The Best Movies You’ve Never Seen podcast – Malcolm

Best Movies You’ve Never Seen
Episode: Malcolm (1986)
Date: 11-09-2026
Hosts: Trevor Long & Stephen Fenech

[00:01:43] Trevor Long: Brace yourselves, folks. Welcome to The Best Movies You’ve Never Seen, a podcast about movies you really need to watch. And if you haven’t already seen them, you’ll be joining one of us. In this case, don’t adjust your sets. I’m Trevor Long, not your normal host. Normally I’m the one who hasn’t seen the movie, but this week I’m introducing my great mate Stephen Fenech to a movie that I remember seeing as a young kid and enjoying. Stephen, welcome.

[00:02:03] Trevor Long: Yes, it’s funny You okay? I’m on the other side of the fence here looking in. I’m very nervous.

[00:02:09] Stephen Fenech: I’m looking forward to this one.

[00:02:10] Trevor Long: It’s a lot of responsibility.

[00:02:12] Trevor Long: This week we’re watching Malcolm, a 1986 Australian movie filmed in Melbourne about a quirky young man with a fascination for trams and the skills to do much more. Now this movie was created by a husband and wife duo, written by David Parker and directed by his wife Nadia Tass.

[00:02:28] Stephen Fenech: Oh, they’re married?

[00:02:30] Trevor Long: They’re husband and wife? Which is probably quite a unique pairing, although in media In Hollywood, I guess there are a lot of power couples, Stephen. Wouldn’t be the first power couple in Hollywood. This movie was about a million dollar budget, received a little bit of funding from Channel 7 to get its like TV rights and then a little bit from Film Victoria. But the rest was funded by Tass and Parker mortgaging their house.

[00:02:49] Stephen Fenech: Wow, is that right?

[00:02:51] Trevor Long: Yeah, they actually used some really weird mortgage technique that was essentially designed for this kind of, you need funding to get stuff happening in the arts.

[00:02:57] Stephen Fenech: Back in yourself, back in your project.

[00:02:59] Trevor Long: I mean, it’s a lot, right? To put your house on the line essentially.

[00:03:02] Stephen Fenech: It’s a massive risk, yeah.

[00:03:02] Trevor Long: For a project.

[00:03:02] Stephen Fenech: Well, they obviously had strong belief in it.

[00:03:07] Trevor Long: So had you heard impressions before viewing? Had you heard of it? Had you seen it?

[00:03:10] Stephen Fenech: I’d heard it. I don’t think I’d seen it before, but I knew of it. Like the yellow car that splits in half, that’s sort of an image you mentioned, Malcolm. That’s the first thing I thought of. And I just knew that he was a real gadget tinkerer as well. That was kind of all I had.

[00:03:26] Trevor Long: Yeah, I’m calling this a hidden gem. I’m calling it right now, an Australian hidden gem. So Malcolm grossed $3.4 million at the Australian box office, which back in their back.

[00:03:37] Stephen Fenech: When was it?

[00:03:37] Trevor Long: For a million-dollar budget? Yeah, indicates the money back box office success because it’s 3 times its budget. Made a bit of money overseas, but it was released the same year as Crocodile Dundee. So it was like, hang on a minute, yeah, well, too much Australia.

[00:03:49] Stephen Fenech: Or after that?

[00:03:50] Trevor Long: Before? Oh, same year.

[00:03:51] Stephen Fenech: So I don’t know if it was after Crocodile Dundee, it might have, you know, the rising tide lifted all boats.

[00:03:55] Trevor Long: It might have been a bit too much Australia though.

[00:03:57] Stephen Fenech: Maybe before it was. Yeah, okay. And yeah, just interesting.

[00:04:00] Trevor Long: Now we mentioned last week in your million-dollar question, this won almost every category at the 1986 AFI Awards, now known as the Actors, winning a total of 8 accolades. Accolades: Best Film, Best Direction, Best Lead Actor, Best Supporting Actor, Best Supporting Actress, Original Screenplay, Editing, and Sound.

[00:04:19] Stephen Fenech: Swept it.

[00:04:20] Trevor Long: That is an absolute sweep.

[00:04:22] Stephen Fenech: Absolutely rinsed it out.

[00:04:23] Trevor Long: There wouldn’t be many that would get that, I would’ve thought.

[00:04:25] Stephen Fenech: No, not at all. Unless it’s like Crocodile Dundee or some other massive Aussie projects like Mad Max: Fury Road and things like that.

[00:04:34] Trevor Long: Now in terms of reviews, I’ve gone international on this one ’cause I thought, why not see what the vibe was? This one’s from the New York Times, Walter Goodman. He said, Malcolm is a likable, albeit a touch slow, and the same can be said of the new Australian comedy that bears his name. He says it’s about a young man who, as someone remarks, is not 100% there, but is a genius when it comes to trolley cars, trams, and anything else that moves. He goes on to say, into his solitary existence come a bank robber named Frank and Frank’s buxom and understanding girlfriend Judith. It takes a while for Malcolm and Frank to hit it off, as we’ll find out, But they do, and he goes on a little bit later to say, in her first feature production, director Nadia Tass is fortunate in her cast who play comfortably off one each other, working from a tidy screenplay by her husband David Parker, who also did the photography. That Miss Tass doesn’t achieve quite the pace of Malcolm’s getaway car, which splits in half upon command, etc. The best laughs, however, are set off by those gimmicky robberies. The next time you see an ashtray in shift position Duck. So basically, I think, and I think the rating was mid-range. So it was like a 2.5 out of 5.

[00:05:43] Stephen Fenech: I disagree with the slow. I thought it had a good pace.

[00:05:45] Trevor Long: I agree. I genuinely think that it had solid pace to it. And by the way, perfect timing for a movie. What are we talking, an hour and a half here, folks?

[00:05:52] Stephen Fenech: Yeah, exactly. Less than that. But, and I didn’t know. So in that, he sort of mentions the fact that David Parker directed it and shot it too. So he was probably the cinematographer as well.

[00:06:02] Trevor Long: Like, you know, it’s a million dollar budget is pretty good, but you know, they would, you would still be doing things on a shoestring.

[00:06:07] Trevor Long: Last Exit Before the Freeway. So if you haven’t seen Malcolm, we’re going to unpack a lot of it here. We’re going to split it in half, this movie. I just thought of that. Yeah, I’ll pay that. Um, and we’ll do it all thanks to our great mates at Fetch. Now Fetch is one of the great places where you can see many a movie. There’s over 11,000 movies in the Fetch movie store. And Stephen, I’ve been to the— I’m on their website right now, sorted by popularity right now at the time of recording. Uh, Minions and Monsters, that’s a, that’s a very new movie.

[00:06:34] Trevor Long: They get movies super early on. Have you noticed that?

[00:06:37] Stephen Fenech: Yeah.

[00:06:37] Trevor Long: Michael That Michael Jackson documentary featuring Ja’far Jackson.

[00:06:41] Trevor Long: Disclosure Day.

[00:06:42] Stephen Fenech: I saw that.

[00:06:43] Trevor Long: Spielberg.

[00:06:43] Stephen Fenech: Saw that in the cinema.

[00:06:44] Trevor Long: In the Grey, Tuna, The Death of Robin Hood. Yeah. Mortal Kombat 2. Scary Movie 2026. There’s a lot there. And The Gentleman Thief with John Travolta.

[00:06:53] Stephen Fenech: Yes.

[00:06:54] Trevor Long: Have we seen that?

[00:06:54] Stephen Fenech: I have.

[00:06:55] Trevor Long: Have you seen that?

[00:06:55] Stephen Fenech: No, I have not.

[00:06:56] Trevor Long: I don’t know.

[00:06:56] Stephen Fenech: I think that was a straight-to-video one, that one.

[00:06:58] Trevor Long: Yeah, it does. It doesn’t look like one that would have had a theatrical release. Movies are one of the great things you can get on Fetch, along with a range of other entertainment from your streaming shows, your streaming platforms, platforms all the way through to free-to-air TV. And you can buy Fetch at major retailers. You can check out all the details at fetchtv.com.au. Now, I mean, unpack it for me, Stephen, without going into full review. What did you think having me put you through a movie like this?

[00:07:26] Stephen Fenech: It was funny. I had to send you the hostage photo this time. And yeah, you were a bit uncomfortable with that. But no, I enjoyed it. I thought it was— the word that comes to mind is quirky. It’s a real quirky show. And Colin Friel, who we normally see him in bigger, bolder roles, really had a— it was really nicely understated how he was, how he played the part. And I’ve seen he’s in one of my favorite hidden gems too. He’s in Darkman. Liam Neeson.

[00:07:58] Trevor Long: Oh wow.

[00:07:58] Stephen Fenech: Yeah. Liam Neeson plays Darkman and he plays the bad guy in it.

[00:08:02] Trevor Long: And we’ll do—

[00:08:03] Stephen Fenech: we’re going to do that on the show once it’s on some platform that we can watch.

[00:08:06] Stephen Fenech: But no, no, I enjoyed it. I thought it was a real Australian Tina as well. Yes, it was—

[00:08:12] Trevor Long: it is a flashback to the past.

[00:08:13] Stephen Fenech: It was unashamedly Australian. They didn’t try to America— America-fy it or Hollywood-ise it. Uh, yeah, I, I thought it was a great Aussie— a great Aussie production.

[00:08:23] Trevor Long: How would you share this on social media?

[00:08:25] Stephen Fenech: Malcolm was Rain Man years before Dustin Hoffman inhabited the role. It’s a delightful Australian film with equal parts charm, slapstick, and criminal intrigue. 90 minutes well spent.

