The Aussie Film Database

Phar Lap

Simon Wincer

 

Film Credits

Other Titles: A Horse Called Phar Lap Heart Of A Nation Phar Lap - Heart Of A Nation Credits Director: Simon Wincer Production Company: John Sexton Productions in association with Michael Edgley International Producer: John Sexton Executive Producer: Richard Davis Scriptwriter: David Williamson Cinematographer: Russell Boyd Production Designer: Laurence Eastwood Sound Recordist: Gary Wilkins Editor: Tony Paterson Composer: Bruce Rowland Cast Tom Burlinson - Tommy Woodcock Martin Vaughan - Harry Telford Judy Morris - Bea Davis Celia de Burgh - Vi Telford Ron Leibman - Dave Davis Opened: August 1983 Box Office Figures: see critical review Australian Distributor: Hoyts U.S Distributor: 20th Century Fox Video: RCA-Columbia-Hoyts Rating: PG Australian Running Time: 118 mins

Criticism

Phar Lap (1983), directed by Simon Wincer, produced by John Sexton in association with Michael Edgely International, is a period racing drama set against the backdrop of the simple and conservative late 1920ās, early 1930ās - a time of the Depression, although the film depicts Australia with a certain romanticism, reinforced by Bruce Rowlandās stirring soundtrack. This is the true story of Australiaās hero Phar Lap - the greatest racing horse in our history, a martyr in Australian tradition. Rising to fame between 1928 and 1932, Phar Lapās big heart gets him first across the line in 37 races including the 1930 Melbourne Cup and the worldās richest horserace in Agua Caliente, Mexico in 1932. Sixteen days later in Menlo Park, California, Australiaās Īheart of a nationĪ dies, someone, whether or not it was the Americans, had conveniently gotten rid of him. But, unforgotten, Phar Lap remains a legend. Newspaper reels are rolling, newspaper trucks are delivering, reporting from Los Angeles is on the radio and there are flashes of The Herald - among others - announcing ćHeās Deadć. This how Wincerās Australian version of Phar Lap begins. It begins at the end and then flashes back to that day in 1928 when trainer, Harry Telford (Martin Vaughan), purchases a rather unsightly chestnut horse for 168 pounds, from New Zealand - only because of its bloodline - for shrewd owner, Dave Davis (Ron Leibman). The horse is hopeless and loses his first 5 races, the stable boys laugh and name him ĪPhar LapĪ which is Siamese for ĪlightningĪ. However, despite pressure from his wife Vi (Celia De Burgh), to sell Phar Lap, Telford refuses to give up, claiming, Īthat horse is gonna be a championĪ. So he trains Phar Lap hard to get rid of that lazy streak. But a true love for the horse only comes from stable-boy Tommy Woodcock - in which Tom Burlinson is perfect for the role - who becomes Phar Lapās strapper. Then Phar Lap begins to win, his first race being the A.J.C Derby - which with the help of music and slow motion, becomes a very emotional win. Suddenly the horse is a star - there are shots of the horse winning races and newspaper headlines calling Phar Lap a ĪphenomenonĪ.

