SpuffyWeb
Sadly Over-hyped
FeistyUpper
If you don't like this, we can't be friends.
UnowPriceless
hyped garbage
videorama-759-859391
Set in 1979, Melbourne, the film starts prior to the opening of a David Bowie concert. We are then introduced to a collection of characters, all living out of a two story place, maintained as if by a bunch of pigs. Instead we have a budding band, Dogs In Space, it's lead, Hutchence, in an impressive debut, if acting from experience as a spaced out junkie, dependant on her girlfriend, (Saskia Post) going from job to job. When asked by a stray girl, who's run away from home, "What's it like being in love?", Anna (Post) responds with a not so favourable answer-a line that became locked in my memory. This film is about 20+ sorts who live a life without rule, nor respecting who they are, blinded to the consequences of what may happen when that day of reality will wake them up, and knock em' on the head. That moment comes near the film's end, with one of them o'ding, which is a wake up call, powerful moment. Lowenstein's portrait of disassociated youth is right on the money, where it's blend of comedy and satire blend in well with the real undertone of seriousness, especially that o'd scene that hits you like a hammer. Haywood's brief appearance as a "take no s..t", chainsaw lover, I liked, but it had me trying to figure out, who he was related to here, from which would be a mind wracking waste of time of guesswork. Although it comes off as more of a comedy, the script is a sharp and originals 80's one. Some dialogue is priceless, some moments, memorably funny, like a couple involving an exam stressed student, the most sanest one living in this madhouse, who's got himself into some hot water, when knocking up a loud whale of a woman, who's tracked him down. Another one features a young social worker, who's not of the norm, where in contrast, S.O's would probably really, like to express themselves like that. The cemetery scene where Hutchence is straight, is quite a chilling opposite as to how we've seen him through the whole film, that has him basically a doped up, heroin addicted if childish pig. Of course we're afforded a shot of Lica, the first dog on space where may'be pigs, would of been a more appropriate replacement in it's title. What I loved too was the party scenes, as if the actors threw away the script and used their own pen and brush, which is how it really came across. Hutchence has created an undying, guilty Aussie pleasure of a film, of cult potential, that would be a crime in anyway to tamper with.
melwyn
At various points during this film, I noted the time, and thought "Well, I'm still waiting for something to happen". And I kept waiting, watching what appeared to be a film with no structure, direction or progress as far as its characters or "plot" were concerned. Like an idiot, I just didn't realise until the end.Someone who has not lived like this, or known people who have, could easily dismiss this as a directionless mess, a string of scenes with no real purpose, and characters who don't learn or evolve. But that's the point Lowenstein is making, he has deliberately structured this film in a way that mirrors the lives the characters led: directionless and stagnant, not planning or thinking of a future, but just staggering from one party, gig or shag to the next. Not living at all, just existing.Only when something drastic happens beyond their control are they forced to re-evaluate where they are and change their lives. The existence they led ends, and quite rightly the film ends also.It's a clever piece of film-making, and the more I think about it the more impressed I am.
christian gorey
Do not be fooled by all of the naysayers out there.....this is one hell of a movie....especially if you are a fan of Michael Hutchence(inxs).I own this movie on VHS and have been waiting a long time for a much deserved DVD release..the acting is superb and you really feel as though you are spending time with old friends every time you watch this masterpiece. Definitely one of the best Australian movies ever made.This movie has it all, sex, drugs, rock n' roll, and laughs upon laughs upon laughs. I cannot emphasize enough that everyone who loves comedy/drama involving young hip 20 something outcasts should run out and rent/buy this film.Trust me. 10/10 *****
LewisJForce
'Dogs in Space' pretty much seems to have disappeared over the years. My widescreen copy was taped off Channel 4 in the early 90's, and I'm pretty sure this was the last British terrestrial screening. Which is a real shame, because its a fantastic film. Written and directed by Richard Lowenstein, maker of the excellent 'Strikebound' and promos for INXS and U2, its an apparently semi-autobiographical piece about the various dwellers of, and visitors to, a rather decrepit squat in late 70's Melbourne.For those who might be put off by Lowenstein's corporate rock pedigree, fear not. The film avoids modish stylisation in favour of a rather free-wheeling, Altmanesque approach to construction and character development. The viewer is left to decipher dialogue and make connections for themselves. The piece is beautifully photographed and edited, and makes wonderful use of the 'steadicam' camera mount. Only at the very end does Lowenstein indulge himself in promo-style picture-making to sell the tie-in single 'Rooms for the memory'. And presumably give his otherwise pretty uncompromising vision some commercial lustre.As with Altman's best work, the guiding hand is detached but compassionate. The characters are all fiercely idiosyncratic individuals, often infuriating and shallow. But they are never mocked. Instead we see that their silliness is often merely a result of an attempt to either forge uniqueness or merely belong, and as such it often attains a strange nobility.At the films heart, though, lies a discernible disillusionment with, and subtle but pointed criticism of, the reality of the 'punk revolution'. Its most voluble proponents are shown to be either mouthpiece middle class drop-outs or confused, neglected teenagers. And its socio-political effect negligible.Michael Hutchence's presence (again, presumably largely a commercial consideration) is rather subversively integrated into this schema. He is cast as a pretty but vain, self-obsessed and generally unlikeable singer Sam, whose outwardly anarchistic stance barely conceals a ruthless careerism. Sam is also witty illustration of the fact that punk inevitably existed off the graces of the bourgeois. He has his mother turn up at the squat with a freshly cooked meal and clean clothes while all the other residents are out. Again, though, the effect is wry rather than bile-drenched. 'Dogs' is well-acted by a cast of mostly never-heard-from-agains. The ubiquitous but brilliant Chris Haywood appears briefly to deliver a heartfelt eulogy to a chainsaw. It employs an excellent soundtrack, and special note should be made of the remarkable sound-mix.It's an evocative, atmospheric snapshot of a sub-culture founded on both vainglorious naivete and admirable, rebellious individuality. Deserves a deluxe, restored, fully stereophonic, all-bells-and-whistles DVD at the very least.
