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Prime Mover
All hail David Caesar for flying the flag for iconic, entertaining, indie Aussie cinema which harks back to our late 70's/early 80's heyday. His follow up to 2002's Dirty Deeds is a love story about one man, his ‘girl’ and his wife. That his ‘girl’ is incumbent with 18 wheels of vulcanised rubber does nothing to diminish his affection for his mechanical mistress. Indeed it is the very source of his devotion, so it is appropriate then that the trucks are expressed as a euphemism for a woman's body, lovingly shot as a series of voluptuous feminine curves and chrome plated phalluses bathed in a gentle warm glow suggesting sexual allure and amorous desirability. The Dubbo landscapes of rural NSW is given similar reverential treatment.
Like Dirty Deeds before it, Caesar imbues Prime Mover with gaudy ockerisms, caricaturist depictions of organised crime and slight Luhrman-like stylistic flourishes to illustrate its similar ‘David and Goliath’ theme.
Emily Barclay and Michael Dorman (who starred together previously in Suburban Mayhem) have convincing chemistry born of innocence and earnest intentions and are the beating heart of the film. Ben Mendelsohn is less successful as the decidedly one-note villain of the piece.
While this love story of lorries is unlikely to clean up any awards ceremonies, its affection for its subject, loving depiction of its country and earnest central performances make it a satisfying, uniquely Australian experience.
Stuart Jamieson
www.primemovermovie.com
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