The Cars That Ate Paris

Clip 1: ‘We’re keeping him’

2 min 53 sec ( skip to teachers’ notes)

Taken from the feature The Cars That Ate Paris (1974)

Original title classification M – this clip chosen to be PG

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Curator’s clip description

After his brother is killed in a car accident outside the small town of Paris, Arthur (Terry Camilleri) meets Len (John Meillon), the mayor, who leads the funeral procession. At a council meeting afterwards, the mayor complains about unemployed youth, racing around in their souped-up cars. He announces that Arthur is not leaving.

Teachers’ notes

provided by The Le@rning Federation

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This clip shows Len Keeley (John Meillon), the Mayor of Paris, New South Wales, introducing himself to Arthur Waldo (Terry Camilleri), who was travelling towards the town when the car he was driving slid off the road, killing his brother. Len and Arthur lead Arthur’s brother’s funeral procession to the local rural cemetery where the Reverend Mulray (Max Phipps) delivers an unconventional sermon. At the council meeting afterwards, Len is discussing the town’s progress plan when he is interrupted by the sound of a succession of hot rod cars hurtling down the street, driven by the town lads. Once the cars have passed, Len complains about the town’s unemployed youth and asserts that they have to work. When asked by his councillors about Arthur’s fate, Len announces, ‘We’re keeping him’.

Educational value points

  • This clip is from an innovative Australian film, The Cars That Ate Paris, directed by Australian Peter Weir (1944–). It premiered at the Cannes Film Festival in 1974 and was released later the same year in Australia. The film was radically different from other popular films shown in Australia at the time and achieved cult status. Although it received great acclaim from most critics, it did poorly at the box office.
  • The film presents a bleakly satirical view of warring generations in a small town. The hypocritical attitudes of the mayor and the councillors are partly revealed through their responses to the town’s youth. The brightly painted, loud, animal-like cars driven by the town lads become demonic characters in themselves. In the film it is the cars rather than the drivers (who are rarely seen) that provide the menace and symbolise the battle between the older and younger generations.
  • Australian actors John Meillon (1934–89) and Terry Camilleri (1949–) feature in the clip. Meillon is best known for his role as Walter in Crocodile Dundee (1986) and Crocodile Dundee II (1988). Camilleri made his feature debut in The Cars That Ate Paris and in 2003 played a minor role in Master and Commander: The Far Side of the World, also directed by Weir.
  • Film techniques characteristic of Weir’s work are shown. In the clip, Weir makes an interesting choice of wide shots and camera angles, including a distorted shot from inside the back of the funeral hearse. He creatively blends different genres, including horror, satire and parody. He also uses sinister music during the funeral procession to create tension. The portrayal of seemingly ordinary characters provides an effective contrast to the ominous music and subtext of the scene.
  • The clip is from a film shot and cut on 35 mm, before the availability of digital technology. This is evident from the transitions between shots.
  • The Cars That Ate Paris was Peter Weir’s first feature film. Weir has become one of Australia’s best known film directors, with features including Picnic at Hanging Rock (1975), Gallipoli (1981), The Year of Living Dangerously (1982), Witness (1985), Dead Poets Society (1989), Green Card (1990), The Truman Show (1998) and Master and Commander: The Far Side of the World (2003). Weir has won several awards including the Australian Film Institute Best Direction Award in 1981 for Gallipoli, the British Academy of Film and Television Arts (BAFTA) David Lean Award for Achievement in Direction in 2004 for Master and Commander: The Far Side of the World and in 1999 for The Truman Show, and the BAFTA Best Film Award in 1990 for Dead Poets Society.
australian screen