[00:08:38] Trevor Long: Yeah, that’s, that’s, that’s a good, that’s a good way of putting it actually. It is not— I didn’t— I mean, obviously I’m bringing this movie to you, so you would think I would enjoy it, but I didn’t feel at all chored by this, you know. This is, mate, this is a lovely fun watch with a family too, by the way.

[00:08:51] Stephen Fenech: Oh, there’s one scene where you probably cover your eyes, you know, the, uh, what’s his name, uh, was it the, these border having a crack?

[00:08:59] Trevor Long: But, uh, apart from that, it’s good, it’s tame. Fun family in movie terms, it’s tame. Yeah, that’s true. Um, I, I don’t remember where I saw this, but here’s the weird thing I have this great memory of my mum winning tickets on the radio to see this. And again, I remember my mum like getting dressed up to, it must have been to the premiere because I remember my mum getting dressed up to go and see it anyway.

[00:09:20] Stephen Fenech: In ’86, how old were you?

[00:09:21] Trevor Long: Would have been on, yeah, would have been 10. And we would have been on Baz and Pilko on 2WS in Sydney that she won the tickets. But anyway, I have a weird memory of that. And I remember seeing it. I remember the car splitting in half. I remember the gadgets. I remember the remote control cars. And I just remember smiling and enjoying this movie. It’s a weird thing that when, if I hear the term Malcolm in a movie since, I’m just, I smile. I think it’s, yeah, do you know what I mean?

[00:09:42] Stephen Fenech: Exactly right. Now it’s a really, really fun, lighthearted film. It’s good.

[00:09:45] Trevor Long: Yeah. And it is a strong, charming movie. It’s a strong cast. Colin Freels as Malcolm. Before this, he’d done a few things, but he was also a presenter on Play School before this as well. So, you know, pretty, pretty well known.

[00:09:56] Stephen Fenech: I gave you one of his— Darkman was one of his big— that’s Hollywood role.

[00:10:01] Trevor Long: Yes.

[00:10:01] Stephen Fenech: He’s Aussie actor, but this is a Hollywood picture.

[00:10:04] Trevor Long: Yeah. And he’s gone on to do a lot, done a lot of— if you look at his repertoire, it’s split between TV and movie and a lot of theater.

[00:10:11] Stephen Fenech: Yes. Yeah.

[00:10:12] Trevor Long: So he’s a true thespian. I think he’s a true lover of the art.

[00:10:15] Stephen Fenech: Was it— what was the big TV show he was in? Was it Water Rats?

[00:10:19] Trevor Long: Yes.

[00:10:19] Stephen Fenech: Yeah. Yeah. That’s where I remember him too.

[00:10:21] Trevor Long: Yeah. And this was his first AFI award as well. Yeah.

[00:10:24] Stephen Fenech: Wow.

[00:10:25] Trevor Long: Bud Tingwell. Charles Bud Tingwell was the tram depot supervisor from Break ‘Em Around to The Castle. An absolute legend of Aussie film.

[00:10:31] Stephen Fenech: Immediately recognized him.

[00:10:33] Trevor Long: John Hargraves. And I remember Bud Tingwell because I was a Late Show DJ and fan and they used him a lot. Rob Sitchin and Tom Gleiser and the team would use Charles Budting a lot. That’s right, the one who was in The Castle. Exactly.

[00:10:42] Stephen Fenech: Yeah, that’s right.

[00:10:43] Trevor Long: John Hargraves is Frank Barber. He was in Don’s Party.

[00:10:46] Stephen Fenech: Yes, I remember that.

[00:10:47] Trevor Long: The Removalist. I’ve seen that. And played Nicole Kidman’s love interest in Emerald City in 1988.

[00:10:52] Stephen Fenech: Oh, there you go. Yeah.

[00:10:53] Trevor Long: He passed away in 1994.

[00:10:54] Stephen Fenech: Did he really?

[00:10:55] Trevor Long: Yeah. HIV.

[00:10:56] Stephen Fenech: You’re kidding.

[00:10:57] Trevor Long: So very sad. Lindy Davies is Judith.

[00:11:00] Stephen Fenech: Yes.

[00:11:00] Trevor Long: Who’s actually far more notable behind the scenes as a performance coach and theatre director.

[00:11:04] Trevor Long: Didn’t really go on to anything massive from this role. I thought she was Unbelievable in this.

[00:11:09] Stephen Fenech: It’s great.

[00:11:10] Trevor Long: So let’s unpack this movie scene by scene. Uh, before we do that, let’s, uh, let’s talk about our great mates at Hisense.

[00:11:17] Stephen Fenech: Yeah, Hisense. If you’re looking for a new TV, give Hisense a go because they’ve just got their new range of mini LED TVs— uh, sorry, RGB mini LED TVs. RGB being the new backlight technology, so real— really brings the picture to life. Color quality, color volume, brightness, it’s all there. And being RGB, all of these cells are individually controlled. So the luminance is there, the brightness of the color, the boldness of the color. You will see the difference to— in, in whatever you’re watching. It’s got up to 8,000 nits of peak brightness. So even in the brightest viewing conditions here in Australia, you can enjoy them. But also too, they have fantastic— if you’re a gamer, they do have the 144Hz gaming as well. And if you love watching sport, of course they have terrific motion smoothing as well. So whether you are watching action movies or sport, the experience is excellent. And, and audio too, straight out of the box you’re getting 4.1.2 surround sound, no soundbar required. And that’s what I like about these TVs— out of the box they’re going to look great and sound great at the same time. And yes, of course, they’re available— the, the RGB Mini LED TVs are available in sizes up to 115 inches, and good luck to you if you can afford that one. But they do have sizes from 65 inches and above for for you to enjoy. We know we love a big TV, but check it out if you do want to give it a try. Stand in front of a Hisense TV at your local store or check them out at their website, hisense.com.au.

[00:12:51] Trevor Long: All right, Malcolm opens with a bit of a montage where we kind of, we see Malcolm, we get a sense of who he is. He’s visibly different, socially withdrawn, and he’s working at, I think any Australian could immediately identify this as Melbourne. It’s tram sheds, unmistakably Melbourne, and his boss is the legendary Charles Bud Tingwell. But then slowly this music kicks in and I love, I love I love this music, honestly. It just, it hits me every time I hear it. I love it. It takes me back to this movie. If I heard this, we played this music on SBS Chill when we created that radio station years ago and I’m going, oh my God, this, I love this. Anyway, so it opens this piece.

[00:13:26] Stephen Fenech: Was this created for this film?

[00:13:27] Trevor Long: It was. I have something on that a little later, but it was essentially, it’s a Penguin Cafe Orchestra, but I’ve got the name of the song a little later, but the music slowly kicks in And from the darkness, because obviously everyone’s knocked off, it’s nighttime. The door of the tram shed opens and a one-man tram appears. And it’s just, mate, this music, don’t you think it just, it’s just perfect for this scene?

[00:13:52] Stephen Fenech: Pure joy.

[00:13:53] Trevor Long: He’s loving this one-man tram because this little tram comes out and it’s this one-man tram. It looks insane.

[00:13:59] Stephen Fenech: And that’s actually Colin Freels on it, aren’t it?

[00:14:00] Trevor Long: It’s 100% him. I’ll tell you about the tram later. It was made for the movie, obviously. It sits in the National Film and Sound Archive now, but it’s Malcolm driving. And what I love about it is he’s all smiles. Like, it’s just joy from Malcolm. He’s, he’s got big smiles.

[00:14:14] Stephen Fenech: He loves trams.

[00:14:15] Trevor Long: He pulls out of the depot, goes through the streets of Melbourne. Pure joy. Nothing but joy from him. And that, that kind of sets the scene, I think, for who Malcolm is. You know, you get this sense of him from work, but then you get this. This is the first time you realize he’s a tinkerer. He’s loved this concept of building this little thing that he’s created, this one-man tram running around the bloody streets of Melbourne, which would have been insane to see. But unfortunately, reality bites. The next day his boss has found out and he hears about it.

[00:14:46] Stephen Fenech: They’re laughing at me out there, do you know that?

[00:14:50] Movie Audio — Malcolm’s boss discovers the tram he built with department parts and fires him on the spot; Malcolm’s only concern is whether he can keep the tram.

[00:15:32] Trevor Long: Scripted beautifully. Now my notes here, yep, are going to be called tram stops. Ah, that’s, that’s all right, isn’t it? So, uh, more on the Mole Tram. The Mole Tram that Malcolm built ran on a motorbike engine, so it obviously wasn’t actually electrified, right? And the rest was put together by spare parts by workers at the Preston Workshops in Melbourne.

[00:15:49] Stephen Fenech: Wow.

[00:15:49] Trevor Long: Um, and after the film was completed, it was donated to the Tramway Museum Society of Victoria.

[00:15:54] Stephen Fenech: So I’m assuming the, the one at the start is the same one as the one at the end?

[00:15:57] Trevor Long: I would suggest it’s the exact same. They’re different, they just put that facade on it. Yes. What’s What’s a rear facade called?

[00:16:03] Stephen Fenech: I don’t know.

[00:16:04] Trevor Long: Facade is really a front-facing thing, isn’t it?

[00:16:06] Stephen Fenech: No, a facade is just an exterior.

[00:16:08] Trevor Long: Okay, so we can call the back of a tram a facade? Yes, you can. So look, it’s a sad moment, obviously. Yeah, yeah. I felt sorry for him here.

[00:16:16] Stephen Fenech: He was sort of meek and mild and Bud was unloading on him, his boss. But yeah, I did feel for him.

[00:16:22] Trevor Long: But you start to see more of his eccentricity here because he’s now walking home in the middle of the day and he’s walking home, he’s on his street and there’s, I think dog’s on the path and he crosses the road at like 90 degrees.

[00:16:34] Stephen Fenech: Yeah.

