The Picture Show Man

The Picture Show Man is a captivating Australian film from 1977 directed by John Power. The movie stars John Meillon, Rod Taylor, John Ewart, among others. This film provides a beautiful snapshot of early 20th century Australia mixed with an engaging perception of the travelling picture show experience. The narrative is infused with heart, humour, and conflict, effectively painting a vivid picture of an era that serves as a salient foundation of modern cinema.

The film follows the exploits of Maurice Pym (played by John Meillon), a relentless, ambitious and eccentric owner and operator of a traveling cinema, known as the “Pym's Pictures”. This business is also run by his very reluctant son, Larry (played by Harold Hopkins), who dreams of escaping the life on the road in place of more stable and upstanding occupations. The film beautifully frames their father-son relationship, with Larry being a rather grudging participant in his father's cinematic shows, providing a compelling dynamic upon which the plot hinges.

The crux of the story begins when the duo, while on their nomadic journey showcasing silent films from town to town, is met with an unexpected competition. They cross paths with a rival, much sophisticated picture show operator named Palmer (captivatingly portrayed by Rod Taylor). While Pym's Pictures employ outdated equipment and hand-cranked projectors to screen their films, Palmer turns up with modern, motorised machines and slick marketing techniques, disrupting the equilibrium of their world. The unfolding rivalry between Maurice Pym and Palmer weaves an engaging layer of tension into the story, while also making crucial commentary on the rapid industrialisation of cinema during the early 20th century.

Features regarding each man's willingness to outmaneuver the other offer an exhibition of cunning tricks, deceit and sabotage. Rod Taylor creates an alluring character with Palmer, whose modern outlook contrasts against the deeply rooted values of Maurice Pym. The dynamic between the two breathes life into the narrative, with the sophisticated Palmer against the old-timer and traditional Maurice Pym, unwittingly pulling Larry into the mix. This tension, combined with the evocative depiction of early cinematic history, makes The Picture Show Man an absorbing, if somewhat unconventional, drama.

The performances in The Picture Show Man are nuanced and thoroughly compelling, evoking a deep nostalgia for an era long past. John Meillon successfully brings across the sweats, determination, and eccentricities of Maurice Pym, while Rod Taylor’s charismatic portrayal of Palmer shadows the crude reality of commercialisation. The supporting cast, including John Ewart, who provides comic relief as the piano player, all add immeasurably to the movie's overall appeal.

Cinematographer Geoff Burton captures the essence of the Australian outback with great accuracy, inviting the audience to lose themselves in the sprawling landscapes and small, isolated townships. The backdrop of the movie, punctuated by evocatively composed shots, builds a canvas that celebrates the humble beginnings of cinema and its raw, unembellished charm.

The Picture Show Man also strikes a delicate balance between comedy and drama. The rivalry between Maurice and Palmer is both hilarious and poignant. At the same time, the complicated father-son relationship at the heart of the film adds depth and emotional resonance to the proceedings.

In a nutshell, The Picture Show Man is a highly entertaining and thought-provoking tribute to the pioneering spirit of early film exhibitors. The movie is not just a critical examination of the evolution of cinema, but it also serves as a charming social history of rural Australia in the 1920s. With its brilliant performances, engaging script, and meticulous visuals, it remains a standout amongst Australian cinema, and a must-watch for movie lovers interested in the rich tapestry of film history.