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Film Review: Romper Stomper (1992)


Within the broad racial struggle that forms the film's main plot, the Neo-Nazi group strive equally as adamantly to identify their roles within the exiled family cluster. Hando, as the leader, has established the role of father figure and mentor within the group, while Davey (Daniel Pollock) can be seen as the son, and elder brother to the rest of the motley crew. Gabe's (Jacqueline McKenzie) arrival upsets the existing balance by creating a mother figure for the group.

This development is indicated both in her attempts to stop Hando from attacking a Vietnamese child, and her attempts to "clean up" the group by cooking and cleaning for them. Her acceptance by all, except for Hando whose power base is shifted, broadens the minds of the group and accelerates their willingness to integrate more comfortably into society.

Understandably, such a dramatic power shift calls themes of loyalty (both to each other and to "the cause") into question. Since the group's main strength springs from unity and collectivism (symbolised by their tenacious belief in Hitler's philosophy), any imbalance can upset the group's ability to function effectively. The intolerance that Hando felt towards Asians is, in many ways, mirrored in his relationship with Gabe as she, in this case, is the new import — exiled from society by an incestuous father and a violent boyfriend. As we expect, Gabe creates tension that forces Davey, an others, to question their blind loyalty to Hitler's cause and to Hando.

Stylistically, the film's turbulent themes are enhanced through the usage of equally unbalancing hand-held camera movements, jump cutting and unusual camera angles. This aspect of Wright's approach is largely naturalistic, seemingly allowing the audience to participate in the film's diegesis. The employment of point-of-view shots and expressionistic lighting not only frames the gritty, dark urban landscape, but also places an emphasis on the performances of the actors, which, by all accounts, are naturalistic and provoking.

Employing an incredible diversity of innovative stylistic elements, Wright has created a hyper-kinetic film that doesn't slow for a beat until the credits begin to roll. Drawing on genuine, social realist themes and supported by powerful performances, Romper Stomper blends potent drama seamlessly within the framework of an urban action film. In focusing upon a cross section of Australia's cultural spectrum that is rarely highlighted, Romper Stomper not only captivates its audience, drawing them into the realism that forms the film's mise-en-scene, but creates

The copyright of the article Film Review: Romper Stomper (1992) in Australian Cinema is owned by Joshua Smith. Permission to republish Film Review: Romper Stomper (1992) in print or online must be granted by the author in writing.

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