[00:16:34] Trevor Long: And walks up the next path, but then there’s people playing.

[00:16:37] Stephen Fenech: Yeah.

[00:16:37] Trevor Long: So he crosses the road again at 90 degrees.

[00:16:39] Stephen Fenech: So he’s not very social.

[00:16:40] Trevor Long: He’s a bit, uh, socially awkward would be a reasonable description. But yeah, at his home we see he loves a contraption. Yeah, he’s got a motorized zipline for his cocky Arnold.

[00:16:51] Stephen Fenech: How smart. Well, rather than leaving him down on the grass, you get him up in the trees.

[00:16:55] Trevor Long: Tram stop here. Yeah. Rider David Parker Yeah, had never written a script before Malcolm.

[00:17:00] Trevor Long: He also helped construct many of the film’s gadgets. So maybe he was a little tinkerer.

[00:17:05] Stephen Fenech: He was, uh, yeah, he was Malcolm, uh, the inspiration behind the character.

[00:17:09] Trevor Long: I will get to that later. So around the kitchen are a lot of trams. Don’t call them trains, they’re trams.

[00:17:15] Stephen Fenech: Yeah, really nice models.

[00:17:17] Trevor Long: Like, the one thing I haven’t dug up is like who built them all, and like there’s, there’s a fascination with that.

[00:17:23] Stephen Fenech: See what they’re made of too when, uh, our old mate a little later on.

[00:17:26] Trevor Long: Yes.

[00:17:27] Trevor Long: Malcolm’s in there tinkering with he doesn’t really care that he’s lost his job at this point. It just seems that he’s happy at home tinkering.

[00:17:33] Stephen Fenech: But he is unemployed now.

[00:17:34] Trevor Long: He’s unemployed. He puts Arnold the Cocky on a loop cage that goes around. So it’s a little train set of its own. You think, why do you need to put a cocky on a loop? He’s in a cage, for crying out loud. He’s in a cage.

[00:17:46] Trevor Long: Clip his wings and let him walk around. But at his heart, he’s a big kid in his soul and his heart, which I think is lovely.

[00:17:52] Stephen Fenech: I agree.

[00:17:53] Trevor Long: But then he pulls out a remote control car with a, like, a basket on top.

[00:17:57] Stephen Fenech: Yeah.

[00:17:57] Trevor Long: And he drives it up the street into the milk bar.

[00:18:00] Stephen Fenech: Yeah.

[00:18:01] Trevor Long: And he comes back with a note and there’s no milk, which isn’t really what he wanted.

[00:18:06] Movie Audio — the milk bar owner, Mrs T, cuts off Malcolm’s credit now that he’s unemployed and suggests he take in a boarder.

[00:18:53] Trevor Long: Yeah. It’s again, it’s the same response as he had to getting fired. Can I keep my tram?

[00:18:57] Stephen Fenech: Can I keep my tram?

[00:18:57] Trevor Long: So I think her name in the show is Mrs. T. So she’s obviously a lovely, caring local milk bar owner.

[00:19:03] Stephen Fenech: A little bit of exposition there.

[00:19:04] Trevor Long: Obviously his mum’s passed away and he’s— So I think weirdly I automatically assumed that therefore he owned the house now ’cause his mum owned the house ’cause there was no rent ’cause $120 wouldn’t go far for rent, right? So there wasn’t, there was a sense of urgency, he needs money, but it wasn’t like he needs money to stay in the house. It was more to stay alive.

[00:19:22] Stephen Fenech: But instantly, you know, she suggests, Suggested we take in a boarder.

[00:19:25] Trevor Long: So here we meet Frank. He’s a rough fellow. He’s got a paper in his hand, cigarette in the mouth, and he’s down the street and he knocks straight on the door for the room. But I love the fact that he kind of— and he puts out the cigarette. He’s kind of, you know, doesn’t quite know how to react or whatever.

[00:19:38] Stephen Fenech: Well, that’s the photo I sent you when Malcolm sticks his head out of the door.

[00:19:41] Trevor Long: Malcolm shuts it again. He sticks his head out of the door, shuts it because he’s— because the bloke says, I’m here for the room. And he pulls out the questionnaire which Mrs. T has helped him with. And this is how Malcolm delivers a questionnaire.

[00:19:53] Movie Audio — Malcolm interrogates Frank with a landlord questionnaire (references, tidiness, cooking) before Frank’s even seen the room.

[00:20:19] Trevor Long: It’s just such a lovely thing. She’s helped him with the questionnaire, but she hasn’t told him how to do a questionnaire. Yeah, that’s right. So we’re learning a little bit more about Malcolm every single moment of the thing. But he’s— Frank’s there and Malcolm’s obviously putting on dinner because they’re sitting at this little— it’s such a traditional Aussie dining table from the ’80s, isn’t it? It’s just a tiny dining table.

[00:20:38] Stephen Fenech: Teacup. I used to have— we used to have them at our—

[00:20:40] Trevor Long: those chairs. I think any Aussie could relate to that room, whether it’s their home or their grandparents’. We all have been in that little dining room kitchen. And he’s making dinner. He sat down, he’s got like toast there, but dinner’s in the oven. Yes.

[00:20:52] Stephen Fenech: And he’s got his bread now. He’s got buttered bread and he’s got all the placemats.

[00:20:56] Trevor Long: And Mrs. T’s poking through the window trying to point at him to get the dinner out, but Frank at one point like cops a glance of Mrs. T and he’s like thinking, what’s going on here? So he packs up and goes to the pub for dinner, which Frank’s now— sorry, Malcolm’s now like, what the hell just happened? I’m just here with dinner. What are you doing? He just eats it anyway, you know, does his own thing. But this time Frank comes home. Frank’s, you know, a roughabout. He’s just gone to the pub. He brings home a lady. Yeah, there’s no— there was no rules in the questionnaire about that, were there?

[00:21:24] Stephen Fenech: No. Well, early on I’m thinking I’m thinking, did he just do his best to pick up a woman at the pub? Or I think he knew her. I think he met her and had a relationship with her.

[00:21:33] Trevor Long: Maybe.

[00:21:33] Stephen Fenech: That’s the feeling I had, that he knew her before that.

[00:21:36] Trevor Long: To be honest, that’s a good point. I didn’t think about whether or not he had a previous relationship.

[00:21:41] Stephen Fenech: Yeah, they seem to already know each other.

[00:21:43] Trevor Long: To be honest, it could have gone either way, don’t you reckon? It’s only in the next little scene where we kind of realize maybe they do.

[00:21:48] Stephen Fenech: She knows a lot about him and he’s sort of very maternal.

[00:21:51] Trevor Long: But, you know, she and Frank enjoy a night together and she stays the night. Malcolm’s out having breakfast and tinkering with his trams.

[00:21:58] Stephen Fenech: I do like how Malcolm sort of reacts to her. She’s pretty scantily clad.

[00:22:03] Trevor Long: Yeah, throughout the movie he’s—

[00:22:04] Stephen Fenech: And Malcolm’s sort of putting his head down real shy about her.

[00:22:06] Trevor Long: He’s shy and reserved about her generally. But what I love about meeting Judith, meeting Malcolm, is just her initial way of interacting with him and what we kind of learn about her from this.

[00:22:17] Movie Audio — Judith introduces herself to Malcolm, who explains it’s his late mother’s house and points out his trams (not “trains”).

[00:22:50] Trevor Long: Don’t call them tramps.

[00:22:51] Stephen Fenech: Don’t call them tramps.

[00:22:52] Trevor Long: It’s a good little bit here where, so we, you know, she’s lovely.

[00:22:56] Stephen Fenech: Yeah.

[00:22:56] Trevor Long: Because that instant she can tell from him talking straight away that he’s, you know, a special person. So she’s lovely and warm to him. But Frank comes out at one point and, you know, they’re saying g’day and everything. And she’s like, oh, I’d like to stay here. So she pitches to stay here as well. And rather than Malcolm, like any other person, be like, hang on a minute, who’s going to split the chores and the bills? Malcolm’s He’s like, okay, I’ll get the questionnaire again. He just gets the question board out and starts asking her the questions.

[00:23:21] Trevor Long: Which is fun.

[00:23:21] Stephen Fenech: We again learn more about, like, he remembers, like, he’s sort of the Rain Man-esque memory. He remembers the date his mum died. Yeah. That he fills us in with that as well.

[00:23:31] Trevor Long: Yeah. But it’s also that deadpan, you know, unemotional style, which, by the way, Colin Friel’s nuts.

[00:23:38] Stephen Fenech: Like autism.

[00:23:40] Stephen Fenech: Solid autism.

[00:23:40] Trevor Long: Yes. And we’ll get to what potentially It is that we’re dealing with here based on the writing and who it’s based on. So from here we kind of learn, we start to learn who Frank is. Like we learn a little bit more about him. The bloke’s clearly not a stockbroker is how I summed it up. He’s hanging around with some random bloke at a bar. And I think even the lady at the bar is kind of saying, Frank, don’t, what are you hanging around with him for? Like without going into what we already will find out about Frank, the lady at the bar knows who Frank is. And she’s saying to him, Mate, where you’ve just come from, don’t hang around with that bloke. But he does. And they go to a warehouse to rob a joint at night. They got a little van, they get the door open, it’s all happening. But it’s the—

[00:24:20] Trevor Long: it’s just a well-written, fun little scene because the door’s stuck. They can’t get the bloody door down. They’re trying to load the van with stolen goods and the cops turn up.

[00:24:29] Stephen Fenech: Cops arrive. They got— I love the boxes too, though. All big old VCRs.

[00:24:32] Trevor Long: Big old JVC TVs or VCRs or whatever they were.