With his constant greed for more money, Davis contrives a plan which involves withdrawing Phar Lap from the Caulfield Cup at the Last minute, but keeping him in to win the Melbourne cup; and Telford, the ćAussie battlerć eventually agrees. The scene of Phar Lap winning the 1930 Melbourne Cup, with the brilliant racing shots, uplifting music, and the crowd chanting ĪPhar Lap!Ī, ĪPhar Lap!Ī, has to be one of the most emotionally engaging moments in the film. However, this stirs up the bookies who unsuccessfully try to assasinate Phar Lap, and the Victorian Racing Club lead by the snobbish Lachlan McKinnon (Vincent Ball), who consistently forces the horse to race with greater weights until finally Phar Lap loses the next Melbourne Cup. The continous dealing by the narrow-minded and money-hungry characters is contrasted to the innocent Tommy Woodcock, who persistently argues that Phar Lap is worked too hard, - only agreed by Davisā wife Bea (Judy Morris) - and as Scott Murray days he Īsees his cherished dreams ruined by ambition and hollow promises of vast amounts of American moneyĪ (1995:136). Phar Lap becomes another one of those ćAustralian freaksć, often shown in the cinema. He has a heart for surviving and winning. Davis suggests to enter Phar Lap in one of the most biggest and richest horseraces in Mexico, and Woodcock finally becomes the horseās trainer as Telford stays in Melbourne. With a badly injured hoof, Phar Lap gallops across the line in first place. And Davis is warned to Īget him out of hereĪ. However, due to jealousy and heavy losses in gambling, Phar Lap is tragically poisoned. The film then cuts back to Harry Telford, despairing Īhe wasnāt just a horse... he was the bestĪ and then to various black and white shots of Phar Lap, and finally to the end shot of poor Tommy Woodcock hugging his beloved dead Australian champion. I donāt think the film is another Īman from snowy riverĪ, maybe it is reminiscent to that of Gandhiās or the elements to that of Chariots of Fire, although I think Wincer could have added a few more of those Īslow motion indulgencesĪ (McFarlane 1987:64). But this film serves as a great tribute to Phar Lap, with an exceptional cast, a well adapted script by David Williamson, and outstanding music by Bruce Rowland and editing by Tony Paterson.

Starting with the book Phar Lap, by Michael Wilkinson, published in 1980, and conversations with the real Tommy Woodcock, scriptwriter David Williamson essentially remained truthful to Phar Lapās story. It was decided to begin with the horseās death because, as Wincer said Īwe felt that otherwise an Australian audience would spend the whole film waiting for it to happenā (Murray 1984:31). This original version came to a running time of 118 mins. The one released internationally was 107 mins. As the American audience were generally not familiar with this story itās U.S distributor 20th Century Fox requested that Phar Lap be re-edited into a chronological version, so there would be a surprise element at the end - Phar Lapās fate. According to Wincer, Īall Fox wanted to do was spend $300 000 making changes to the filmā (Murray 1989:79). 20th Century Fox also re-titled the film to A Horse Called Phar Lap. In Britain it was Phar Lap - Heart of a Nation (Film Index International, 1996 British Film Institute). Outside the U.S the filmās production distributor was Robert Meyers International.

Due to tax changes, the 1980ās saw large increases in film budgets, with the average budget in 1982-83 rising from $2 million to $3 million and still increasing, (Dermody & Jacka 1987). Phar Lap was a $7 million production and at the time of itās release was considered ĪAustraliaās most expensive locally-made movieā (Bottrell 1983:34). However it was shot on a very tight schedule due to the taxation Act (10BA rules) about a film being financed and completed in that financial year (Stratton 1990). After the successful The Man From Snowy River (1982), Michael Edgley International joined with the distributor Hoyts Theatres to support Phar Lap, in which they Īembarked on a concerted and carefully planned publicity campaignā (Bottrell 1983:34). A year before Phar Lapās release there were interviews with the people involved in the film, and features on the real race horse and Īstories on the search for a Phar Lap lookalikeā (34). The whole public relations campaign cost $500 000 for advertising, $200 000 for media parties, press kits, hotel, cars etc and $45 000 for the party which followed Phar Lapās world premiere! (Bottrell 1983). But supposedly it was well worth it as Īthe total value of Phar Lapās publicity was more than $1mā (35). As a result Phar Lap was a big box office success in Australia. The film opened on 11 August 1983, and in October John Chessock from Hoyts claimed Ī (i)t has already taken $4m at the box office, which is outstandingā (quoted in Bottrell 1983:35). In April the next year in an interview by Scott Murray for Cinema Papers (1984:31), director Simon Wincer announced that locally Phar Lap Īhas rentals in excess of $4.2 million, a gross of around $10.2 millionā. Yet the figure for Australian gross film rentals in Dermody & Jacka (1988b) for Phar Lap were $3 761 568 in December 1987. And according to the All-Movie-Guide on the internet, the domestic gross for Phar Lap reads as $2.7 million.

