For a time in the late 70s it seemed the only films Australia could produce were sumptuous period pieces. It was a cliché for a reason, with local filmmakers having pumped out “Picnic at Hanging Rock,” “The Getting of Wisdom” and “My Brilliant Career” in quick succession.
It’s this synoptic relationship between Australian cinema and period films that’s often floated as the reason for “Money Movers” sinking upon its initial release in 1978. Australians, it seemed, simply didn’t make genre films.
Of course, there might have been a simpler reason: “Money Movers” just isn’t that great. The film’s full of talent and possesses a sometimes-visceral atmosphere, but it’s too often let down by stagy performances, uneven editing and a poor script, which struggles to manoeuvre under a crushing overabundance of characters.
Set around a private security firm’s payroll counting activities, “Money Movers” follows the plans of supervisor Eric Jackson (Terrence Donovan) to rob his own employer of $20 million. Working for the same firm are Eric’s brother, Brian (Bryan Brown), as well as long timer Ed (Ray Marshall), and together the three men plot to hold-up the payroll counting office when it’s flush with cash.
Complicating matters, however, is a high-powered and ruthless local mobster (Bud Tingwell) who is looking to get himself a slice of the action. Also standing in the way of the plan are a couple of fellow security guards one an incorruptible ex-cop (Ed Devereaux) and another a seemingly green new recruit (Tony Bonner) who sniff that there’s something fishy going on within the firm.
“Money Movers” bursts out of the gates in its early scenes. Scripting is tight as the film quickly establishes the operations and inner geography of the security firm. Director Bruce Beresford and DOP Don McAlpine switch things up endlessly, flowing with ease from dolly shots to steady cam to crane work. It’s slick stuff and sets the film up well.
But Beresford’s own script runs into trouble when it starts introducing the characters. There are simply too many of them for the audience to take in. The screenplay is based on the novel of the same name (which is in turn based on true events), and you’re left with the impression not enough was cut out of the book for its screen adaptation.
Not helping is a central protagonist who’s wholly dislikeable. Eric is given too little to be dissatisfied with to make his actions understandable, and you can’t help but feel the screenplay should have shifted Ed Devereaux’s steadfast and sympathetic ex-cop into the central role, building upon the well-worn but crafty character’s disillusion with his career.
“Money Movers” suffers further in the modern context with its often-stagy performances. An aspect typical of the era in which the film was made, it combines badly with some of the hammy dialogue the actors are asked to blunder into. The payoff, however, is that it makes for some unintentionally hilarious moments, particularly in the films more exploitative moments.
What “Money Movers” does do well is its final third. The script tightens up nicely as the wheels of Eric, Brian, and Ed’s plan are set in motion. Beresford, McAlpine and stunt coordinator Alf Joint would prove themselves highly adept at capturing a balls to the wall action scene while William M. Anderson’s often overcooked editing comes into its own, adding a great deal to the high stakes robbery.
Ultimately, “Money Movers” is worth checking out, even just to see one of the first Australian genre films. It’s in that respect the industry down under owes a dept to this film, even if Aussie genre seemed to die in late 80s along with power dressing and aerobics. Now, with genre pictures making a tentative comeback, “Money Movers” is sure to be revisited as one of the progenitors of the more rambunctious side of the Australian film industry.
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