiss You, You Kiss Me', Reen

Devereaux - 'Big Country' and 'In This Man's Country'

Cretan Dance: Mikis Theodorakis, from Ill Met by Moonlight

[Powell & Pressburger, 1957]

Technical Adviser: John O'Grady

Cast:

Walter Chiari Nino Culotta

Clare Dunne Kay Kelly

Chips Rafferty Harry Kelly

Alida Chelli Giuliana

Ed Devereaux Joe

Slim de Grey Pat

John Meillon Dennis

Charles Little Jimmy

Anne Haddy barmaid

Jack Allen fat man in bar

Red Moore texture man

Ray Hartley newsboy

Tony Bonner lifesaver

Alan Lander Charlie

Keith Peterson drunk man on ferry

Muriel Steinbeck Mrs Kelly

Gloria Dawn Mrs Chapman

Jeanie Drynan Betty

Gita Rivera Maria

Judith Arthy Dixie

Doreen Warburton Edie

Barry Creyton hotel clerk

Graham Kennedy as himself

Robert McDarra hotel manager

Robert Brophy

(Sources: BritMovie.co.uk 2003; Christie 1994, 134-5; Nash & Ross 1987, 3366; Pike & Cooper 1998 238; Screen Sound website 2003).

Released: Australia: 19 August 1966 (Pike & Cooper 1998, 238); Britain: 13

October 1966 (Christie 1994, 135)

Box Office: Estimates range between two and three million. Australian Film

Commission ranks it as the 67^th highest gross of all Australian

films at $2,417,000 (AFC website 2003). No figures are available as

to the number of tickets sold. On this score They're a Weird Mob would

certainly rank as one of the highest in Australian history. The record run

at the State Theatre in Sydney was in 1989 still unbeaten

(Shirley & Adams 1989, 228).

Bibliography of discourse by those involved in the production:

O'Grady, John. 'Filming the Weird Mob.' Bulletin, 22 January 1966, p 10-11, 13. (O'Grady describes the transformation of his book They're a Weird Mob into a film) (Reis 1997, 513).

O'Grady, John 'Box Office Bandits' Script Screen & Saac V.1, No.6. November/December 1968 p.5-7. (His experiences writing a script for the film of his novel They're a Weird Mob, and the poor return he and the production company made on this very successful film. (Portrait and still) (Reis 1997, 72).

They're a Weird Mob - The Story of Making the Film. [Motion Picture: sd;b&w;57min]. Australia, Dennis Hill Productions, 1966. (Reis 1997, 513).

Thornhill, Michael, and Quinnell, Ken. 'Sydney - Italian Style: An interview with Michael Powell.' Film Digest, No.7 January 1966, p.3-4. (The director discusses his film, They're a Weird Mob, currently in production). (Reis 1997, 513).

Bibliographies of reviews, discussions, essays and articles.

'Review, author/title unknown.' Daily Cinema, 12 October 1966, p.9 (Reis 1997, 513).

'They're a Weird Mob.' Monthly Film Bulletin, V. 33, November 1966, p. 172-173. (Review, credits) (Reis 1997, 513).

Coombs, Henry. 'More than just a historical curiosity, and better than you think'. In The Powell and Pressburger Pages (website). 7 June 2000 (Amateur review) (Accessed 28 February 2003).

http://www.powell-pressburger.org/Reviews/66_Weird/Weird01.html

Godfrey, Hugh. 'They're a Weird Mob.' Film Digest, No. 16, October 1966, p. 19-20. (Review. See also No. 7, January 1966, p. 3 for an article on its making) (Reis 1997, 513).

Higham, Charles. 'Following the "Mob".' Bulletin, V. 89, 20 May 1967, p. 40. (Round-up of films proposed for making in Australia by overseas filmmakers following the financial success of They're a Weird Mob) (Reis 1997, 201).

Higham, Charles. 'Weird result.' Bulletin, V. 89, 25 November 1967, p. 75. (An analysis of where the $3 million profit made in Australia by the film They're a Weird Mob went, and why none of it was used to finance more local films) (Reis 1997, 513).

