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  • You can almost smell the sweat and testosterone !

    This is a movie for the blokes. It's full of tough blokes, violent blokes, bossy blokes, union blokes, angry blokes and blokes who tell the sheilas to go away and let the blokes get on with important blokey business.

    Hugely talented Australian cast with an equally talented director. This is what Aussie society was like before we all became middle-class and comfortable.

    Oh, the plot? Crooked blokes are practically lining up to rob an armoured-car security firm. The siege mentality builds as the story progresses, as the company tries to work out where the next hit is coming from.

    If I had to pick a fault, it was sometimes hard working out who was double-crossing who, some of the dialogue was up to "Law and Order" fast snappy talking standard, but it mostly all makes sense towards the end.

    Three stand-out treats - 1. Jeanie Drynan (the mum from Muriel's Wedding) looking very trim & terrific, not at all like the side of a house.

    2. The Beaurepaires Tyre man playing a sadistic henchman. (He played a similar scary character in Mad Max).

    3. Lucky Grils being excellent light relief as a "Bluey" character.

    It was also interesting seeing a young Bryan Brown (un-imaginatively cast as "Brian" !) playing against (later) type ie having a lack of confidence and really feeling the pressure, almost the opposite of his roles in "Cocktail" and "Risk".

    So crack open a beer, send the wife out of the room, turn up the volume and enjoy this under-rated Aussie movie.
  • ashleyallinson8 February 2005
    As an armored car rolls over the iconic Sydney harbor bridge Bruce Beresford establishes the location for what is otherwise a non site-specific heist story that attempts to quell the omnipresence of urban malaise. Quickly paced cross cutting alludes to the monetary volume of the armored car's destination, a security firm owned by Lionel Darcy (Frank Wilson). Who doesn't want a piece of that action? Immediately, the viewer is oriented with the network involved in the movement of Australian currency and, subsequently, the number of hands the bills pass through. Laundering beckons. A screenplay loosely based on the 1972 work of Donald Minchin, Beresford blends the framework with a true crime story, credited in the opening sequence. The camera meanders through the blue-collar operation floor and driver's depot to settle behind the closed doors of the technocrats. After being shaken down by local crooked cop Sammy Rose (Alan Cassell), Lionel Darcy receives an anonymous tip from his object of a secretary, a warning that his firm is soon to be hit, worrying more than just the boss.

    Eric Jackson (Terence Donovon) his brother Brian (Brian Brown) and a mate (who could be mistaken as their father) Ed Gallagher (Ray Marshall) have been planning an inside job for almost five years. These Ockers aren't going allow some "poof" to rock up asking where his piece is? They have their own suspicions regarding the culprit, new employee Leo Bassett (Tony Bonner). The amateur sleuths plan to initiate the rookie as means to their own ends, a true mask for self-interest. Other than Beresford's introduction to operations and interest groups, there exists no further marring of public and private, each character riddled with the presence of corruption. Any further duality is developed through action, the result governing over whether he becomes victimized or acts as victimizer.

    The first "action" is a mob hit on a Darcy's armored car, fisticuffs ending in a shotgun blast so visceral, it alone warrants the 18+ rating. Was it the mob that sent the letter? When the press gets word of the heist, the ensuing public relations blunders solidify the ineptness of corporate crisis management, foreshadowing further assaults on the company. Local crime boss Jack Henderson (Charles 'Bud' Tingwell) obviously wants a piece of the action. The Ockers have spent so much time planning that they rebuilt a custom armored car for heist day. What about they new guy? The fraternity amongst interest groups ranges from professional to amateur, each camp knowing full well that "if someone was to rip the joint off if would be done from the inside."

    Beresford deconstruct the effects of money and subsequence on business, personal and family relations and presents it in a classic plot design that makes the stigma of the "who done it" malleable. Money Movers asks who's going to do it? "I remember that one," says Brian Brown. "I had done a couple of movies, and got to read the part for the cop, but knew I wasn't anything like him." Asking which part he preferred Brian told Bruce that he "...could play the brother, but I knew it had been cast. It had been cast." Two hours later Brian got his wish, cast as Brian Jackson, along side Terence Donovan, the brother to the leading role. "I was young, too much of a kid play the gritty cop, but the brother," remembers Brian, "I could do that."

    The official line on Money Movers has tended to focus the fraternity between male characters and "their" women; secondary objects who legitimize their function by getting coffee or being a lamb and leaving the room when business is on the table. It appears as if little within the genre, certainly in terms of gender relations, has been revised in the last twenty years. David Caesar recalls that like most heist or crime genre films, "...it's important not to pretend otherwise, it's a guys film. Money Movers is a good film, an underrated film that not enough Australian's have seen." The fraternity in Money Movers, the "boys club" mentality, has acted as a catalyst for many of the generic successes that are popular today.

