The writers are unsure whether to paint Dundee as a Barry McKenzie-esque decorum destroyer, flying in the face of decency and politeness, or a fearless knife-wielding action hero. These movies constructed a conservative fantasy, where white hetero males do all the hard work and are justly rewarded, and where everybody else, including “the sheilas”, “the Aborigines” and “the gays”, understand their place in the pecking order – which is somewhere below people like Dundee. Box Office Mojo estimates the trilogy grossed about US$700m (adjusted for inflation), in addition to a whopping amount accumulated on ancillary markets.ĭesigned to appeal to US audiences first and foremost, and subsequently exploiting Australia’s inferiority complex, Crocodile Dundee confirmed false preconceptions Americans had (and perhaps still have) about Australia and Australians. The Crocodile Dundee films were phenomenally popular at home (where the original is still the most successful of all time) and in the US. They “don’t own the land, they belong to it”, he says, going on to compare people discussing land ownership to “fleas” debating “who owns the dog”. He then discusses land rights and Indigenous Australians. She says this guy is a lefty type, “probably marching right now, for the gay Nazis or something”.ĭundee, disgusted, tells her he “sounds like a prize ratbag”.
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During a quiet scene in the original movie (directed by Peter Faiman and written by Hogan, Ken Shadie and John Cornell), Sue complains to Dundee about a previous lover. Sue, a journalist, initially appears to have a reasonable amount of agency, before we learn she is dating her editor and her father is the publisher. The strong implication is that, had he known the man was homosexual, he would never have tried to save him in the first place. When the man continues to reflect on his lover, adding “he betrayed me”, Dundee is so shocked to learn the man is gay that he recoils from their embrace and nearly falls off the building. Photograph: Allstar/Paramount/Sportsphoto Ltd/Allstar The 1988 sequel ‘manages to be both offensive and boring’. The broken-hearted fellow tells him: “I loved that bitch.” Dundee consoles the stranger and gives him a hug. In the 1988 sequel, which manages to be both offensive and boring, the protagonist steps out on a ledge in a skyscraper, to convince a suicidal man not to jump. His love interest Sue (Linda Kozlowski) consoles the distraught woman by saying: “It’s OK, he’s Australian.” There are high fives and back slaps.ĭundee sexually assaults another women later on, in the same way, at an art gallery. The pub erupts into laughter and applause. He grabs the woman in the groin area, then points and yells: “A guy dressed up like a sheila! Look at that!” Mick Dundee (Hogan) chats up a trans woman, before a friend pulls him aside: “I’ve been trying to tell you all night, that girl, she’s a guy!” Dundee responds by sexual assaulting her. Take, for example, a scene from the original film, based in a pub in New York. It would need to have awkward jokes unfunny at the time of release and even less amusing when revisited years later. So if we assume the unthinkable: that this project is actually going ahead (though Screen Australia has not confirmed it), what would Dundee: The Son of a Legend Returns Home need to do to capture the spirit of the original three Crocodile Dundee movies, released in 1986, 19?įor starters, in addition to being vulgar and witless, the new film would need to be sexist, racist, homophobic and transphobic. Hogan told People Magazine: “I’m excited to introduce the new Crocodile Dundee to the world,” and he described the film as one “that has stood the test of time”.
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