Phar Lapās Australian success however, was not repeated in America; Wincer blamed this on the timing of itās release, ĪFox originally planned to release the film in the spring. But they did some audience testing and it did better than anything since Star Wars. So they released it in the summer peak season. Well, that was the summer of the Olympic Games, Ghostbusters, and Indiana Jones and the Temple of Doom - their biggest summer ever. We got killed in the rushā. (Quoted in Murray 1989:79) Like The Man From Snowy River, in which Wincer was co-producer with Edgley, Phar Lap was aimed to attract the 14-24 age group audience and to compete with the Ībig American films both locally and overseasā (Dermody & Jacka 1987:184). But unlike Snowy River (which had more romantic appeal), Phar Lap failed to attract this main audience, and it was thought, as Glen Lewis said, a film more for Īadult entertainmentā (1987:130). Despite this, Phar Lap generally received a positive response at the time of and after its release. Film publicist Rea Franis thought ĪEdgley picked a movie that was a winner. The story was a national trust, a legend...ā (Botttrell 1983:35). Other esteemed comments included Ī(h) is handling of the racing scenes is as powerful as anything in Australian cinema...ā (Stratton 1990:40), and in Cinema Papers, Ī(b)y comparison, The Man From Snowy River is simply a refugee from Marlboro countryā (Connolly 1984:87). Applied media Resources even produced a Phar Lap study guide for teachers including interviews with Wincer , Sexton and Williamson and a guide on how the film should be studied in the classroom, (Morris 1983). In the U.S.A section in the internet, Phar Lap was rated as a 6.6/10 film. There were and are of course unfavourable criticisms such as Phar Lap being Īa sequel to The Man From Snowy Riverā (Bottrell 1983:35), and elements from Phar Lap were Īcompletely from Chariots of Fireā (Newman 1985:39), and the film is just Īanother film about an exciting sportā (Newman 1985:89). As for the scriptwriter David Williamson, some thought Īthe subject was beneath himā (Stratton 1990:40). The main criticism was that Phar Lap was too commercial or that it lacked originality. But for many - especially Australians - the film was emotionally engaging, as it symbolised the Īpositive aspects of the Australian spiritā (Murray 1994:105). Phar Lap received AFI Awards for Best Sound (Peter Burgess, Terry Rodman, Peter Fenton, Phil Heywood, Ron Purvis, Gary Wilkins).

It is not surprising that one may draw parallels between The Man From Snowy River and Phar Lap - the Īsequelā. Simon Wincer and Edgley International were involved in these two horse films and the characters Jim Craig and Tommy Woodcock, both of which are Īinnocentā and Īboyishā are played by Tom Burlinson. In an interview by Scott Murray for Cinema Papers (1984:31), Wincer told of how he originally turned down Burlinson for his role in Phar Lap because of the Snowy River relation; but after unsuccessfully looking elsewhere, it became apparent that Burlinson was destined for the part of Phar Lapās strapper. Tom Burlinson later went on to star in the gold rush mini-series, Eureka Stockade (1984) and The Man From Snowy River II (1988). Simon Wincerās career began in television working for the ĪAustralianā Crawford Productions; and then he directed Cash and Company, The Sullivans and Against The Wind. In 1987 he made The Lighthorsemen, another horse film about the Īheroic deeds of Australiaās mounted lighthorsemen during World War Iā (Murray 1994:105), and this like Phar Lap was a true story. In 1989 came the U.S mini-series, Lonesome Dove, in which Wincer had become involved in after the produces had had a look at Phar Lap and The Lighthorsemen, and then asked him to be director (Murray 1989). Other true stories were Gallipoli (1981) - with scriptwriter David Williamson and cinematographer Russell Boyd, and Burke and Wills (1985) - which was financed by Hoyts-Edgley, co-produced by John Sexton and again with Boyd as cinematographer. Gallipoli had been linked to Phar Lap in that both films dealt with Īnational martyrsā (Dermody & Jacka 1988a:222), and also like Snowy River Īboyish heroicsā (36). All these are well known heroic stories. Another Hoyts-Edgley production The Coolangatta Gold (1984), unlike the tragic Burke and Wills, was more like Phar Lap in its Īconcern to preach the new gospel of winningā (Lewis 1987:163). Scriptwriter David Williamson, renowned for his work, started as a playwright, he then wrote for feature films, including Donās Party (1976), The Club (1976), The Year of Living Dangerously (1982) and Emerald City (1989). Many of his scripts deal with the creation and interaction of his characters; one relation to Phar Lap was the element of sporting rivalry, - Īrecent films have addressed themselves to sporting competition... The Club, Gallipoli....Phar Lap and The Coolangatta Goldā (McFarlane 1987:66). Many of Williamsonās works were plays or novels adapted by him for the screen. Russell Boyd has often been praised for his Īeloquent photographyā (Connolly 1984:88), particularly too for the many Peter Weir films he shot, such as Picnic At Hanging Rock (1975), The Last Wave (1977) and The Year of Living Dangerously. His films show evidence of the way he captures Australiaās hard light and landscapes with a Īfeeling of the empty spacesā (McFarlane 1987:80).