[00:24:36] Stephen Fenech: The little big, big—

[00:24:37] Trevor Long: which at the time would have been unbelievably valuable items, right?

[00:24:40] Stephen Fenech: The IKEA.

[00:24:40] Trevor Long: So the cops Cops turn up, they drive into the warehouse, and Frank’s off-sider in this case finds a forklift, lifts the police car up, so the two cops are in the car on the radio going, “We’re gonna need help here,” and then they’re stuck because Frank and the old bloke drive off.

[00:24:55] Stephen Fenech: That was the first example of sort of the really clever situations they came up with. We see more later. That was smart.

[00:25:02] Trevor Long: So Frank brings home a bunch of the stolen goods, he’s loading them into the house, and Malcolm sees them. But rather than any average landlord going, “Mate, what are you doing here? What’s this stuff?” Frank’s like, “Can I have the cardboard?” Which I think is where we first realized he uses cardboard to build the trams.

[00:25:15] Stephen Fenech: I think they’re made of cardboard too, and he paints them.

[00:25:18] Trevor Long: Yep. Paints them, builds them, cuts them. Do you remember? Did you do that as a kid?

[00:25:21] Trevor Long: I’d take any cardboard I could.

[00:25:22] Stephen Fenech: Any big box.

[00:25:23] Trevor Long: Mate, you know what? Last week Harry took a TV box and built a Formula 1 shell out of it. Like he’s built a Formula 1 car out of a big cardboard box. It’s what we do as kids, right?

[00:25:32] Stephen Fenech: But then— I love how he gets his mail.

[00:25:34] Trevor Long: Yes, the mailman comes.

[00:25:35] Stephen Fenech: The mailbox comes to the— with him. Yeah, so the posties put the letters in it and then—

[00:25:40] Trevor Long: The mailbox is a meter from the front door, by the way. A meter from the front door.

[00:25:44] Stephen Fenech: He puts it on rails and it comes in through the front window.

[00:25:46] Trevor Long: Opens the window, pushes a button.

[00:25:48] Stephen Fenech: Smart, mate. See, these are smart products before we even thought about smart products.

[00:25:50] Trevor Long: Mate, if I didn’t have a wife, that’s how my mailbox would be. No question at all.

[00:25:55] Stephen Fenech: So Trevor Malcolm Hughes.

[00:25:57] Trevor Long: But because he’s collected the mail, so there’s letters in there and one of them is for Frank. And we see, if you freeze it, this is probably the only thing I can think of for the pause button, to be honest. But anyway, if you freeze it, it says from the Department of Corrections. So Malcolm just hands it on. Malcolm just hands on the letter. But because Frank gets the letter from Malcolm, he’s freaking out that Malcolm now knows he’s an ex-Crim, and he kind of loses his mind worried that it was all going to come to an end.

[00:26:25] Movie Audio — Frank and Judith argue over what to do now Malcolm knows Frank’s an ex-con; Malcolm bursts in only wanting reassurance Frank isn’t leaving.

[00:27:17] Trevor Long: That’s all Malcolm’s worried about. He needs the $35 a week, or $70 a week now from two of them. Like, he’s, he’s hit the jackpot, this kid.

[00:27:23] Stephen Fenech: Yeah, I know, he’s, he’s fine.

[00:27:25] Trevor Long: He’s happy. He’s got $70 a week from two boarders.

[00:27:27] Stephen Fenech: Solid overreaction from Frank rank there. Yeah, but see, that’s— that little chat between him and, uh, what’s the woman’s name? Judith. That to me again says that they definitely know each other. They’ve got a history.

[00:27:37] Trevor Long: That’s where— this is where you start to realize they’ve got a longer history. She’s not just a one-night stand. True. Yes. Um, and she’s also the brains of the operation. Like, she’s the one that keeps him on— well, not correctly on the straight and narrow, but on the level. Um, but anyway, now we see— because again, Malcolm doesn’t have a job, so he’s out in the back shed, he’s tinkering with an angle grinder, a welder. He’s clearly got some skills, especially given his cardboard train set, you know. By the way, the trains just constantly run. Trams are just constantly running in this movie. So good. You can hear in the background of those grabs, it’s just always there. And now while he’s tinkering out the back, Judith and Frank have an argument. And this is one of the only times anyone uses a derogatory term about Malcolm. You know, because you’ve got to remember, if we rewind into the ’80s, we, even as a 10-year-old, I probably would have been aware of the words that were used to describe someone like Malcolm.

[00:28:25] Trevor Long: And this is the only time in the movie where you really get that sense of derogatory term around Malcolm, but they’re having an argument about it.

[00:28:43] Movie Audio — Frank and Judith argue about Malcolm; Frank calls him a moron, Judith fires back that Frank is the moron.

[00:29:21] Trevor Long: It’s a lovely little thing. It’s like they’re having an argument, Malcolm’s doing his thing, but he heard that. And the reason I like that, and I’d actually, it’d be a weird thing, but this is the pure moment of this movie I’d love to talk to the writers about is like that to me says that Malcolm reacts to that word ’cause he’s probably been called that all his life.

[00:29:40] Trevor Long: So he’s grown up with whatever his affliction is. He’s grown up that way and all through school and at the tram yards, people have just called him a moron. So that triggers him in a negative way. And so he’s heard that, but then he does pretty much just get back to it. He doesn’t hear any more yelling, so he gets back to his grinding. But what I liked was Frank and Judith had this argument. So Frank’s sitting at the back like, “Oh, bloody hell, I’ve upset the missus again.” So he’s sitting at the back, I think just having a cigarette. And Malcolm comes out and just sits next to him.

[00:30:10] Stephen Fenech: That was nice.

[00:30:12] Trevor Long: There’s no scene here, there’s no nothing. It’s like Malcolm and Frank have come together in some way, or Malcolm’s using this as some way of, you know, helping him or consoling him.

[00:30:23] Stephen Fenech: Well, it’s part of Malcolm’s character is that he’s not, he doesn’t judge people.

[00:30:28] Stephen Fenech: Like he knows he’s been to jail, he doesn’t care. And Judith, she doesn’t know where she came from, but he’s accepted her. So I think that that’s kind of the upside of his condition or personality is that he just accepts people for who they are.

[00:30:40] Trevor Long: He’s leading a simple life. Yeah, he’s just looking at people on essentially face value. So Frank and Malcolm now go and visit Judith at her cafe. Where she works. But Frank has a bloody fight with some blokes because they were chatting up and they were grabbing her and everything.

[00:30:53] Stephen Fenech: You know what I’m thinking? I could see what’s coming here.

[00:30:56] Trevor Long: Yes, you can. You can see it from the moment before they even walk in. You can see what’s going to happen.

[00:31:00] Stephen Fenech: Yeah.

[00:31:00] Trevor Long: And it’s a kind of different difference of responses because Judith is upset because she’s like, I could have handled that. Yeah. Frank’s like, what do you think I’m going to do? She’s been sacked.

[00:31:11] Stephen Fenech: Yeah.

[00:31:12] Trevor Long: But it’s kind of fascinating because essentially Malcolm sees it all rather differently.

[00:31:16] Movie Audio — Frank and Judith argue after the cafe incident, trading insults over who could have handled it.

[00:31:52] Stephen Fenech: But again, fresh eyes, new perspective.

[00:31:56] Trevor Long: They’re like, okay, it was funny.

[00:31:58] Stephen Fenech: When you think about it, it was funny.

[00:32:00] Trevor Long: It was pretty funny to watch this guy. And that was Malcolm. Malcolm didn’t see a bloke defending his missus. He didn’t see a bloke potentially sexually abusing a woman either. He didn’t see any of that. He just saw a bloke dive over and another guy nearly fall over and thought it was hilarious. That’s funny. Which is very, very nice. But Malcolm continues tinkering. Yeah, but this time, this time he’s like, hey Frank, I’ve got something to show you. And he invites Frank out into the shed to show him this little yellow car.

[00:32:25] Movie Audio — Malcolm reveals the little yellow car to Frank and tells him it’s a getaway car, “like on TV.”

[00:32:57] Trevor Long: It’s a getaway car because obviously Frank knows Malcolm knows he’s a criminal.

[00:33:02] Stephen Fenech: Yeah.

[00:33:03] Trevor Long: But Malcolm is seeing the world through the eyes of television. Like he’s watched a lot of movies and TV shows. So he knows a criminal needs a getaway car. So he’s built a getaway car for his mate Frank. Like they’re essentially mates now. That’s what’s happened.

[00:33:15] Stephen Fenech: They’ve bonded.

[00:33:16] Trevor Long: And this is pretty much, you know, aside from the final heist, this is one of the most iconic scenes because it really sits with people who’ve seen the movie. It’s also the poster for the movie. The poster. I know what the poster was like for you. Was it just a cartoony?

[00:33:27] Stephen Fenech: The poster was a cartoon with Malcolm in one half of the car and Frank in the other half.

[00:33:32] Trevor Long: Yeah. So a fun scene. They go out for a drive. They’re just driving along normally in this little car. It’s a tiny little car. I’ll tell you more about in a sec, but At one point there are a set of lights or something and Frank looks out the window and sees a lady drop a money bag and cash just goes everywhere. So Frank jumps out and grabs some, gets in the car and says, “Let’s drive.” And so they’re off, but the police are in pursuit. And then Malcolm says, “Open the glove box.” He’s like, “Mate, what do you want me to do?” And he opens the glove box, out comes a pair of handles. Malcolm pulls a lever, the car splits in half and off they go.

[00:34:03] Stephen Fenech: But that is, that’s the iconic part of the movie, hey?

[00:34:07] Trevor Long: It’d be one of the most iconic scenes shot in Melbourne, wouldn’t it?

[00:34:09] Stephen Fenech: It was amazing. Really well done too.