Higham, Charles. 'Characters which are larger than life: Michael Powell begins to line up the weird mob for the film.' Bulletin, V.85, 17 November 1962, p. 18, 20. (Preperations for making the film) (Reis 1997, 513).

Higham, Charles. 'On Film: The Old Wave at Bondi.' Bulletin, V. 88, 27 August 1966, p. 41. (Review) (Reis 1997, 513).

Higham, Charles, and Tivey, Beverley. 'A Close-up of The Mob.' Bulletin, V. 87, 30 October 1965, p. 48-49. (Location report) (Reis 1997, 513).

Lawson, Sylvia. 'Co-productions.' Nation, No. 236, 3 February 1968, p. 18. (Examines the success and relative failure of two co-productions: They're a Weird Mob, and Journey Out of Darkness, to evaluate the arrangement's potential contribution to the establishment of a local feature film industry, as advocated by Ken Hall and others. Concludes that the co-production will usually not be able to 'do much to reflect this society back to itself - that is, to civilize us; or to communicate its qualities to the outside world.') (Reis 1997, 513).

Lawson, Sylvia. 'Godard's Breathless.' Nation, No. 182, 13 November 1965, p. 19-20. (Includes discussion of the significance for hopes of an Australian feature film industry of the overseas financed and controlled They're a Weird Mob, at the time being shot around Sydney) (Reis 1997, 513).

Lawson, Sylvia. 'They're a dull mob.' Nation, No. 203, 17 September 1966, p. 17-18. (Review) (Reis 1997, 513).

Stan (Raymond Stanley). 'They're a Weird Mob.' Variety, V. 244, No. 4 14 September 1966, p. 26. (Review) (Reis 1997, 513).

Tivey, Beverley. 'Who's Afraid of Filmmaking?' Bulletin, V. 88 , 27 August 1966, p. 42. (Review) (Reis 1997, 513).

Other reviews can be found in these less referenced publications:

The Age (Melbourne), 29 August 1966 & 30 September 1966.

Bulletin (Sydney), 30 October 1965 & 13 January 1968.

Film Digest (Sydney), January 1966 & October 1966.

Film Weekly (Sydney), 23 September 1965, 30 September 1965,

9 December 1965 & 13 January 1966.

Monthly Film Bulletin (UK), November 1966.

Nation (Sydney), 13 November 1965, 17 September 1966.

Sun Herald (Sydney), 21 August 1966.

This Movie's on-line presence:

www.britmovie.co.uk/directors/m_powell/filmography/050.html

(Production details, credits, rating and synopsis).

http://www.powell-pressburger.org/Reviews/66_Weird/index.html

(Several amateur reviews, mostly derisive).

www.powell-pressburger.org/Reviews/66_Weird/Weird00.html

('Fascinating' trivia. Quite limited in fact)

http://www.screensound.gov.au/Screensound/Screenso.nsf/AllDocs/F9339BD67C579BF2CA256B5F001D9F4E?OpenDocument

(Production and background details, credits and synopsis).

Note: I have accessed They're a Weird Mob in many detailed on-line movie guides, but they don't contain further information. All have a combination of credits and synopsis only. Because of its age, reviews and articles appear in hard-to-get print (listed above) rather than on the web.

The making of the film and the business of making money:

They're a Weird Mob [Powell, 1966] is based on the hugely popular novel of the same name, written under the pseudonym of Nino Culotta by John O'Grady. Gregory Peck was interested in making this film in 1959, but that never eventuated (Pike & Cooper 1998, 234). It was not until October 1965 that the eventual co-production began shooting. Esteemed British director Michael Powell (The Thief of Bagdad (sic) [1939], The Life and Death of Colonel Blimp [1943], The Red Shoes [1948], Peeping Tom [1960] etc.) and his long time collaborator Emeric Pressburger formed a production partnership with Australian theatrical company J.C. Williamson Ltd to film They're a Weird Mob. Until this time all films made in Australia post World War II were foreign productions (Baxter 1970, 93).