    Watching Money Movers is only possible on VHS at this point. Its structure popularized the Australian crime film with undertones present in Hollywood films such as Michael Mann's Thief, 1981. Money Movers houses a subtext that most viewers can relate to, which is why a reprise warrants further research. Wouldn't it be nice to have all that money? How would my life be different...surely for the better? Bruce Beresford showed, with eloquence, how this idealism could backfire, without the cynicism often associated with the down and out, or the stereotypes of big business or organized crime. As such the film is an important landmark on Australian cinematic spectrum for, as Brian Brown concludes "it was a fun movie to do, and now that we are doing quite a few crime genre movies like Chopper and Dirty Deeds, it was really Money Movers that first put us into that sort of territory."

    Brian Brown and David Caesar interview by Ashley Allinson on September 11, 2002 in Toronto.

    Running Time: 94 minutes Video Release: July 2, 1991 Distributed by: Roadshow, Imperial Entertainment Corporation

    Cast: Terence Donovon: Eric Jackson Ed Devereaux: Dick Martin Tony Bonner: Leo Bassett Lucky Grills: Robert Conway Alan Cassell: Sammy Ross Frank Wilson: Lionel Darcy Candy Raymod: Mindel Seagers Bryan Brown: Brain Jackson

    Crew: Bruce Beresford: Director Matthew Carrol: Producer Donald McAlpine: Director of Photography David Copping: Art Editor William Anderson: Editor
  • This excellent Aussie crime flick centers on the workers at Darcy, a money courier service. Things get tense when an anonymous note arrives stating that their counting room - which sometimes houses as much as $20 million - is going to get hit soon and a cargo van is robbed the same day. This speeds up the plans of Darcy workers and brothers Eric (Terence Donovan) and Brian Jackson (Bryan Brown) as they have been planning to rob the place for 5 years. To make matters more complicated, Eric is senior security told to look into this matter and he tries to move the suspicion onto newcomer Leo Bassett (Tony Bonner), who has just gotten partnered with honest ex-cop and old timer Dick Martin (Ed Devereaux). To say any more would reveal too much.

    Where have you been all my life, MONEY MOVERS? I've never been a huge Bruce Beresford fan, knowing him mostly for BREAKER MORANT, DRIVING MISS DAISY and HER ALIBI (the latter two released the same year in a great example of cinematic diversity). So seeing this hard-hitting and violent crime flick from him was quite a shock. Not only is it quite different in subject, but this sucker moves thanks to some fantastic editing and a tight script (also by Beresford) with plenty of twists. Everyone in the cast is excellent with Devereaux being my favorite character as seemingly the world's last honest man. Definitely worth seeking out.
  • It's an amazing film. The casting is amazing - notably Ray Marshall, Bryan Brown and Tony Bonne The planning of an armored car heist, you never quite know who's going to do right or wrong, until the very end when the sides are truly drawn and it culminates in an unbelievably violent finale. This, along with a toe clipping torture scene earlier on, gives it the feel of Tarantino/Avary and their ilk, but a good ten years earlier. The tension as the movies gets closer and closer to the actually heist is insane. Why this movie isn't as lauded as Beresford's films before and after this one is a mystery.
  • goatsby1 November 1998
    One of the most under-rated Oz films of all time!, Brilliantly directed by Beresford it was superbly cast and scripted.

    Ray Marshall appeared in every scene with a cigarette, and lucky Grills appeared in his normal quota of beer drinking scenes. Not to mention the use of profanity which is normally associated in the workplace which gave the natural realism. Also the plot which assumed that OZ coppers are completely bent really added to the authenticity.

