![]() ![]() But “Walkabout,” while it retains an impressionistic power, is filled with moments that jar for a different reason: they seem irrevocably dated. ![]() ![]() It is true that eight years separate the two, bookending a decade-and one might argue that 1971 was, in essence, still the nineteen-sixties. I was struck by how much Roeg’s film felt of its time, and how little did Miller’s. Amidst a recent spate of travelling in Australia, I watched two films from that country, both released in the nineteen-seventies: Nicolas Roeg’s “Walkabout,” from 1971, and George Miller’s “Mad Max,” from 1979. ![]()
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