Powell fled Britain after making the now highly regarded picture Peeping Tom [Powell 1960]. The reaction to this story of voyeurism, male sexual desire and murder on its release in 1960 was derisive and personal. He described these as not just "bad reviews, but vicious attacks" and adding "I don't think any director had a worse attack" (Powell in BritMovie.co.uk 2003). The most extreme of these was the Tribune's Derek Hill who wanted the film disposed of. "[S]hovel it up and flush it swiftly down the nearest sewer" (Hill in BritMovie.co.uk 2003). He was regarded by critics as a sick, disturbed man, and thus, despite some television work, was unlikely to make motion pictures in Britain again.

Such was the stigma attached to him Pressburger chose to participate in Australia under the pseudonym of Richard Imrie. He had previously used it for his contribution to Michael Anderson's Operation Crossbow [1964] (Christie 1994, 106). Powell made two films in Australia, They're a Weird Mob, (Age of Consent [1969] was the second), is rated generally by his many admirers, as one of his worst. Age of Consent was welcomed by a critic from 'The Times' as a "distinct improvement on They're a Weird Mob (Pike & Cooper 1998, 243). They're a Weird Mob was shot on location in Sydney with a budget of $600,000 and was the first Australian made film in many years.

The $600,000 came from three major sources, one third from the Rank Organisation;

another third came from the National Film Finance Corporation in Britain;

the rest was made up in Australia, mostly through JC Williamson Ltd which was headed at the time by actor John McCallum and wife Googie Withers (Shirley & Adams 1983,228).

The release was handled by Greater Union's distribution arm, British Empire Films (BEF), who screened it initially at their "giant" State Theatre in Sydney (Stratton 1980, 5). Despite negativity from critics, Australians flocked to see themselves represented on screen. Scans through newspaper advertising of the time reveal the dearth of local product on offer. Cinemas in Australia were showing movies such as, Born Free [Hill, 1966]; The Sound of Music [Wise, 1965](on an extended run); Carry on Cleo [Thomas, 1964]; Lord Jim [Brooks, 1965]; The Singing Nun [Koster, 1966]; Doctor Zhivago [Lean, 1965]; The Pink Panther [Edwards, 1964] and other foreign releases including soft-porn.

An advertisement from The West Australian newspaper on November 19 1966 demonstrates (despite the competition) the impact of They're a Weird Mob at the local cinema.

It read as follows:

You Beaut!!

WE'VE DONE IT!!

"THEY'RE A WEIRD MOB" has broken

the all time long run record at State

Theatre, Sydney.

No other film has run longer than

13 weeks in this giant Theatre's 37

years' history (opened 7/6/1929).

The Rank/Williamson-Powell Aus-

tralian production of John O'Grady's

"THEY'RE A WEIRD MOB" is now

starting its 14^th week.

Records all over Australia-including:

BRISBANE:

Winter Garden Theatre, 9^th week.

MELBOURNE:

Forum Theatre, 13^th week.

ADELAIDE:

State Theatre, 13^th week.

PERTH:

Ambassadors Theatre, 9^th week.

In 13 weeks release

across the nation over

1,350,000 of the

Weird Mob have seen

themselves.

DON'T

MISS US (G)

HOYTS DAILY AT-

AMBASSADORS 10.50 A.M.

1.55 P.M.

8.00 P.M.

(Source: The West Australian, 19 Nov 1966, 36).

Despite the films local success the producers did not have a financial windfall. It's gross by the end of 1967 estimated at $3,000,000 (in Moran & O'Regan 1985, 167) far exceeded the $600,000 in production costs. Current gross estimates are less at $2,417,000 (AFC website 2003). By the end of 1967 one sixth of the gross had been returned to the producers and total costs were not covered until 1974.

Rank guaranteed overseas distribution. It had sole rights to do so, but the results were disastrous. They're a Weird Mob opened in London on 13 October 1966 to poor reviews and lukewarm ticket sales (Christie 1994, 135). The hope that having Italian star Walter Chiari in the lead role would lead to profit in his home country also proved to be unfounded. So for Rank it was costly, but the other two-thirds of invested money should have multiplied several times.