    And not to mention half the cast of Skippy the Bush Kangaroo being involved in a climatic shootout, BRILLIANT!!!!
  • Money Movers really shows what can happen when greed and temptation come together. The money movers of the title handle millions of dollars each day in armored vans completely ready for an outside attack. But what happens when the danger comes from the inside? The answer is everything: Murder, double-cross of thieves, rival gangs, intrigue, suspicion, and the list goes on. This movie is packed with testosterone and has all the action you could ask for. Bruce Beresford directed who would latter come to America and did the Oscar winner Driving Miss Daisy. Based on the book of the same title by Devon Minchin this movie boasts one of the best robberies ever filmed – climaxing in the bloodiest, fastest, hottest shootouts ever put to film. This movie is hard to find in the US but if you come across a copy watch it!
  • Warning: Spoilers
    First time i watched this move i was fifteen..., i found in money movers action, shootouts, angry people and violent scenes..., this movie concerns a guy called Jackson who works in a security company and wants to rob it..., he is helped by his brother(brown) and his friend, played by Ray Marshall; unfortunately for them, a local mafia gang discovers their intentions and wants to be in the mix..., the movie concerns some nowadays problems as violence, angry, unhappiness..., by the way i have to point the final scene, in which the violence level rises to the top: fist fights, chairs broken in a guys back..., there is a guy called geronimo who exhibits a crude brutality in his actions..., this actor, although secondary cast offers a high range performing..., only you have to see how he uses his gun and his fist..., if antibody knows something about him, send me a pd here in IMDb..., his name is rick hart i give it nine star from ten
  • In between wowing international audiences with 'The Getting of Wisdom' (1977) and 'Breaker Morant' (1980) Bruce Beresford shot this raw, extremely violent little crime drama with a high body count shot mainly in Adeleide. At the time it swiftly vanished without recovering even it's tiny budget, but deserves to be much better known.

    It has a much bloodier climax than 'Reservoir Dogs' and laced with that dry humour one associates with even the grimmest Australian movie; as when crime boss Bud Tingwell wearily tells a henchman to "bring in the nail clippers" when simple persuasion isn't working.

    (When I originally saw it I loved the music. So I should. It turned out to be the Adagio movement from Bartok's Music for Strings, Percussion and Celesta.)
  • A solid old Australian crime caper movie.

    The plot keeps moving along and keeps you guessing as to how its going to play out. The acting and cinematography are decent and workmanlike but characteristic of the 1970s, which I personally enjoy for the period feel. I am very fond of good movies (and sometimes not so very good movies) from the 1970s, probably because they are what I grew up with. You may recognize a few actors (in particular, Bryan Brown) from before they became well- known.

    In short, this is an entertaining film from back when a reasonable plot was pretty much taken for granted, as opposed to today when the shakiness of many plots is obfuscated with remarkable special effects. If you are into this kind of movie, I think it might be worthwhile to give this old one a try, since, while admittedly not a classic, it is still quite good.
  • Here's one solid action crime pic, that does Adelaide proud, brilliantly cast, with so many lovable Aussie actors, two of them from Skippy, Armaguard drivers who side together, to go up against some bad apples in the company. Actually there's a few, as well as a few outside influences too, some of them ruthlessly violent and manipulative. The whole engrossing affair, that involves Armaguard employee brothers, Brown and Donovan showing raw acting style, planning a brilliant robbery, building a replica van and all, is thwarted, when outside influences, led by Charles Bud Tingwell, hear of it. Fatally defying the big guys, Donavan pays for it big, resulting in that notorious toe cutting scene, with a big oaf torturer, more than happy to do it. Very researched and solidly structured as a brick wall, the movie never dulls. It just keeps on moving. So caught up in it, you forget where the 101 minutes went. Although filmed in Sydney also, Adelaide'ns will recognize numerous locations, like Rolley Park, West Terrace cemetery, and Port Road, opposite Bonython Park, where on instinct, two mentioned Armaguard guys, foil a break in, by showing some Dirty Harry tactics. Devereux and Bonner were great to watch here, Bonner a favourite Oz actor of mine, who I still remember clearly, buying it big, in a fatal episode of Cop Shop. There's a little guilty humour too, mostly on Tingwell's part as the untouchable honcho of the corrupt operation, where bent PI, a smooth natured Cassell, who I really liked in this, is the only one who walks away, untarnished. The Money Movers is very violent in parts, even for it's day, and it's great to the better half of Candy Raymond naked, who has her own reasons for getting nice and cosy with Bonner. Lucky Grills is fun too and must have one ditzy female employee. I mean, who doesn't know who Errol Flynn is. Slick crime Aussie pic, an always memorable classic oldie.
  • The story of an armored car robbery, apparently based on a true case. The acting is solid and the action, especially for a small budget film, is deftly handled, There are a number of good twists and turns along the way.

    On the other hand, there's a bit of a feeling something's missing, like a unifying theme or underlying ideas. Or even character development.

    Unlike (for example) Ben Affleck's recent The Town", this is a pretty simple film, just telling you an exciting story as solid B movie entertainment, and not aiming for much more. But there's certainly room for that alongside more 'thoughtful' or character orientated crime flicks.