[00:34:12] Trevor Long: Yeah, well shot. It’s not quite a Bullet-level car chase.

[00:34:16] Stephen Fenech: Not quite, yeah.

[00:34:17] Trevor Long: But it’s a good little chase.

[00:34:18] Stephen Fenech: One of my plot holes is you can actually see that one of the blokes driving is definitely not Frank.

[00:34:23] Trevor Long: Yeah, 100%.

[00:34:23] Stephen Fenech: No, they didn’t cover it up at all.

[00:34:25] Trevor Long: Not at all. They didn’t even try. So they love it. They lose the cops because they’re able to go down a little laneway and they go back and they grab Judith and they’re like, Judith, jump in, you know? So they show Judith the same thing. She freaks out and they end up crashing into a river.

[00:34:36] Stephen Fenech: In the river.

[00:34:38] Trevor Long: So you think that’s the end of the yellow car and it’s gone. It does come back though later in the movie. But my tram stop here is that getaway car that turns into two motorcycles. It was a Honda Z built from a 1970 to ’74 Honda Z. And they, it’s got a 600cc motorcycle engine. That car is the one in the National Film and Sound Archive.

[00:34:57] Stephen Fenech: Is that right? Yep. So it’s split in half.

[00:34:59] Trevor Long: Well, it’s sitting there together, I assume. Yes.

[00:35:03] Stephen Fenech: Iconic. That’s the first thing I thought of a bit when you told me about this movie.

[00:35:06] Trevor Long: And so now that we’ve kind of brought these three together, you know, they’re a bit more together now. They’ve had the ups and downs of everything, you know. They’ve bonded. Frank’s had his, you know, I’m a crim, are you okay with that moment? Judith’s had her, you know, drama at the cafe and sees laughter through it. Malcolm’s, you know, bonding through his gadgetry.

[00:35:24] Stephen Fenech: Impressing them with his gadgets.

[00:35:25] Trevor Long: But what he does is Malcolm asks him a few times, how do you get the money? You know, referring to a bank robbery, like, how do you get the money? Like, he keeps asking him this. But in And in the end, like literally several times he asks while they walk into a pub, Frank decides to demonstrate. He’s like, okay, well, if he wants to know, I’ll show him. So he wraps his arm in a jumper as if to do a holdup and he’s got him there with their arms in the air. And some bloke thinks it’s an actual robbery going on. So clobbers him over the head with a shovel, which is hilarious. But now with this knowledge, so he’s had this, you know, stick ’em up, you know, give us all your money thing. Malcolm’s taken that in. He’s learning the process.

[00:35:58] Stephen Fenech: He saw he had his remote control to go get the milk, the car to get the milk.

[00:36:01] Trevor Long: He’s had these gadgets.

[00:36:02] Stephen Fenech: He’s thinking, hang on a minute.

[00:36:03] Trevor Long: What’s he doing now? So now with this knowledge on the edge of a robbery, he sets off in a remote control car with live streaming, which we’ll get to later, and a robbery to hit up some armed guards like out the front of the bank. So he’s got there, he’s got a stream, he can see them and he’s saying, “Give us all your money,” put them whatever. But at some point there’s a bit of a two-way going on and Frank, ’cause he’s just in his bedroom at home, Frank walks in and Malcolm is having this conversation with these armed guards.

[00:36:32] Movie Audio — Malcolm, live-streaming from a hidden remote-control car, holds up the armed guards outside the bank while Frank walks in bewildered.

[00:37:16] Trevor Long: And off they go, the bags of cash on the back of a— on the back of a remote control car.

[00:37:21] Stephen Fenech: But then when he goes through the little tunnel, all the money falls off through a drain in there because he measured everything.

[00:37:25] Trevor Long: He’d gone out and measured it all earlier in the movie, but he hadn’t accounted for the additional stash of cash, so they actually lose the cash. But they’re onto something.

[00:37:35] Stephen Fenech: Proof of concept.

[00:37:35] Trevor Long: Like exactly what it is. It’s a proof of concept. That’s it. But Judith is pretty angry ’cause, you know, Frank suggests she helps them. She’s angry. She’s like, what are you doing? What are you? She’s, Judith’s all about why are they corrupting Malcolm? Malcolm is an innocent, average person. He doesn’t need to be corrupted by this, but he’s loving it, right? But all the while Judith is trying to set Malcolm up with a girl across the street. It’s a very simple subplot. It doesn’t really.

[00:38:00] Stephen Fenech: Oh, the girl obviously likes him and asks him and stuff. Yes. Yeah, yeah.

[00:38:03] Trevor Long: But it’s one of those things, it’s like, did it need to be there? But it’s like they went, it needs, we just need something else.

[00:38:08] Stephen Fenech: So like a love interest.

[00:38:09] Trevor Long: Yeah, but it doesn’t really, because it’s like there was another 20 minutes written, they decided not to run it.

[00:38:14] Stephen Fenech: Maybe, but it’s also another part of the film where it just demonstrates his innocence. He’s never, you know, he’s lost his mother.

[00:38:21] Trevor Long: They go out, they go out to a pub, no family, with Jenny. Yeah. And Malcolm, she just can’t talk about anything but tramps.

[00:38:28] Stephen Fenech: Talks real rubbish.

[00:38:29] Trevor Long: He’d be like, going out with you, listening to you talk about Star Wars or Souths. Yeah, we don’t know how Joe puts up with it. Yeah. But then in the, in the Brasco, in the bathroom at the pub, Malcolm and Frank are having a piss in the urinal.

[00:38:41] Stephen Fenech: That was a bit uncomfortable.

[00:38:43] Trevor Long: And Frank turns to Malcolm, “Have you ever used that thing, mate?” You know, like he’s a crim.

[00:38:48] SPEAKER_C: Yeah.

[00:38:48] Trevor Long: Yeah. And Malcolm has no idea what he’s talking about.

[00:38:50] Stephen Fenech: Well, he’s been used to prison life.

[00:38:51] Trevor Long: He’s correct.

[00:38:51] Stephen Fenech: Probably seen worse, a lot worse than that.

[00:38:54] Trevor Long: And so now at home, they get home, there’s a blow-up because Frank has asked Malcolm if he’s ever used it. And Judith and Malcolm the next morning are on the lounge ’cause Jenny left. She’s like, I think she tells him she’s moving somewhere.

[00:39:06] Stephen Fenech: She’s bored, yeah, yeah.

[00:39:06] Trevor Long: No, but she says she’s got a job somewhere.

[00:39:08] Stephen Fenech: Yeah, she’s gonna go.

[00:39:09] Trevor Long: Or moving. And Frank, and sorry, Malcolm won’t stop talking about trams, so she’s probably gonna go.

[00:39:13] Stephen Fenech: But I remember Judith saying, “Look, have you made love to a lady?” And then they fall asleep together on the couch.

[00:39:17] Trevor Long: They fall asleep. And so Frank comes out thinking that something’s gone on here, but actually they have an argument about how she was just trying to help him understand what was going on and everything.

[00:39:26] Stephen Fenech: Understand making love.

[00:39:27] Trevor Long: But this is the moment where Frank grabs one of the trams and smashes it up.

[00:39:32] Stephen Fenech: Yeah. I felt that.

[00:39:34] Trevor Long: Yeah. ‘Cause that’d be like smashing one of your Star Wars models.

[00:39:36] Stephen Fenech: It would be, probably worse than that for Malcolm.

[00:39:38] Trevor Long: Yeah, to be honest, ’cause it’s not Lego. You can’t just rebuild it. You’ve got to recraft that whole thing.

[00:39:42] Stephen Fenech: You can tell, sort of, if you look, you pause it, you see it’s like the inside of it, there’s all like, it must be cardboard ’cause it broke pretty easy.

[00:39:50] Trevor Long: Anyway, Judith is now twigging that Malcolm and Frank are onto something ’cause she’s not aware of this bank robbery that went wrong or went right and wrong.

[00:39:57] Stephen Fenech: Right.

[00:39:57] Trevor Long: So she’s not aware of it. Of it. But you know, even though she’s kind of twigged to it, she’s like, well, if we’re going to do it, I’ll get involved.

[00:40:03] Movie Audio — Judith tells Frank she’s decided to help with the robberies, saying she can’t stand watching him and Malcolm fend for themselves.

[00:40:31] Trevor Long: Now that was a good exposition. We learn now that they have known each other for 2 years. She’s been visiting him in jail.

[00:40:36] Stephen Fenech: Yes.

[00:40:36] Trevor Long: So she knows all about him. It’s not like this is, you know, she hasn’t just met him. No, that’s right. She’s aware of what he does. She’s aware of how he makes money, and that’s life. It’s interesting to me because I was thinking about this movie and the length of it, like at about this point, thinking we’ve done a lot here.

[00:40:50] Stephen Fenech: Yeah.

[00:40:50] Trevor Long: You know, I know this still a big like robbery to come, having known the movie, but it’s actually quite a reasonably small part of the movie. It kind of escalates really quickly.

[00:40:58] Stephen Fenech: Yes, it does.

[00:40:58] Trevor Long: Which I love. It’s like, we don’t need to spend much time on this stuff. This is it. They’ve got a plan for a $250,000 robbery. Malcolm goes to a toy store and buys 3 remote control cars.

[00:41:08] Stephen Fenech: Did you recognize the guy behind the counter?

[00:41:10] Trevor Long: He is in the comedy company somewhere.

[00:41:12] Stephen Fenech: From the comedy company, remember?

[00:41:13] Trevor Long: Yeah, I didn’t.

[00:41:14] Stephen Fenech: And he goes, oh, would you like that? He goes, I’d like 3.

[00:41:16] Trevor Long: Yeah.

[00:41:17] Stephen Fenech: And he goes, Okay.

