Davis has a piercing gaze and a sinister stance that adds a supernatural tinge to his presence before he even plays a note. His nickname was the Prince of Darkness, just like Dracula. Morgan Freeman played Dracula more times than any other black actor when on The Electric Company, but Davis played Dracula more times in real life. He never tries to be as cool as Dracula, as it is Dracula who tries to be as cool as Davis. Even though he was near the end of his life and speaks in a hollow rasp, there is no denying the power Davis wields onscreen.
The great news is that the parts Davis isn’t in are wonderful as well. I was a big fan of Friels as the villain in Darkman, and he brings that intensity to John’s obsession and weak temper. He draws well-earned sympathy, making you really root for John to succeed.
“…a timeless appeal and worth.”
Rosenberg’s screenplay is a detailed examination of how dreams have teeth. They can sustain you as well as tear you apart. When you reach for a dream you may get your arm bit off. If it comes true, will it be what you expected? Will you be ready for it? These themes give Dingo a timeless appeal and worth.
The stunning 4k restoration makes Denis Lenoir’s amazing cinematography shine. The smorgasbord of colors of the Outback by day and Paris by night pop splendidly. The camera also closes in on the gleaming brass and intricate workings of the trumpets to a fetishistic degree. You can get lost in Judith Russell’s production design, with the dusty rust flecked dwellings in the bush contrasted with the hyper-stylized Paris in the twilight of their 1980s look.
Rooting is very important in Australia, especially with your mates at the pub rooting you on. Root for Dingo. It is a genuine lost treasure that never got its due… and it has never looked better. It is an important jazz artifact and a high point in both Australian and French cinema. It is an absolute blast of a picture.
"…a genuine lost treasure..."