Phar Lap became immensely popular among its Australian audience and like The Man From Snowy River it was described as a commercial film. Keith Connollyās article in Cinema Papers described Phar Lap as a Īmainstream film with the parameters of popular legend-mongering... (i)t is pop stuff , but acceptable....ā (1984:87). However, Australian critic Sandra Hall thought it lacked originality....ā (Lewis 1987:128). The film was also commented to being an obvious male creation, as a female character in the film would be Īlimited to little sweet gestures and an almost mute rendition of womanly virtuesā (Dermody & Jacka 1998a:225). These comments reinforce the notion that people want Australian films not only to be just Īgoodā but to also be Īprofitable domestically and internationally, to be popular and well regarded by.... the home populace, to be innovative and excellent.... to be critically regarded and to be politically and socially acceptableā (OāRegan 1996:113). However, the reason for Phar Lapās popularity would lie in its ĪAustraliannessā his story was Īa part of Australian folkloreā (Murray 1987:63), a subject of national pride, an Australian hero - even though he was from New Zealand. Despite criticisms on commercial films and Hollywood influences, perhaps Phar Lapās Australian success suggests that Īpopular culture may yet be the best means of identifying Australian cultural and political identity in filmā (Murray 1995:136). As part of projecting national identity, Phar Lapās dealing with a national event Īrestated and updated old myths Īdedominionizingā Australia by accentuating its Īnon-Englishā characteristicsā (OāRegan 1996:68).

On a budget of $7 million, Wincer did everything to try and give the film American appeal; although it didnāt have the ĪHollywood happy endingā, Phar Lap was re-edited to suit the American audience. Even in regard to Phar Lapās death it was if the filmmakers didnāt want to offend them, as one reporter claimed, Īthe conventional wisdom of my boyhood that the Yanks had poisoned Phar Lap....is virtually ignoredā (Connolly 1984:88). There were American characters in the film, one being Phar Lapās owner Dave Davis; two locations were California and Mexico, and there was American radio news reporting Phar Lapās death, and the film also went through American audience testing. These are somewhat like the ways Tom OāRegan (1996) describes a national cinemaās attempts to go local and international, - Īeach national cinema has to produce expensive films and this means becoming more explicitly internationalā in Īits textual formā (55). Phar Lap itself can be seen as one of the strategies a national cinema will take to Īcounter Hollywood competitionā by seeking Īlocal specificities in domestic social events, issues, stories and myths....ā (49). This was achieved locally, but its unrepeated success internationally demonstrates Hollywoodās consistent domination and also perhaps its little regard for Australian films. And to deal with the fact that ĪAustralian feature filmsā (91), Hoyts-Edgley invested in their big promotion to capture their home market. As well as the disadvantage of only having a medium market, with a greater competition from the English speaking countries, the Australia cinema is considered neither Prestigious nor as great as Hollywood (OāRegan 1996). Australia doesnāt share Americaās big budgets for films and Australiaās audience isnāt protected from Hollywood circulation. Phar Lap, therefore I think, needed to be a Īmainstream filmā, a larger-than-life adventure about a true Australian legend.

