Sourced the digitised article from the Australian newspapers digitisation project at A Window on the Past
But Nino also befriends an Italian family on the Manly ferry, after they bond during a racist affront from a drunken passenger.Īppeared originally in Australian Women’s Weekly 29 June 1966. In the course of his new job, Nino meets some very “Aussie” characters: particularly the trio of Joe, played by Ed Deveraux, who employs him, and his immediate work mates, Pat (Slim DeGrey), who fought in Italy during WWII, and Dennis (John Meillon), who instructs him in the basics of brick-laying. Despite Nino’s honourable intentions, she treats him shabbily but Nino proves to be a resilient soul and doesn’t let her put him off. He saves all his money in an attempt to pay off his cousin’s debt to Kay Kelly (Clare Dunne), an Anglo-Australian girl of Irish ancestry, whose father owns the building in which the magazine was housed.
But after discovering that the magazine has folded due to bad debts, and that his cousin has shot through, Nino is forced to takes up a job as a brickie’s laborer. An outsider’s view of Australian cultureĪ recent edition of the classic book is now available from Text publishing.Īlthough the books had been written from an Italian immigrant’s point of view, they were in fact the work of an Australian born-and-bred journalist, John O’Grady (which my instructor also mentioned), who had supposedly written the books after having a bet with his brother, Frank O’Grady.Īlthough the film’s plot was slightly different from the book, the gist of the story was still the same: Nino Culotta, a sports journalist from Italy, arrives in Circular Quay on a passenger ship after having his fare paid by an entrepreneurial cousin who has invited him to work on an Italian magazine he has set up. He had found them funny but they had also helped him to learn a bit about Australia. Secondly, I didn’t learn to drive until I was in my late-twenties, and my driving instructor, who was originally from Sicily, told me about how much he liked the Nino Culotta books, the first being They’re a Weird Mob, which was published in 1957. It was Powell’s style of filmmaking that had influenced Romero when he came to make his low-budget masterpiece, Night of the Living Dead (1968).
Romero, was a big fan of the British director Michael Powell. I’ve become interested in this film for a number of reasons: growing up, I had always liked horror films, and strangely enough, my favourite filmmaker, George A. One of my favourite Australian films is They’re a Weird Mob (1966) – although like that other recently restored classic, Wake in Fright (1971), it was made by a foreign director. Walter Chiari and Alida Chelli on Bondi Beach in THEY’RE A WEIRD MOB
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