| Titolo
originale: |
Spotswood |
| Nazione: |
Australia |
| Anno: |
1991 |
| Genere: |
Commedia |
| Durata: |
97' |
| Regia: |
Mark Joffe |
| Sceneggiatura: |
Max Dann, Andrew Knight |
| Musiche: |
Ricky Fataar |
| Fotografia: |
Ellery Ryan |
| Montaggio: |
Nicholas Beauman |
| Scenografia: |
Hugh Bateup |
| Costumi: |
Tess Schofield |
| Cast: |
Russell Crowe
(Kim Barry) |
|
Anthony Hopkins (Errol
Wallace) |
|
Ben Mendelsohn (Carey) |
|
Alwyn Kurts (Mr. Ball) |
|
Bruno Lawrence (padre di
Carey) |
|
John Walton (Jerry Finn) |
|
Rebecca Rigg (Cheryl
Ball) |
|
Toni Collette (Wendy
Robinson) |
|
Angela Punch McGregor (Caroline
Wallace) |
|
Daniel Wyllie (Frank
Fletcher) |
| Produttori: |
Richerd Brennan, Timothy
White) |
| Produzione: |
AFFC; Autralian Film
Commission; Film Victoria; Meridian Films; Smiley Productions |
|
Spotswood
la trama
In Australia, a Spotswood, il proprietario di una fabbrica di scarpe
non piu' competitiva chiama il consulente Errol Wallace per tentare
di risollevare le sorti dell'azienda. Quando questo arriva nella fabbrica,
trova gli operai molto piu' interessati a chiacchierare di futilita' che a
produrre scarpe. Scopre che il proprietario della fabbrica, Mr. Ball, e'
riuscito a mantenere a galla l'azienda vendendo progressivamente tutte le
sue proprieta'. Wallace propone di razionalizzare la produzione
introducendo delle innovazioni nel processo di produzione, ma si scontra
con la resistenza degli operai. Quindi, come ultima risorsa, propone a Mr.
Ball il licenziamento di una parte del personale. Ma piu' tempo trascorre
a Spotswood, piu' l'efficientissimo Wallace diventa umano, e alla fine
riesce a salvare la fabbrica dalla bancarotta senza dover licenziare
nessuno degli operai.
|
| - da Murph:
Interview with Anthony Hopkins in Total Film (UK) February 2006
[...] One of the people I got to know years ago, which was a great
privilege, was Laurence Olivier. He seemed to be like a racing driver as
an actor. He was like a laser – that was his power. And the only actor I’ve
met since who had that same quality of laser-like determination is Russell
Crowe.
You worked with Crowe right at the start of his career on an Australian
film called Spotswood…
The first day I started working with him, I thought, “That guys got
it!” The best way to describe Russell is like a shark, he’s like a
shark circling around. You could see it in the way he was figuring things
out. Just before he became the big hit in LA Confidential, I was asked if
I would do a film interview about him. They asked me about him, and I said,
“Oh yeah, I could see it in him, he was different from the other guys.”
He was argumentative. He argued with the director all the time. And I said
to the director, “Listen to him, he’s got a point. He’s good – let
him do it!”
Did you see yourself as a younger man in Russell?
Yeah, I did. There’s a photograph of me here from 1970 (pulls out
photo). This young lady gave it to me and I looked at it and I thought,
“I was a bad boy then.” I thought, “God, this is an unhappy camper,
but… Boy! I’d take on anyone back then!”
I don’t know Russell that well, but I admire him and, you know,
whatever he’s got to do really. I really like him, because he’s ballsy,
he’s got guts; he’s macho and all the rest of it. He’s going through
his bad boy period, but he’s basically a nice guy. [...] |