References All-Movie-Guide http://allmovie.com/amg/movie_Root.html
Bottrell, Peter (1983) ĪAnatomy of a PR Spectacular: Public RelationsĪ, B & T Advertising, Marketing and Media Weekly, vol 34. n1453. (October): 34-35.
Connolly, Keith (1984) ĪPhar Lap - a reviewĪ, Cinema Papers, issue 44/45 (March?April): 87-88.
Dermody, Susan and Elizabeth Jacka (1987) The Screening of Australia, vol 1: Anatomy of a Film Industry, Currency Press, Sydney.
---- (1988a) The Screening of Australia, vol 2.: Anatomy of a National Cinema, Currency Press, Sydney.
---- (eds) (1988b) The Imaginary Industry: Australian Film in the late 80ās, Australian Film, Television, and Radio School, Sydney.
Kemp, Peter (1995) ĪDeveloping Pictures: Australian Cinema (1970-1995)Ī. In J. Sabine (ed) A Century of Australian Cinema, Mandarin Australia, Melbourne, 172-197.
Lewis, Glen (1987) Australian Movies and the American Dream Praeger, New York.
McFarlane, Brian (1987) Australian Cinema 1970-1985, William Heineman Australia, Richmond, Melbourne.
Morris, Peter (1983) ĪPhar Lap - a reviewĪ, Metro 65: 51.
Murray, Scott (1984) ĪSimon Wincer - an interviewĪ, Cinema Papers, issue 44/45 (March/April): 28-31, 102.
---- (1989) ĪSimon Wincer - Trusting His InstinctsĪ, Cinema Papers, issue 76 (November): 6-12, 78-79.
--- (1994) ĪAustralian Cinema in the 1970ās and 1980āsĪ. In S. Murray (ed) Australian Cinema, Allen & Unwin in association with the Australian Film Commission, Sydney, 105.
---- (1995) Australian Film 1978-1994, Oxford University Press, Melbourne.
Newman, Kim (1985) ĪPhar Lap - reviewĪ, Monthly Film Bulletin, vol 52. n614. (March): 88-89.
OāRegan, Tom (1996) Australian National Cinema, Routledge, London.
Stratton, David (1990) The Avocado Plantation: Boom and Bust in the Australian Film Industry, Pan MacMillan, Sydney.
U.S.A http://us.imdb.org/blurb.html

Bibliography

To find bibliographical details of interviews, reviews, discussions, cast and credits, release dates and box office figures, I firstly looked in the internet (http://kali) under the section ćunitsä and ćAustralian Cinema - researching an Australian classicä (http://kali.murdoch.edu.au/~cntinuum/units/h231/h231home.htm). This gave references such as books and electronic databases and what could be found in them - cast, credits, reviews etc. (I could not find not find exactly how much Phar Lap made at the box office, domestically or internationally; there were either different figures or writers just noted that the film was a Ībig box office hitā). I then used the CD-ROM/electronic databases in the library. With the Annual Reports Database and Uncover I couldnāt find any relevent information. Australian Feature Films- Informit under Phar Lap in ćfilm titlesä gave cast, credits, a synopsis, awards etc, but with no references for information. For Simon Wincer - director, it had two references ĪAustralian Cinema in the 1990ās - Renegotiating the Internationalā and ĪFilm in the 1970ās - Demise of Quality Filmā. For producer John Sexton there were only a list of his films, The other two databases Film Index International and APAIS on Austrom gave the most information.

The interviews I found were:

Austrom: APAIS

Director Simon Wincer

Beily, Peter and Scott Murray (1979) ĪHarlequin production report: Simon Wincer: Director,ā Cinema Papers issue 24 (December/ January): 638-642.
- Wincer talks about the making of his first feature films.

Murray, Scott (1984) ĪSimon Wincer - Interview,ā Cinema Papers issue 44/45 (March/April): 28-31, 102.
- This useful article was about the production of Phar Lap and a discussion on Hoyts and Edgley International.
---- (1989) ĪSimon Wincer: Trusting His Instincts,ā Cinema Papers, issue 76 (November): 6-12, 78-79.
- Wincer talks about Quigley Down Under (1992) and his mini-series Lonesome Dove (1989).
---- (1994) ĪSimon Wincer - interviewed by Scott Murray,ā Cinema Papers, issue 97/98 (April): 4-10.
- This interview discussed filmmaking and Wincerās Lighting Jack (1994) and Free Willy (1993).

Stretton, Rowena (1988) ĪTale of the the Lonesome DoveĪ, The Australian 27-28 (August): 3.