It was a sign of more innocent times. At about the same period inexperienced money spinners like The Beatles, The Rolling Stones and Elvis Presley were all having financial difficulties despite immense gross earnings. The problem for Williamson-Powell (and probably not Rank as I will explain) was the apparent dishonesty of Greater Union.

Or was Rank to blame? The distribution deal signed by all parties left the choice of distributor to Rank. It elected to use Greater Union (BEF) of which it owned 50 percent (in Moran & O'Regan 1985, 167). Greater Union was within its rights to withhold detail of box-office receipts and did so. They also failed to declare any itemizing kept of the expenses that Greater Union claimed had used up much of the picture's gross (Baxter 1970, 93).

Complaints had been made since the 1920's about major distributors and exhibitors in Australia (in Moran & O'Regan 1985, 167). It seems that the withholding of receipt figures had been the chief grievance (in Moran & O'Regan 1985, 167). They're a Weird Mob proved to be the catalyst for change. In the Bulletin 13 January 1968 John McCallum wrote that the producers had only received $400,000 from a film that was incredibly profitable (in Pike & Cooper 1998, 238). He went on to call for the "trade establishment" to take a risk and invest in Australian film rather than force others to make it and only exhibit (Pike & Cooper 1998, 238). According to Pike & Cooper (1998)

"His appeal, and the demonstration of wide public interest in local

film, did much to accelerate the steps leading towards government

aid for the industry.

(Pike & Cooper 1998, 238)

Phillip Adams encouraged Australian filmmakers to distribute independently. Returns for his production The Adventures of Barry McKenzie [Beresford, 1972] were approximately 50 percent of the gross, whereas They're a Weird Mob and Stork [Burstall, 1971] which was distributed by Roadshow were 16 and 20 percent respectively (Reade 1979, 191). At the same time, a foreign film A Clockwork Orange [1971] had returned 64 percent in Melbourne and 67 percent in Sydney (Reade 1979, 191).

Synopsis:

Italian sports writer (Giovanni) Nino Culotta [Walter Chiari] is sponsored financially by his cousin Leonardo to come to Australia. He has been writing stories for Leonardo's Sydney based Italian language magazine and he is now to become a part owner as well. He arrives at the offices to find them being dismantled. The magazine has folded and his cousin has disappeared leaving behind unpaid bills, including money borrowed to pay for Nino's trip on the ship. Nino vows to find work and repay the debt. Broke and alien and with no chance of employment in 1966 Australia for an Italian journalist this 'New Australian' begins work as a brickie's labourer from where he can begin establishing himself in Australia.

The film itself:

Nino's first problem in this strange new English-speaking country was with linguistics. No doubt surprising to him, considering he speaks perfect English. Sayings such as 'a shout', "what do you do for a crust"? "Not right in the scone", "let's get cracking", "the Test" (Test cricket) and others left him a little confused, but he gets the gist quickly. He is enthusiastic and keen to learn. It could be argued that this use of 'slang' was a little overdone and certainly one scene used the word 'mate' more often than is natural, but he was mixing with people of the Anglo-Saxon working class and for the most part the dialogue was in context.

For an explanation of the above terms or any others click on any of these addresses.

http://www.koalanet.com.au/australian-slang.html

http://www.geocities.com/SouthBeach/Breakers/8092/ozslang.htm

http://www.aussieslang.com/

A drunk on the Manly ferry was shouting abuse at some Italians. "Taking our jobs", "speaking your own language", that type of thing that still survives today, although these days aimed at a different era of migrants and refugees. Nino would never have that type of problem as he is a 'model' migrant. This facet of They're a Weird Mob has come in for derision in recent years.

Australia (37 years on) has a tradition of films depicting the migrant/refugee experience. They generally contain grit and realism rather than the idealism and cartoon-like qualities of They're a Weird Mob. Michael Hutak writing about La Spagnola [Jacobs 2001] welcomed its authenticity. "A million miles from the rose coloured paternalistic myth of They're a Weird Mob" (in The Bulletin 2001). Likewise, Pike & Cooper weigh in. Promised Woman [Cowan 1974] "was a welcome change from the customary Australian image of migrants in comedies such as They're a Weird Mob" (Pike & Cooper 1998, 285). Girl in Australia [Zampa 1971] was also seen as an improvement. "Made for Italians by Italians" and "manages to say more about the life of migrants in Australia than the hybrid They're a Weird Mob (Pike & Cooper 1998, 263).