[00:41:18] Trevor Long: Does he say, you want, do you want a bag? You want a bag big enough for this? He tries to make a joke for about— um, yeah, it doesn’t work. Uh, but they’re, they’re solid remote control cars that he buys. And you, so you don’t, you imagine at this point that they’re doing, they’re just going to build the same thing again.

[00:41:30] Stephen Fenech: Turns into a heist movie. Yes.

[00:41:31] Trevor Long: Yeah. Um, so Judith and Frank are out driving around scoping.

[00:41:34] Stephen Fenech: I think they’re looking at laneways. So no, yes, where could we park?

[00:41:37] Trevor Long: Where could you drive this? Because they bought a van.

[00:41:39] Stephen Fenech: I think the van has like, they’ve put metal frame on top of the van. Or has it already done that by then?

[00:41:45] Trevor Long: Yeah, you know, I never quite understood why they did that.

[00:41:47] Stephen Fenech: Well, that’s later on, they disguise it.

[00:41:50] Trevor Long: Yeah, but they take those off when they disguise it as an ice cream van.

[00:41:53] Stephen Fenech: Yeah, okay, but I think they needed it to do the, uh, to get the, to get the thing up, to get it up higher.

[00:41:58] Trevor Long: Okay, so they’re scoping it all out and they, they take these rubbish bins to a big bank.

[00:42:04] Stephen Fenech: Yeah, now the rubbish bins are the ones that look like Ned Kelly, let’s say.

[00:42:07] Trevor Long: They’ve got the big old school office rubbish bins. Do you put your solids into the front and the ashtray on the top? That’s Right. And so you can kind of get a sense that they’ve obviously rigged these things with something, but you don’t really know. Yeah.

[00:42:19] Stephen Fenech: Well, I’ve got to say when they turned up and the blokes are cleaning and they’re saying, they’re going to talk their way in, fix the banter. Okay then. Right. I sign here. And what do you think again? Well, no, I thought there was, well, when he bought the remote control cars, I’m thinking he bought 3. I’m thinking, yeah, that’s probably it. Right. But I didn’t know there was going to be a camera and everything in it.

[00:42:37] Trevor Long: Yeah. Right. So basically they’ve gone high tech and they’ve rigged these bins. Bins with the, uh, with the remote control car parts and everything like that.

[00:42:45] Stephen Fenech: I say full respect, this is 1986 where not like today you can just do that in 5 minutes.

[00:42:51] Trevor Long: That’s true. That would have taken some work. Yeah, someone behind the scenes has built some serious props for this.

[00:42:55] Stephen Fenech: Have they ever? Yep.

[00:42:57] Trevor Long: So they fit the bank out with these rubbish bins, clearly part of their plan. And when everything’s out, all the staff are out, the bins come to life through remote control. And again, there’s this similar music vibe to It’s funny, this music was playing for quite a while.

[00:43:10] Stephen Fenech: Yeah. And I was watching this in my office on my big screen in my office. Yeah. And Jo came and shut the door. She goes, I’m tired of that music. I’m just going to shut the door because it did go on for quite a while.

[00:43:20] Trevor Long: Yeah, because it was just a whole scene of them moving them around, going up lifts.

[00:43:24] Stephen Fenech: And I went, oh, I think it’s all right.

[00:43:25] Trevor Long: They did have a moment with security guard who nearly found them. Yeah, I saw that. That was a bit of drama.

[00:43:29] Stephen Fenech: That bloke reminded me of the bloke in The Dish, you know, the overzealous security bloke. He’s got his gun out. I’m thinking, that’s the bloke from The Dish.

[00:43:36] Trevor Long: That’s actually very true. Yeah. But now those things are in place because they needed these things at a certain level because they’d scoped out this kind of walkway between two buildings, this glass walkway. That’s where— that’s where they get the money is run over. That’s, that’s what they know. So on the day of the robbery, it’s weird because he opens up with this, the yellow, little yellow car is on the side of the street and the cops are thinking, hang on, that’s that car.

[00:43:56] Stephen Fenech: Yeah.

[00:43:57] Trevor Long: So now it’s like, well, hang on a minute, they’re going to use that in the heist. But it’s some form of decoy, I think. Yeah, because it’s— to be honest, did it make sense to you why it was there?

[00:44:06] Stephen Fenech: Well, I was looking at the car and I thought there was someone sitting in it. And so was it—

[00:44:11] Trevor Long: what was that, a dummy? They just had dummies in there, right? So I’m thinking someone’s in the car. So my thought here is the premise of that is that’s a decoy to get all the cops. Yes. So the cops are looking for these people that did this little robbery. They found the car, so they call everyone. All the cops of Melbourne descend on that space. Distraction. Just as a distraction, as a decoy. And as you say, there’s no one in the car. So at that moment, it’s on. The bins come to life. And again, what I love here here is it doesn’t go for 5, 10 minutes. It’s— they come to life and they’re at the— like, they’re at the robbery, and the guys—

[00:44:39] Stephen Fenech: the, the gun comes out, they can see them through the camera.

[00:44:42] Trevor Long: There’s a gun, there’s fire extinguishers, all this kind of stuff going on as distractions to get the guards to realize they’ve got to take it seriously. As you said, a gun comes out and they’re live streaming all this.

[00:44:53] Stephen Fenech: They dumped all the money on that bridge, on that overpass. Yes, that was where they did it.

[00:44:56] Trevor Long: They had to dump it, and then the, the van was parked underneath so that it would fall over.

[00:45:01] Stephen Fenech: And so then I liked how the big arm with the hammer just went pshh, and then it all fell into the basket.

[00:45:06] Trevor Long: It all just fell into the basket. Yeah, like the roof of the car was all cut open so they could be perfectly placed.

[00:45:13] Stephen Fenech: Judith was at the back collecting all the money.

[00:45:16] Trevor Long: She was counting it up and doing their best. So basically at this point they’ve got away with it. They’re off from the bridge, the money’s gone, the cops are down the road, so they’ve got a bit of a head start. So they go into one of the laneways that Judith and Frank had scoped out, and they now park up and they bring a wheelchair with Ned Kelly style, you know, It was a bin, was it?

[00:45:34] Stephen Fenech: Oh yeah, half a bin.

[00:45:35] Trevor Long: It was a bin, but it was like Ned Kelly, you know, it was a dummy with guns coming out of these cops. So again, another distraction to take on the cops while they turned the heist van into an ice cream truck. Yes. It looks perfectly like an ice cream truck. They’re home free here. It’s weird because it’s like, didn’t seem like enough time at all. But anyway, let’s not factual fiction that one. But, but the, the Ned Kelly thing goes wrong because the bin falls off and it’s clearly a dummy. So the cops realize and they go on the chase, but they’re in the ice cream van. They’ve essentially got away with it at this point. So yeah, they’ve got away with it, right? It’s all good. They drive off and happy days. Now it’s all fine. Frank’s driving, Malcolm’s in the passenger seat, Judith’s in the back counting the money. They’re on the freeway, traffic, heavy traffic in Melbourne in the ’80s, whatever. And they get the, they park beside some cops. Yeah.

[00:46:25] Stephen Fenech: And they see, oh, ice cream.

[00:46:27] Trevor Long: In a yellow, like a yellow XE Falcon probably it is. The cops have— they’re just in traffic as well. And one of the cops, who would be the driver— yeah, the driver’s on the right-hand side. He looks up and he turns to his partner and he makes a suggestion.

[00:46:40] Movie Audio — one cop suggests stopping for an ice cream from the disguised getaway van; Frank, panicking, claims they’ve got none left.

[00:46:47] Trevor Long: Hey mate, give us an ice cream.

[00:47:07] Trevor Long: Frank’s off. Make hammocks. The chase is on. This is a bit more of a proper chase because they don’t really have the head start that they had before, but they’ve still navigated some laneways, do some things.

[00:47:21] Stephen Fenech: My question is like How can he— he’s in the middle of traffic. How do you get an ice cream in the middle of traffic? Oh, they could hand it out the window. Just here you go, brother.

[00:47:28] Trevor Long: Hand it out the window.

[00:47:29] Stephen Fenech: Well, yeah, and I was thinking, Malcolm, tell him you’ve run out. He goes, we don’t have any. I’m thinking, Malcolm, just say you’ve run out, we don’t have any left. But yeah, Frank panics and Frank panics and he created the chase.

[00:47:40] Trevor Long: The chase is on. They go through the streets, they end up coming strategically to a place where they can get out, run.

[00:47:47] Stephen Fenech: I did notice when they were pulling into quite a tight lane and he clipped the wall. I reckon And that wasn’t in the script.

[00:47:52] Trevor Long: I don’t think it was either. Yeah, yeah. Cops come down the lane a little bit after them, but there’s no sign of these, these 3 or 2. They would have thought of 2, but there was definitely 3 of them. But there was no sign of them because they’re looking around, they can’t see anything. All you see is a Brunswick tram just heading over the hill. And the cops don’t think anything less of it because it looked from behind, it looks like a real tram.

[00:48:11] Stephen Fenech: Like a real tram. That’s so clever.

[00:48:12] Trevor Long: That’s really clever. And then the film, well, the cinematography is well done. It kind of then just comes to pan to the side and you realize it’s Malcolm’s little one, one-man tram with 2 people on it and a facade. They follow it out.

[00:48:23] Stephen Fenech: Down and down the hill. It goes over a hill and down out of sight. And, and I honestly thought, well, that’s the end of the movie. Yeah, that’s it, it’s over.

[00:48:30] Trevor Long: But then they cut to, uh, to a cafe overseas, and they’re, they’re talking about having a new life in Portugal. There’s trams again. Yeah. And they talk about pulling up for heist there. They talk about, uh, $200,000, and Frank’s keen. Another job is on. He’s, but he’s like, we’ll have the money in 24 hours, right? And that’s the end of the movie.

