Hopper’s Lost Performance

Who knew that there is such a genre as Ozploitation that began in the 1970s? What’s more, who would think that there would be a classic film from this time period? “Mad Dog Morgan,” written and directed by Philippe Mora, is a about a man who “became Australia’s most notorious criminal.” It takes place during the 1850s, where Daniel Morgan (Dennis Hopper) leaves Ireland to forge a life for himself. This move leaves Morgan to a point where he must rob to survive. Sentenced to over a decade in an Australian prison, Morgan is viscously abused by the law in power. Once out of prison he becomes the bushranger “Mad Dog Morgan,” a folk hero to the local people and a menace to those in power.

Watching the film, one notices that there is a tremendous amount of violence. Everything that could possibly happen to Morgan does. His brutalization is according to the film what turned him into a mad dog. This heavy-handed message is well acted by Hopper. Although he does slip in and out of his accent, his portrayal of this Australian icon shows a complex man forged by circumstances beyond his control.

However, for a film that’s barely over 90 minutes, it drones on. Still, judging from the uncut version of the movie it adds scenes that make sense of the actions of several characters including Morgan’s partner, the Aborigine Billy (David Gulparil Gulpilil) who brought an authenticity to the film that no one else could. The snake he kills in the movie and the care that he administers to Morgan are all true to the Aboriginal culture.

You can tell that Mora took particular care to get this film right. The photography of Mike Molloy (camera operator for “A Clockwork Orange,”) makes Australia another character as it reveals the horror and shows the beauty of the country and its societal underpinnings simultaneously.

There’s also a second disc filled with interviews, deleted scenes and a trailer of the film. The second disc gives some insight into Australian culture, the making of the film and Hopper’s instability, which Mora believed was a form of method acting. For any new-found fans of this little known genre, it gives the viewer a context to the prison system of the colonies during Morgan’s time and the illusions of movie-making.

For a film with a performance such as Hopper’s, resurrected some thirty-odd years after its release, it will be a treat for fans of his work. It is easily the best reason to purchase this dvd.