As mentioned, Nino was prepared to learn the 'lingo' (local slang) - and he was a quick learner. He was hard working; resourceful; courteous; and tolerant of racial stereotyping, indeed, "not bad for an Itie". While some Australians and their attitudes to the otherness of Nino were negative or suspicious, in most cases it was well meaning and na•ve, but certainly not monolithic. This I think is important to note, while this film depicts an unrealistic migrant, almost a poster boy for the immigration lobbyists, attitudes toward him were real. He was not universally embraced but because of his willingness to join in he was generally accepted.

On three occasions during the film Nino was told he did not look Italian, that he was bigger than the usual. Pat (Simon de Grey) reckoned he looked more like a 'Jerry" (German). It would appear there is a concrete image some Australians had/have of what an Italian looks like. Mr. Kelly [Chips Rafferty] was fairly unimpressed that his daughter was planning to marry this foreigner:

Mr. Kelly: "Dago aren't ya"?

Nino: "I'm an Italian, Sir".

Mr. Kelly: "Dago. Bit bigger than most, but dago just the same".

As is the way in The Simpsons when Homer says something inappropriate or offensive to most sensibilities, the producers make him look stupid. The same was done here. After Nino pointed out that the person in the framed picture on Kelly's lounge room wall (the Pope) must then also be a dago, Mr. Kelly had to think that through.

Mr. Kelly: "Hey do you think we'll ever have an Australian Pope "?

Pure Homer, I believe.

The neighbour living next door to the building site where Nino began working, who did not like sand thrown over his fence, was not just a neighbour; or the guy next door; he was the 'chinaman' next door. Their lack of respect for and knowledge of, other cultures is obvious. Pat is less than complimentary about Italy and Italians but its not all bad,"Not bad sheilas in your country, I'll say that for ya". Complimenting Nino's country solely for the look of his countrywomen not only displays their lack of cultural interest and knowledge, but displays provincialism. Their minds work outside of their own little circle only if their groin tells them to.

The filmmakers view of the working class was fairly stereotypical, affectionate undoubtedly, they were all great people, but a bit simple. They were interested in beer, they were chauvinists, they wolf whistled 'sheilas', they were outdoor people bronzed in the sun and easygoing. As the closing song says: "It's a man's country sweetheart, where women can never win". On his first day of laboring Nino was told to slow down. "Take it easy, no use bustin' a gut". They are also sport orientated and never shy away from hard work or helping out mates. Not all of the Sydneysiders were like this though.

Despite the popular belief that we live in an egalitarian and classless society, They're a Weird Mob shows the division. Not in an economic sense but in levels of sophistication. Members of the upper classes are shown to embrace foreign culture. Nino was welcomed by his girlfriend Kay (Clare Dunne) to a party of the young well-to-do, where a Cretan dance was being performed. We also see them at an Italian restaurant.

In a very comical scene featuring a clash of the classes Nino is introducing his girlfriend to his friends, the brickie's team. This group of working and partying men was very uncomfortable in their suits, reluctantly drinking tea and making polite conversation. The tension was broken in celebratory style when Nino could take no more of the stiffness and called for beer all round. Nino decided to stay in Australia after falling in love.

Not with Kay that came later. It was a view over Sydney Harbour that seduced him. It was just one of many usages of natural beauty in the film. The Harbour was shown often, as was Bondi Beach each time accompanied by swirling music.

There is no doubt in my mind despite some conjecture that this is an Australian film. The argument over what constitutes Australian cinema is complicated and subjective. Is The Piano [Campion 1993] Australian? Is Green Card [Weir 1990]? Is Babe [Noonan 1995]? It all depends on your opinion but on the surface They're a Weird Mob could not really claim to be. It is at least (estimates vary) two-thirds English funded, mostly English produced, English directed, from a book written by a former English screenplay writer, with an Italian star (in Moran & O'Regan 1985, 160). Despite all that, it is a story particular to Australia. The box-office success locally and its failure abroad proves that. The cast apart from Walter Chiari is 100 percent Australian, the settings are all Australian and apart from anything else no others have shown any interest.