[00:48:47] Stephen Fenech: So my question here is that, did they anticipate they were going to have problems?

[00:48:51] Trevor Long: So because they’re in the ice cream van, it’s, it’s, it’s—

[00:48:54] Stephen Fenech: where are they going?

[00:48:55] Trevor Long: Well, and the other thing is, like, they, they had escaped. They were in the ice cream van on the freeway. This was— they didn’t need— it was like a second backup.

[00:49:02] Stephen Fenech: Yeah, it was like another—

[00:49:04] Trevor Long: I’m going to assume they had several options for the getaway. Yeah, that’s, that’s the way I’m going to live.

[00:49:09] Stephen Fenech: Well, he knew. Okay, that’s how they’re lucky they had the second one.

[00:49:12] Trevor Long: Yeah, there’s a couple of lines— there’s a lot of lines we’ve already heard, but there’s a couple here that are pretty cool. And this is where, um, Malcolm is driving Frank in the— remember, this is a getaway car. Yeah. And one, what’s the first thing you think about a getaway car? It should be fast. Yes. Frank disagrees. I could run faster than this.

[00:49:28] Movie Audio — Frank complains the getaway car is too slow (“I could run faster than this”) before Malcolm shows him the split-car lever.

[00:49:47] Trevor Long: Jesus, the car splits in half. Oh, I can drive, I can run faster than this. Um, and then there’s a great moment where Malcolm’s got his little remote control car for the first holdup of the armed guards, and, uh, he’s, he’s learned well from, uh, from Frank.

[00:50:03] Movie Audio — Malcolm, now running his own hold-up via remote control car, shouts “Hands up, you assholes!”

[00:50:07] Trevor Long: It’s all about delivery, Malcolm, it’s all about delivery. Yeah. And that moment when Frank comes home from his little heist and he’s got those boxes and Malcolm peeks out the door and notices what’s going on with this unloading of stolen goods.

[00:50:21] Movie Audio — Malcolm asks if Frank’s stolen boxes are pineapples; Frank deadpans that yes, they’re pineapples.

[00:50:24] Trevor Long: That’s a Stephen Fenech kind of line.

[00:50:28] Stephen Fenech: That’s a typical Aussie line. Yeah. Plot holes.

[00:50:31] Trevor Long: How did that happen? You’ve mentioned my first one already. The stunt drivers are very clearly visible and not at all like the characters they’re playing.

[00:50:39] Stephen Fenech: My other question is how’d they get the car out of the river?

[00:50:42] Trevor Long: Yes, that’s a good point. Yeah, because it’s perfectly back in place.

[00:50:45] Stephen Fenech: They had a— and also too, my other question is where did they get all the money for the parts and all the— those remote control cars wouldn’t be cheap.

[00:50:52] Trevor Long: Yeah, that’s true. Yeah, there’s a lot of capital required for this, uh, for this heist.

[00:50:56] Stephen Fenech: Some money off the floor.

[00:50:57] Trevor Long: Well, they did, they did have that money, I guess. That’s the capital. Yeah, during this, obviously a stunt driver in the half car during the setup of the bins um, at the bank where the security guard gets suspicious. He checks the doors are locked, including a fire exit which is locked. Ah, oh, there you go. I don’t think a fire exit should be locked.

[00:51:14] Stephen Fenech: H&S will be straight on you there.

[00:51:17] Trevor Long: Near the conclusion, the getaway van, as you mentioned, hits the trim. Clip slide. But later, driving under the underpass, there’s no damage on it. So it’s a continuity failure. Maybe. While boring Jenny with the details of Melbourne’s Network. Yeah, Malcolm describes the total length of track in miles. This is some nerd online. Come on with this one. Australia went decimal in 1966, so it should have been kilometers. Kilometers, metric, metric, baby. It’s not— it’s a 1986 movie, so it’s not really a massive speaker workout here, but the music is like—

[00:51:47] Stephen Fenech: apart from Joe’s disdain for it, I put here music earworms. Yeah, they really are, they’re really music earworms. Yeah, uh, and, uh, and the other one is the chase was, was pretty good.

[00:51:58] Trevor Long: It was pretty well done. Yeah, it was pretty good. But again, like the big screen, thank God I have a big screen.

[00:52:04] Stephen Fenech: Mate, the chase when the car splits in half, that was amazing.

[00:52:07] Trevor Long: I’ll just tell you what I noticed every time it happened. Do you remember this as a kid? Yeah. The ad break beeps. Did you see them? How did you watch it?

[00:52:15] Stephen Fenech: I watched it on ABC iView.

[00:52:18] Trevor Long: No, I didn’t watch it on iView. iView. Might have been on Prime, I think. And back in the day when TV shows were on, so this was the Channel 7 version, a little circle would appear in the top right of screen a certain number of seconds. I’m sure someone could tell us, maybe it’s 30 seconds. And then another one it would happen like a second to go. So it’d be like the person sitting there to roll the ads would know it’s coming and then be ready to roll it. I just, every time it happened, I noticed it.

[00:52:42] Stephen Fenech: I know I didn’t see that on iView unless I didn’t notice.

[00:52:45] Trevor Long: Maybe they got the theatrical release. Maybe. Perhaps. The business of this one, well, you can’t take it too much seriously, but I guess the bank back in the day, robberies were a thing back then. So, you know, that’s—

[00:52:57] Stephen Fenech: Mate, this is pre-Underbelly.

[00:52:58] Trevor Long: This is of its time. Yeah, this is, this really doesn’t— It was actually around the time of Underbelly getting started. Yeah. And I think, I think this felt super accurate for that sense of time. Yeah. You know, it’s weird. You think about, I don’t think our kids would understand what a bank robbery is because like you watch, what are the movies we’ve watched where they do the masks?

[00:53:19] Stephen Fenech: Oh yeah. Heat and Point Break. The Surface, Point Break.

[00:53:23] Trevor Long: That’s what I’m thinking of. Like it’s all about the bank robberies, right?

[00:53:26] Stephen Fenech: Yeah. And, but now who’s got cash?

[00:53:28] Trevor Long: Who’s doing a bank robbery?

[00:53:28] Stephen Fenech: Who’s got cash? It’s cryptocurrency and stuff like that. Yeah.

[00:53:32] Trevor Long: What are you doing now? So, but the bank side of it felt pretty good and accurate for the sense of time. The time. If this movie was made today, there’s a lot, there’s a lot that would happen, right?

[00:53:40] Stephen Fenech: I’ve said it’ll be a great high-tech remake. You think? Imagine you can remake this film with all the technology you got now to be slick as.

[00:53:49] Trevor Long: Yeah, yeah. Imagine though, just the first scene, social media would light up with the one-man tram going around Melbourne, wouldn’t it? That would have been on the Today Show the next morning.

[00:53:56] Stephen Fenech: There would be people filming it.

[00:53:57] Trevor Long: Yeah, Charles Bud Tingwell’s character would have been much more filthy because it wouldn’t have just been his bosses that found it, would have been the whole world. What is this? I also don’t think if it was made today that remote control car would make it home. It’d be stolen. Yeah, exactly right. You know what I mean? Someone had lifted it. And again, the car splitting in half would have made a lot of news. Oh yeah, that thing would have been filming at 6 o’clock news.

[00:54:19] Stephen Fenech: But I’m surprised that there’s not been a movie that’s done anything like that. Have you ever heard of a vehicle that can do that sort of thing? No.

[00:54:26] Trevor Long: Like split in half? No. Such a cool thing.

[00:54:28] Stephen Fenech: I’ve heard of cars that can fly and stuff Stuff like that. like that, but that’s really smart.

[00:54:32] Trevor Long: Every day’s a school day. Look, the theme or lesson here for me is kindness. Judith showed a little kindness to Malcolm and that warmed him up. Yeah. And I think that’s lovely.

[00:54:41] Stephen Fenech: And I think too, it’s sort of, he, the other thing too is what I mentioned earlier. He doesn’t judge. He wasn’t judging people. Yeah. He took them for, you know, for who they were. Yeah. And my other thing I’ve written down here is don’t let people underestimate you. Like he had a lot of— trying to contribute and he found his talent. He actually, even though it was helping someone rob a bank, he found that he had a talent for something.

[00:55:05] Trevor Long: Yeah. Now you’re the best man of the pause button. Did you find anything?

[00:55:09] Stephen Fenech: Well, yeah, the letter was the one that I would’ve—

[00:55:13] Trevor Long: Department of Corrections. —wanted to read. I paused on the little yellow car. And I paused on his room.

[00:55:18] Stephen Fenech: I’m just looking at all the trinkets. Look at all the trinkets. Look at all this stuff he’s got.

[00:55:22] Trevor Long: So the getaway car rego was LDW073. 3, and you’ve got to assume the one the National Film and Sound Archive still has that plate on it, but that’s actually a Victorian plate registered to 2006 Toyota wagon. Like, right now someone in Victoria owns that plate. Someone in Victoria is unknowingly driving around really with the same rego. That’s crazy. As Malcolm’s little car. Now it’s probably, uh, you know, in Victoria they’re white with blue text. It’s probably just a standard Vic plate. I don’t think it’s a black and white like in the movie, but I just thought to myself, imagine you were a massive fan of this movie.

[00:55:52] Stephen Fenech: Yeah, get onto— what is it, VicRoads?

[00:55:53] Trevor Long: Well, that’s where I got this info from.

[00:55:54] SPEAKER_C: Oh, there you go.

[00:55:55] Stephen Fenech: They don’t tell you who it is, it just tells you what car it is.