Film Index International

Director Simon Wincer

This index had nearly all the references above, as well as:

Prisk, Tracey (1991) ĪWincer Edits Harley in OzĪ, Encore, vol 9. n2. (March): 8-9.
- The production of Harley Davidson and the Marlboro Man (1991).

Westfield, Peter (1979) ĪGeorge MillerĪ, Cinema Papers, issue 23 (September/October): 527-529.
- Wincerās collaborative work with Miller in television.

Films (1985) vol 5. n5. (May): 4-5.
- The success of Phar Lap (which I couldnāt find).

Scriptwriter David Williamson

Jones, David (1974) ĪDavid WilliamsonĪ, Cinema Papers, issue 1 (January): 6-9.
- Williamson discusses his style of writing and his views on the Australian film industry.

McDonald, Neil and Peter Gerdes (1980) ĪI Consider Myself Essentially a PlaywrightĪ Australian Journal of Screen Theory, n7. (January): 138-147.
- Adapting his plays The Club (1976) and Donās Party (1976) for the screen.

Cinema Papers (1981) issue 32 (May/June): 123-127.
- The transformation of his plays into films.

Onfilm (1993) vol 10. n6. (July): 11.
- Why Williamson turned his back on Hollywood.

Screen International (1982) n365. (October): 8.
- His work as a writer for film and stage.

Actor Tom Burlinson
Video Business (1985) vol 5. n15. (June): 18.
- Burlinsonās comment on his role in Phar Lap.

Murdoch Library
Scriptwriter David Williamson

Fitzpatrick, Peter. ĪDavid WilliamsonĪ (videorecording).
- Williamson mainly discusses Donās Party, Sons of Cain, Emerald City (1989), Travelling North (1986), and the psychology of his characters.

Cinematographer Russell Boyd

Boyd, Russell ĪFeature Film Lighting, Russell Boyd interviewed by Peter ThompsonĪ video-recording).

Stewart, Meg ĪPictures and Sounds /devised and narrated by Meg Stewart. Australian filmmaker Russell Boyd / interviewed by Graham ShirleyĪ (video-recording).

The reviews and essays in journals I found were:

Austrom: APAIS

Phar Lap

Blackwell, Diane (1983) ĪTom Burlinson runs his own raceĪ, Dolly n154. (August): 30- 31, 94.

Bottrell, Peter (1983) ĪAnatomy of a PR Spectacular: Public RelationsĪ, B & T Advertising, Marketing and Media Weekly, vol 34. n1453. (October): 34-35.
- The Hoyts-Edgely promotion for Phar Lap and the expenses.

Gardner, Alison (1983) ĪTom Burlinson is back in the saddle and riding highĪ, Womenās Day 8 August: 12-13.

Guinness, Daphne (1983) ĪSmoothing the hard edges of moving house - the high lifeĪ, Bulletin (Sydney) 9 August: 57-58.
- About Michael Edgely.

Morphett, Tony (1983) ĪPhar Lap: the movieĪ, Quadrant, vol 27. n10. (October): 18-21.
- Also about David Williamson, and horse-racing.

Morris, Joan (1983) ĪPhar Lap - film reviewĪ, Canberra Times, 14 August: 7.

Sach, Vicki (1983) ĪPhar LapĪ Rider, vol 12. n5. (August): 14.

Stannard, Bruce (1983) ĪHeath Harris joins the posh brigade: filmsĪ, Bulletin (Sydney) 6 December: 89-90, 92. - About Harris - the horse trainer for Phar Lap.

Director Simon Wincer

Crist, Steven (1984) ĪFilm laurels for a legendary horse - Making of Phar Lap and its release in the United StatesĪ, New York Times, 5 August: 1. 18.

Producer John Sexton

Whitburn, Denis (1982) ĪThe day that Phar Lap won the cupĪ, Bulletin (Sydney) 2 November: 58-60.
- About Sextonās involvement in Phar Lap.

Film Index International

Phar Lap

Morris, Peter (1983) ĪPhar Lap - a reviewĪ, Metro 65: 51
- An interesting talk on the story of Phar Lap as a legend and how it is useful in a school context.

Connolly, Keith (1984) ĪPhar Lap - a reviewĪ, Cinema Papers, issue 44/45 (March/April): 87-88.