    Well shot, well directed by a young Bruce Beresford, and worth seeing if you're a fan of the genre.
  • Theo Robertson18 November 2012
    Warning: Spoilers
    Before the late 1960s American film makers had to work in a tightly regulated system as to what they could portray on screen . The Motion Picture Production Code commonly known as " The Hayes Code " stopped film makers in America portraying sex and violence in cinema . It became more and more difficult to enforce as both cultural and social revolution was sweeping the world and with the coming of " The New Hollywood " in the late 1960s the production code was scrapped . This led to much more graphic films whilst retaining artistic imagination and perhaps no one personified this more than Sam Peckinpah the director of THE WILD BUNCH a film so radically different from other Westerns seen effectively destroyed the genre forever . It was round about the same time feminist social critics described war as " menstrual envy " and this theory of films geared towards men where the male protagonists graphically bleed to death gained credibility in metaphysical film criticism

    Regardless of your views of this provocative theory there's no doubt that MONEY MOVERS certainly ties in with line of thinking . Despite being an Australian movie Bruce Beresford seems to taken a blood soaked page out of the Peckinpah book of film making . Very few of the characters have morals or are in any way likable just like you'd get in a film by " Bloody Sam " . The violence is brutal and is summed up by the tagline : " The lucky ones only lost their toes " and this is a film that lives up to its tagline. The brutality is also far more matter of fact seen in a Tarantino or Scorsese picture

    It's a film that does play up to the Aussie stereotypes . Men drink beer all the time , are butch and believe that poetry is the sole preserve of " pooftas "but what makes this a memorable thriller is the heart stopping heist at the end with the type of graphic violence which is genuinely shocking . In some ways it's dated ( One of the gang wants to emigrate in Iran if the plan is successful !) and it's a film that is never shown on British TV but along with BREAKER MORANT another film directed by Beresford it's amongst the very best films to come out of Australia
  • Warning: Spoilers
    The heist film can typically be relied upon to deliver the goods and MONEY MOVERS is no exception. It's a little-known, little-seen and underrated Australian thriller starring Jason Donovan's dad and it certainly delivers the goods when it comes to realism. It's a tight, low budget film that sticks entirely to the important plot ingredients and moves along at a fair old clip, so demanding the viewer's attention throughout. There's an air of gritty realism that reminded me of the old hardboiled pulp crime so beloved of America in the 1940s and the true-to-life characters are both engaging and commendably human. The film is also surprisingly violent throughout, building to a breathtaking climax that really doesn't disappoint.
  • The opening credit sequences show an armoured van on Gladesville bridge in Sydney (not Sydney Harbour Bridge as an earlier review states), then at White Bay above the Rozelle freight yard with all its huge billboards, then Pyrmont Bridge (now a public walkway) very close to the heart of Sydney. The Cahill Expressway above Circular Quay Railway Station (which signage can clearly be seen) also appears in the opening minutes. However, the scene depicting the robbery of an armoured van by masked villains and the subsequent getaway was certainly shot in Adelaide. It is unclear why this film was made in two different cities 1200km apart.

    The basic story of an insider robbery of a counting house is fairly simple but the subplots get quite complex, and as someone indicated earlier it is sometimes hard to know who is double crossing whom. The director Beresford is obviously a student of film and appears to have gone to great lengths to give this film a tough "noir" edge. I think really he has over-compressed things a little too much. It is fairly short at barely 90 minutes and could have been fleshed out more in places. The final reel gets quite out of control, and its very difficult to discern which of the major players survive to the end of the film. To say the least, the film is extremely tough and violent, sort of like an Aussie cop show of the era with huge helpings of gore. I get the feeling from the "making of" that comes on the DVD, that Beresford might have played the final reel rather differently if he were remaking this film.

    Many of the lead actors here had achieved fame in Australian television. Ed Devereaux, Tony Bonner, Charles Tingwell, Lucky Grills, Candy Raymond and Frank Wilson were all well known to Australian audiences of the day. Alan Cassell plays a very similar smarmy character to that he later portrayed in The Club (1980). Candy Raymond was a stylish, attractive actress whose main drawback appears to have been a rather small bustline (the actress's own words in the accompanying interviews). It didn't stop her reprising her nude scenes from Dons Party (1976) in this film. Nonetheless, I feel she is underutilised here.

    The funeral procession scene shot in central Sydney involving numerous Datsun 120Y's and equally numerous armoured vans (all of them white), shot with a very long lens, presents a striking scene, which may have been a nod to the famous motorcycle funeral procession in Stone (1974), made four years earlier in the very same city.

    I believe Money Movers is some sort of slightly flawed but unique piece of art, not really held in high esteem by its director these days, and certainly not perfect, and extremely hard to find, but well worth tracking down.