[00:55:57] Trevor Long: Okay, so you looked it up? I looked it up. It’s a Toyota, 2006 Toyota wagon.

[00:56:01] Stephen Fenech: Someone’s driving around with movie history.

[00:56:04] Trevor Long: Grey, by the way, grey. There you go. Wow. Things you might not know. There’s a lot here. Yeah. In the closing credits, you’ll notice the film is dedicated to John Tasopoulos, who’s actually the brother of Nadia Tass.

[00:56:13] Stephen Fenech: Yeah. Tass. Oh, so she shortened her name. Tass.

[00:56:16] Trevor Long: John was obsessed with trams as Malcolm, and Malcolm’s character is loosely based on John. Wow. He was quite intelligent. He had Asperger’s syndrome and tragically died in 1983 in his 20s after suffering having an epileptic seizure when he was hit by a car. So that’s essentially who Malcolm is based on. So John Tasopoulos had Asperger’s, which is, you know, a form of autism essentially, and loved tramps. So what a wonderful—

[00:56:42] Stephen Fenech: what a good inspiration.

[00:56:43] Trevor Long: What a wonderful tribute also to her brother. That’s beautiful. Fun fact, the lady across the road who I think you think is Jenny’s mum, near the old— she speaks Croatian or whatever it is. Fun fact, that is Nadia’s mum, and therefore the mother of the real-life Malcolm. Oh, there you go. Wow, wow, wow. Okay, um, the split car, as I said, rests in the National Film and Sound Archive in Canberra. Interestingly, it was actually built by a guy who made a cameo in the movie. He was the tram conductor who let Malcolm on the tram while he was carrying that big sheet of metal. Tony McHugh.

[00:57:14] Stephen Fenech: Oh, that guy built it?

[00:57:15] Trevor Long: That guy built the car. The metal sheeting, the metal siding. So the tram conductor that let Malcolm on and the guy that built the car.

[00:57:20] Stephen Fenech: Get on here, mate. Yeah. That’s that guy. So he built the car? He built the car. Wow, that’s amazing.

[00:57:24] Trevor Long: Here’s a fun one. According to David Parker, you will love this one. Yes. According to David Parker, one day when they were clearing out one of their production offices, they found a bunch of scripts that had been forwarded to them because this did pretty well. So they started receiving scripts from Hollywood. He found notes on one of them from his wife, Nadia Tass, saying, “We’ve already done this.” And that script was Forrest Gump.

[00:57:45] Stephen Fenech: Oh my God.

[00:57:45] Trevor Long: Because there’s similarities, an awkward man on the spectrum. Amazing to think what it might’ve been if they had grabbed that movie. But wow, that script, Forrest Gump, went to David Parker and Nadia Tass.

[00:57:56] Stephen Fenech: That was based on, um, the book. It was a novel. Someone had written a script for it. Wow. So this was in the mid-’80s and it took till the mid-’90s to get made. We’ve already done this.

[00:58:05] Trevor Long: Passed around. Yeah. Wow. Amazing. Um, and on the music, music for a found harmonium by the Penguin Café Orchestra.

[00:58:11] Stephen Fenech: That’s the start. Yeah. Yeah. Okay.

[00:58:14] Trevor Long: Music for a found harmonium.

[00:58:15] Stephen Fenech: So it’s the sort of—

[00:58:16] Trevor Long: okay, now a couple of kind of, uh, scene moments, uh, did you notice perhaps, uh, the tram depot at the start of the movie is the old South Melbourne Tram Depot, which no longer exists. It’s in fact now a BMW dealership. The exterior shots of Malcolm’s house were 23 Napoleon Street in Collingwood.

[00:58:32] Stephen Fenech: I was wondering that, is it still there?

[00:58:34] Trevor Long: No, it’s not.

[00:58:35] Stephen Fenech: It’s an apartment block, is it?

[00:58:36] Trevor Long: Uh, it’s, yeah, pretty close. Yeah. Uh, the milk bar up the road— you do? Yeah, I’ve seen some videos.

[00:58:41] Stephen Fenech: Yeah. Okay.

[00:58:42] Trevor Long: The milk bar up the road was a false facade. There was no milk bar bar there. So it’s a false facade because they kind of just shot it from a distance. Yeah, but then the, uh, the interior, the pub they visited, if you’re interested and you’re in Melbourne, is the Leinster Arms in Collingwood. And those final shots in Collingwood— Collingwood— in Portugal, only John Hargraves, Frank, went to Portugal for that shot of him crossing the road, where the rest is just shot in cafes in Australia. Okay, that’s fair. That’s budget.

[00:59:06] Stephen Fenech: Who gets to go? Yeah, I’ll go. Yeah, nice.

[00:59:08] Trevor Long: What’s the meme? I, I Half car, mate. The half car. But what’s the meme though? Well, you go your way, I go mine.

[00:59:15] Stephen Fenech: Well, you can have a lot of fun with that.

[00:59:17] Trevor Long: You know what I love? Better half? No, it’s a pineapple. Like, anyone sends you something that says, you know, is that a something or other, you go, nah, it’s a pineapple. And you just send back a shot of Frank.

[00:59:26] Stephen Fenech: You have a shot of the one-man tram and just say, oh, traffic, traffic’s a nightmare. Or I like the one, just Malcolm with his clipboard, do you have any references or something like that? Are you a neat and tidy person?

[00:59:38] Trevor Long: By Any Other Name. I had a couple. One Man Tram.

[00:59:42] Stephen Fenech: Exactly what I’ve written here. The Getaway Tram or Off the Rails.

[00:59:46] Trevor Long: Oh, I don’t mind it. The Getaway Tram and Tram Man, which is a little bit of a nod to Rain Man, you know what I mean?

[00:59:50] Stephen Fenech: Yeah, Tram Man, and then he was in Rain Man. Yeah, I think One Man Tram. I don’t know, but Malcolm, it’s about him. Yeah, it is simple.

[01:00:00] Trevor Long: This one, remember, we could be here for hours, but the one thing you want— I want the TV in the box. The TV in the box still with the foam.

[01:00:07] Stephen Fenech: Mate, stuff that, I want the half car, I want the car.

[01:00:09] Trevor Long: Yeah, I want the remote control.

[01:00:11] Stephen Fenech: The model trams.

[01:00:13] Trevor Long: I rate his tram set.

[01:00:14] Stephen Fenech: The one-man tram set.

[01:00:14] Trevor Long: His tram set as well, yeah, yeah. All right, 3 questions for Stephen. Hey. Do they pull off the Portugal heist?

[01:00:22] Stephen Fenech: Yes, I reckon they do. And I reckon that they’ve made, obviously they’re set up pretty well with their previous one, but I think this is bigger and better than the previous one.

[01:00:30] Trevor Long: Than the other one. Does Malcolm look for Jenny?

[01:00:34] Stephen Fenech: Oh, the girl? Yeah. Oh, well, she’s not Portuguese, is she? Well, they— I’m assuming they come back to Australia.

[01:00:39] Trevor Long: Yeah, let’s assume they come back to Australia. That’s a good question.

[01:00:41] Stephen Fenech: Yeah, I reckon if they come back to Australia, he’s probably thinking, look, I’m cashed up, let’s get married up now.

[01:00:47] Trevor Long: I don’t want to break it to you, but I think Malcolm might— I’m cashed up, I’ll buy some more trams. And question 3: sequel, prequel, or leave it alone?

[01:00:55] Stephen Fenech: Mate, I would watch a sequel to this. I reckon Malcolm, they get in some, some features.

[01:01:00] Trevor Long: You could, you could, I think you come into it knowing it’s just going to be about fun, silly gadgets and gimmicks and gadgety heists. Yeah, I would watch all around the world. There could be gadgety heists all around the world. I would watch that. All right, what’s your wrap-up and rating, mate?

[01:01:12] Stephen Fenech: I, uh, I didn’t mind this. I thought I enjoyed it, uh, a nice length as well. I know you’re a fan of the shorter movie, mate.

[01:01:20] Trevor Long: I’m, uh, I’m a 7.5. All right, I’m an 8. Wow. Okay, yeah, I mean Close by. I could definitely go higher, but I think in the context of all the movies we’ve done, yeah, um, this is— it’s a great— it’s a genuine hidden gem.

[01:01:32] Stephen Fenech: Aussie hidden gem too. Absolutely. Now the ratings we give is based on the movie that we’re watching, not compared to other shows and that.

[01:01:40] Trevor Long: I struggle with that every single week.

[01:01:41] Stephen Fenech: I contain my ratings, but I struggle. Solid 7.5, mate. I enjoyed every minute of it.

[01:01:47] Trevor Long: All right, 7.5, and I’m an 8. Yeah.

[01:01:51] Stephen Fenech: Rhino, should we talk about next week? Why not? Let’s go. Uh, next week we’re doing a movie with another name. Like this week we did Malcolm.

[01:01:57] Trevor Long: It’s a person’s name. Next week we’re doing Erin Brockovich.

[01:02:00] Stephen Fenech: Okay. Yeah, this was a film released in 2000 starring Julia Roberts and directed by Stephen Soderbergh. Now it was nominated for 5 Oscars. Wow. How many did it win? Is it A A, 1, B, 2, C, 3, or D, 5?

[01:02:22] Trevor Long: Well-known movie, like I know of it.

[01:02:25] Stephen Fenech: 3. It won 1. Really? Yeah, Julia Roberts, Best Actress. Yes, that’s it. More on the other Oscars, the next week, which, who was nominated, who was nominated next week for Erin Brockovich. But mate, I really enjoyed Malcolm. Thank you, mate. Thank you very much.

[01:02:41] Trevor Long: Good job. All right, we’ll do it all again next week with Erin Brockovich.

[01:02:45] Stephen Fenech: See you then, mate. See you then.