Newman, Kim (1985) ĪPhar Lap - a reviewĪ, Monthly Film Bulletin, vol 52. n614. (March): 88-89.

American Premiere (1984) vol 5. n3. (Summer): 11.
- A review of the film.

Cinema Papers (1982) issue 41 (December): 571.
- Picture preview of Phar Lap.

Cinema Papers (1984) issue 44/45 (March/April): 80.
- Cast, credits and synopsis.

City Limits (1985) issue 180. 15 March: 21.
- A review of the film.

Filmfaust (1985) issue 46 (June): 25.
- A review of the film.

Films and Filming (1985) issue 367 (April): 39.
- A review of the film.

Screen International (1982) issue 372. 4 December: 11.
- Production report.

Screen International (1983) issue 420, 12 November: 10.
- Box Office in Australia.

Screen International (1985) issue 479. 12 January: 27.
- A review of the film.

Time Out (1985) issue 80. 14 March: 63.
- Caption review

This information given for Phar Lap, Simon Wincer and David Williamson was quite useful, however there wasnāt much given on the lead actors. Other indexes under Phar Lap had:

International Index to Film Periodicals (1983)

Stratton, David (1983) ĪPhar LapĪ, Variety 311. 13 July: 22.
- Review and credits.

Film Literature Index (1983)

Martineau, R. (1983) ĪPhar Lap, Ozās costliest yet in 5-site partyingĪ, Variety 312. 10 August: 41.

The discussions I found in books from the library computer and Īresearching an Australian classicĪ were:

Dermody, Susan and Elizabeth Jacka (1987) The screening of Australia, vol. 1: Anatomy of a Film Industry, Currency Press, Sydney.
---- (1988a) The Screening of Australia, vol. 2: Anatomy of a National Cinema, Currency Press, Sydney.
---- (eds) (1988b) The Imaginary Industry: Australian Film in the late 80ās, Australian Film, Television and Radio School, Sydney.

Kiernan, Brian (1990) David Williamson, a writerās career, William Heinman Australia, Melbourne.

Lewis, Glen (1987) Australian Movies and the American Dream, Praeger, New York.

McFarlane, Brian (1987) Australian Cinema 1970-1985, William Heineman Australia, Melbourne.

Moran, Albert and Tom OāRegan (eds) (1985) An Australian Film Reader, Currency Press, Sydney.

Murray, Scott (eds) (1993) Australian Film 1978-1992: A Survey of Theatrical Features, Oxford University Press in association with the Australian Film Commission and Cinema Papers, Melbourne.
---- (ed) (1994) Australian Cinema, All en & Unwin in association with the Australian Film Commission, Sydney.
---- (1995) Australian Film 1978-1994, Oxford University Press, Melbourne.

Sabine, James (ed) (1995) A Century of Australian Cinema, Mandarin Australia, Melbourne.

Stratton, David (1990) The Avocado Plantation: Boom and Bust in the Australian Film Industry, Pan MacMillan, Sydney.

Turner, Graeme (1986) National Fictions: Literature, film and the construction of Australian narrative, Allen & Unwin, Sydney.

Presence online and in the literature

These books had information on PharLap, the director, producer, scriptwriter, cinematographer and lead actors. As for the internet, that hadnāt such great information as the books and journals. The Īall-movie-guideĪ provided cast and credits, release dates - which were American - a synopsis on the film, domestic gross, movie with the same personnel, and movies with the same theme. For each individual person - the director, producer, lead actors etc, it gave a list of their works with the year - which again were different - and the genre. To find information on prior and subsequent work, this was useful. The section ĪU.S.AĪ had only ćratingsć and ćtechnicalć - the U.S production distributor, certification, language etc - for the film Phar Lap. There was also the American time for the film. On ĪNetsearchĪ under Phar Lap there was only one relevant article titled Ī Phar Lap is an Australian film about a race horse Ī(http://ficus-www.cs.ucla.edu/ficus- members/reiher/reviews/pharlap.html)ā, which is a review of the film.
html author: Anita Krsnik
a.krsnik@murdoch.edu.au
This page was produced as part of the Australian Cinema Unit at Murdoch University
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