Australia, 1982
83m
35mm film, filmed in Panavision, colour
Dolby Stereo, English
An Australian science fiction film directed by Mark Egerton.
Premise
Following a car crash, computer designer Ed Ballinger has been left in a wheelchair and dependent on a young nurse and his latest creation, the I-500 super-computer which has been installed in his home. But the I-500 seems to become obsessed with one of Ballinger’s neighbours, David Stollier and appears to be trying to tell him that Stollier has murdered his wife.
Credits
Crew
Directed by: Mark Egerton
© Wall to Wall Pty Ltd (Nom) 1982
The New South Wales Film Corporation presents
Executive Producer: Ross Matthews
Producer: Errol Sullivan
Screenplay by: Linda Lane, Mark Egerton
With Additional Material by: Denis Whitburn
Director of Photography: Vincent Monton
Music by: Chris Neal
Sound Recordist: John Phillips
Wardrobe: Jenny Miles
Makeup: Liz Michie
Production Designer: Larry Eastwood
Cast
Gary Day (Ed Ballinger)
Penny Downie (Cindy)
John Ewart (Stollier)
Kim Deacon (Jane)
Brian McDermott (Whitehead)
Peter Collingwood as Hollister
Jill Forster (Mrs Stollier)
Judith Woodroffe (Clair)
Press
1982
Cinema Papers no.41 (December 1982) pp.565-567
[A] film which eschews narrative progression for a visual obsession with computer printouts, glistening metallic surfaces, assorted machines, cars and cameras and selected household appliances. Certainly the mood of claustrophobia, entrapment and, voyeurism and alienation is maintained throughout the film. However, this viewer longed for some human confrontation; every time the narrative would head in this direction, Egerton would cut to the omniscient computer. […] Egerton and his team demonstrate an awareness of the conventions and the skill required to manipulate the audience to the desired effect. The pit is that the preoccupation with the surface imagery and the repetition of the theme of the domination of the machine over man allows this narrative drive to slacken, and audience involvement is slackened. […] Crosstalk is an extremely stylish film to look at and listen to. There are a number of striking visual sequences which readily demonstrated the ability of director Egerton, director of photography Vince Monton and composer Chris Neal to generate an atmosphere appropriate to the narrative emphasis of the film. – from an illustrated review by Geoff Mayer
1983
Film (BFFS) vol.2 no.121 (December 1983) p.5
[I]t’s a nice idea, with more than a touch of Rear Windows about it […] However, there are just too many inconsistencies in the script, which is not properly developed to make a really satisfactory movie. – from an uncredited review
References
Periodicals
- Cinema Papers no.41 December 1982, pp. 565, 567 – credits, review (by Geoff Mayer)
- Écran Fantastique, L no.25 (1982) pp.42,75; 80 – credits
- Film (BFFS) vol.2 no.121 (December 1983) p.5 – review
- Film News vol.12 no.10 (October 1982) p.17 – review
- Variety vol.307 no.5 (2 June 1982) p.23 – credits, review (Film reviews by Dogo)
Books
- The Aurum Film Encyclopedia: Science Fiction by Phil Hardy (ed) p.374
- Australian Film 1978-1994: A Survey of Theatrical Features compiled and edited by Scott Murray p.105 – illustrated credits, synopsis
- Horror and Science Fiction Films IV by Donald C. Willis pp.99-100
