Just off the rebound, after finding her beau cheating on her with a blonde hottie, the lovely Parkins travels to the city of love, on a work assignment, where now, the man hating lass, is pursued by hunky and charismatic photographer (Mullinar). Where about, for the first forty minutes of snubbing and literally being horrible to him, a deep romance soon blossoms. Film mostly works cause of a commanding Mullinar in such a witty and human performance, while Parkins is something of. An enigma and beauty. What else has this actress done, as she too makes the film enjoyable. This is a step up for the exploitative Lamond, who like Brian Trenchard Smith, make movies which entertain, though not everyone will agree with me here on this one, but I really liked this, and half given a chance, so will you. Great use of Parisian locations, and landmarks, as well. Film has style too, though Parkins initial dislike towards Mullinar gets straining, but more draining.
2 Reviews
The Breakfast Club.
morrison-dylan-fan27 July 2018
Warning: Spoilers
December 2017:
Just before Christmas,I asked a family friend about what movies he would like me to try and find over the holiday season,and I was given a long list of Australian titles. Tracking them down with relative ease,I got caught by surprise by the last one on the list,being unable to locate any clips,or even a review of this Australian New Wave (ANW) work.
June 2018:
Taking another shot at the flick,I was pleased to find a video on Amazon.Com,only to find the silly money they were charging to post in to the UK. Attempting to find the video somewhere else,I was delighted to stumble on a DVD seller selling it at a good price,which led to me at last having breakfast in Paris.
The plot:
Wanting to escape from her cheating boyfriend,Jackie Wyatt books a plane ticket to Paris. Running into the airport,Wyatt runs straight into fellow passenger Michael Barnes. While Wyatt says sorry,Barnes becomes taken in by her looks. Grabbing a seat near Wyatt, Barnes brushes her initial dismissive snipes aside,in the hope he and Wyatt can have breakfast in Paris.
View on the film:
Backed by a whimsical, chime score from Queens Brian May, director John D. Lamond & cinematographer Ross Berryman casts a deep melancholy atmosphere from wide shots along the cafe's and bars (Australian locations dressed up to look like Paris!) where Wyatt and Barnes romance grows. Straying away from making everything too sweet, Lamond stylishly uses the ANW rawness to bring a fractured mood to the couples exchanges, via closed in shots following the sparks that fly between Wyatt and Barnes off the cuff comments to each other.
As the couple run into each other, the screenplay by Alan Hopgood creates the impression of a whirlwind romance about to unfold. Slyly, Hopgood unties this love at first sight by giving the dialogue a robust edge,which wonderfully opens the possibility of Wyatt shrugging off Barnes advances at any time. Dreaming of Wyatt flying into his arms, Rod Mullinar gives a great performance as Barnes, whose laid-back flirting Mullinar heats up into bubbling passion. Wanting to escape it all, Barbara Parkins gives a terrific performance as Wyatt,whose frosty cold shoulders towards the first encounter are melted by Parkins,as Barnes and Wyatt have breakfast in Paris.
Just before Christmas,I asked a family friend about what movies he would like me to try and find over the holiday season,and I was given a long list of Australian titles. Tracking them down with relative ease,I got caught by surprise by the last one on the list,being unable to locate any clips,or even a review of this Australian New Wave (ANW) work.
June 2018:
Taking another shot at the flick,I was pleased to find a video on Amazon.Com,only to find the silly money they were charging to post in to the UK. Attempting to find the video somewhere else,I was delighted to stumble on a DVD seller selling it at a good price,which led to me at last having breakfast in Paris.
The plot:
Wanting to escape from her cheating boyfriend,Jackie Wyatt books a plane ticket to Paris. Running into the airport,Wyatt runs straight into fellow passenger Michael Barnes. While Wyatt says sorry,Barnes becomes taken in by her looks. Grabbing a seat near Wyatt, Barnes brushes her initial dismissive snipes aside,in the hope he and Wyatt can have breakfast in Paris.
View on the film:
Backed by a whimsical, chime score from Queens Brian May, director John D. Lamond & cinematographer Ross Berryman casts a deep melancholy atmosphere from wide shots along the cafe's and bars (Australian locations dressed up to look like Paris!) where Wyatt and Barnes romance grows. Straying away from making everything too sweet, Lamond stylishly uses the ANW rawness to bring a fractured mood to the couples exchanges, via closed in shots following the sparks that fly between Wyatt and Barnes off the cuff comments to each other.
As the couple run into each other, the screenplay by Alan Hopgood creates the impression of a whirlwind romance about to unfold. Slyly, Hopgood unties this love at first sight by giving the dialogue a robust edge,which wonderfully opens the possibility of Wyatt shrugging off Barnes advances at any time. Dreaming of Wyatt flying into his arms, Rod Mullinar gives a great performance as Barnes, whose laid-back flirting Mullinar heats up into bubbling passion. Wanting to escape it all, Barbara Parkins gives a terrific performance as Wyatt,whose frosty cold shoulders towards the first encounter are melted by Parkins,as Barnes and Wyatt have breakfast in Paris.
See also
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