The film is rarely talked about on websites devoted to Michael Powell, if it is, the comments are dismissive. Interviews with Powell never contain questions about They're a Weird Mob. So while the British and others who deify Michael Powell would prefer his three year Australian period did not happen, in Australia, this film, however it is regarded, is perhaps the most important ever made here. Its significance can not be undervalued. It was the first runaway hit in Australia. The withholding of money from the producers by the distributors changed the way distribution was conducted. The deceit and the films success inspired government intervention. The governments directive was for a cheap, appealing product in the same vein as They're a Weird Mob. A new and exciting film industry was created, beginning with what has become known as our 'Ocker' period. After many twists and turns, we now have one of the strongest and well respected film industries in the world.

Bibliography

Australian Film Commission. Box Office: Australia

Top Australian films at the Australian box office, 1966 to 31 December 2002

www.afc.gov.au/GTP/mvboxaust.html (Accessed 28 February 2003).

Baxter, John. The Australian Cinema. Angus & Robertson Sydney, 1970 p. 93.

BritMovie.co.uk. Dedicated to British Cinema, They're a Weird Mob

www.britmovie.co.uk/directors/m_powell/filmography/050.html (Accessed 28 February 2003).

Powell, Michael/Hill, Derek in BritMovie.co.uk, Dedicated to British Cinema. Peeping Tom via search at: http://www.britmovie.co.uk/ (Accessed 29 April 2003).

Christie, Ian. Arrows of Desire, The Films of Michael Powell and Emeric Pressburger. Faber and Faber London 1994. pp. 106, 134-5.

Hutak, Michael. The Bulletin. August 15 2001

Moran, Albert & O'Regan, Tom. An Australian Film Reader. Currency Press Paddington, N.S.W. 1985. pp. 160, 167.

Nash, Robert Jay & Ross, Stanley Ralph. The Motion Picture Guide 1927-1983 Vol. T-V Cinebooks inc. Chicago, 1987. p. 3366.

Pike, Andrew & Cooper, Ross. Australian Film 1900-1977, A Guide to Feature Film Production. Oxford University Press, Melbourne 1998. pp. 238, 243, 263, 285.

Reade, Eric. History and Heartburn, The Saga of Australian Film 1896-1978. Harper & Row, Sydney 1979. p. 191.

Reis, Brian. Australian Film: a bibliography Mansell Publishing Limited, London. 1997. Entry No. 1693 p. 72; Entry No. 4461 p. 201; Entry Nos. 13509-13523 p.513.

Screen Sound Australia website, National Screen and Sound Archive. http://www.screensound.gov.au/Screensound/Screenso.nsf/AllDocs/F9339BD67C579BF2CA256B5F001D9F4E?OpenDocument (Accessed 21 March 2003).

Shirley, Graham & Adams, Brian. Australian Cinema: The First Eighty Years. Angus & Robertson in association with Currency Press 1989. p. 228.

Stratton, David. The Last New Wave Angus & Robertson Publishers, Australia 1980. p. 5.

Advertisement Hoyts Ambassadors 1966, 'You Beaut!! We've Done It!!', The West Australian, Perth. 19 November, p. 36

Filmography

Adventures of Barry McKenzie, The dir. Bruce Beresford, 1972

Age of Consent dir. Michael Powell, 1969

Babe dir. Chris Noonan, 1995

Born Free dir. James Hill, 1966

Carry on Cleo dir. Gerald Thomas, 1965

A Clockwork Orange dir. Stanley Kubrik, 1971

Doctor Zhivago dir. David Lean, 1965

Girl in Australia (Bello Onest Emigrato Australia Sposerebbe Compaesana Illibata)

dir. Luigi Zampa 1971

Green Card dir. Peter Weir, 1990