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AbstractHistoryArchive Description
Italian sports journalist Nino Culotta is lured to Sydney during the mid-1960s to work for his brother's new magazine for migrant Italians. When he arrives in the country, however, Nino finds out that there is no magazine and that his brother has taken off with the investors' cash. Left in the lurch is his brother's business partner, Kay Kelly. Nino vows to pay off his brother's debt and gets a job as a builder's labourer. In doing so, he learns how to talk, act, and drink like an Australian male. His numerous attempts to woo Kay are repeatedly rebuffed with humorous results, but in the end she falls in love with him. Nino's introduction to the country and its culture finds him bemused but ultimately confident that he has a future here.
The Australian Centre for the Moving Image suggests this film is 'very much a product of the assimilationist view dominating Australian immigration policy at the time'.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Class Acts : TV Larrikins and the Advent of the Ocker, 1957–1984
2023
single work
criticism
— Appears in: Journal of Australian Studies , 2 vol. 47 no. 2023; (p. 344-359)'Stephen Fry has described the typical American comic hero as a freewheeling “wisecracker” compared to the English type, who is apt to be an aspirational lower-middle-class failure. With Fry as a prompt, we consider humour and class in the evolution—or devolution—of that representative local hero, the larrikin, during Australian television’s first three decades. This was a period that saw a realignment of the nation’s political, economic and cultural affiliations away from Britain towards the US, and in which the ocker came into sudden prominence as a less benign version of rowdy male identity. If media larrikins such as Graham Kennedy and Paul Hogan excelled at the kind of sketch-based humour that had its origins in vaudeville and were unsuited to sitcoms, ocker characters such as Wally Stiller from My Name’s McGooley and Ted Bullpitt from Kingswood Country found a home there. Our analysis of larrikin and ocker humour is triangulated with that of Norman Gunston, as played by Garry McDonald: a desperately aspirational failure with his own mock variety show who emerged from the dialogue between these two comic types. We conclude with some thoughts on post-ockerism and the emergence of the bogan.' (Publication abstract)
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Straight to the Pool Room : Top 10 Films about the Australian Dream
2016
single work
column
— Appears in: The Guardian Australia , 25 April 2016; 'The housing market may not sound like the most stimulating territory for a story, but it has been the basis of some of Australia’s greatest films' -
Wogs Laughing - All the Way to the Bank
2016
single work
column
— Appears in: The Sunday Mail , 31 January 2016; (p. 28) -
How Weird Does This Mob Still Seem?
2012
2012
single work
criticism
— Appears in: Inside Story , May 2012;'Impossibly remote in many ways, the late fifties are portrayed with verve and nuance in John O’Grady’s bestselling novel, writes Brian McFarlane'
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Who's the Weird Mob Anyway? Assimilation and Authenticity in They're a Weird Mob
2011
single work
criticism
— Appears in: Making Film and Television Histories : Australia and New Zealand 2011; (p. 241-245)
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They're a Weird Mob
2008
single work
review
— Appears in: Senses of Cinema , no. 47 2008;
— Review of They're a Weird Mob 1966 single work film/TV -
Contexts in which to Place They're a Weird Mob and into which You Might Never Have Placed it Before
2005
single work
review
— Appears in: Senses of Cinema , July - September no. 36 2005;
— Review of They're a Weird Mob 1966 single work film/TV -
Who's Afraid of Film-Making?
1966
single work
review
— Appears in: The Bulletin , 27 August vol. 88 no. 4512 1966; (p. 42)
— Review of They're a Weird Mob 1966 single work film/TV -
The Old Wave at Bondi
1966
single work
review
— Appears in: The Bulletin , 27 August vol. 88 no. 4512 1966; (p. 41)
— Review of They're a Weird Mob 1966 single work film/TV -
Talking About My Generazione
2005
single work
column
— Appears in: The Australian , 18 May 2005; (p. 10) -
Laying Our Cultural Foundations
2007
single work
criticism
— Appears in: The Age , 17 November 2007; (p. 19) -
Larrikin Ockers and Decent Blokes : The National Type in Australian Film Comedy
2009
single work
criticism
— Appears in: Creative Nation : Australian Cinema and Cultural Studies Reader 2009; (p. 154-165) -
y
'They're a Weird Mob'
Perth
:
Centre for Research in Culture and Communication (Murdoch University)
,
2003
Z1666352
2003
single work
criticism
Research undertaken by a student of the Centre for Culture and Communication (Murdoch University) into They're a Weird Mob (1966). Includes aspects relating to the production phase, critical reception, principal performers and production crew, references and a synopsis
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Wogboy Comedies and the Australian National Type
2009
single work
criticism
— Appears in: Diasporas of Australian Cinema 2009; (p. 73-82)'Popular Australian film comedy since the early 1970s has been dominated by reinventions of the national type. These reinventions involve transformations of the urban larrikin and the bush battler, first established in silent film classics such as The Sentimental Bloke (Raymond Longford 1919) and in Cinesound Studio's Rudd family comedies of the 1930s, directed by Ken G. Hall. These comic types continue to surface in popular film and television as the larrikin, ocker or decent Aussie bloke, exemplified in the 1970s by Bazza McKenzie, in the 1980s by Crocodile Dundee, in the 1990s by Darryl Kerrigan in The Castle, and most recently by cable TV showman Steve Irwin until his untimely death in 2006. Yet despite decades of multiculturalism, little attention has been paid to the impact of post-war, non -British immigration on Australian comic types. This chapter examines three popular comedies which champion ethnically marked characters as either 'New Australians' (They're a Weird Mob, Michael Powell 1966), 'wogboys' (The Wog Boy, Alexsi Vellis 2000) or `chockos' (Fat Pizza, Paul Fenech 2003). It asks whether 'wogboys' and 'chockos' - as diasporic, multicultural or new world comic types - have trumped the larrikins and ockers of Australian screen comedy, or whether 'wogsploitation' films are popular with Australian film and television audiences precisely because they tap into a long. standing national type without disturbing its key characteristics.' (Publication abstract)
- 1950s
