Abstract:
Rowan Woods' 1997 film The boys was released at a time when Australian
cinema had just reached the end of its commercially viable, but at times
rather shallow and gimmicky "Quirky" phase, signalled by films such as Baz
Luhrmann's Strictly ballroom (Australia, 1992) and the Abba-drenched
Priscilla queen of the desert (Elliott, Australia 1994) and Muriel's Wedding (PJ
Hogan, Australia 1994). The boys was an example of an entirely different
ethos which confronted far more serious, uncomfortable and disturbing
themes relating to Australian masculinity and a culture of violence, as well as
articulating a tougher, more arthouse-oriented film aesthetic. Part of this
aesthetic involved a more focused approach to film music and an increasing
tendency, wherever possible, to employ local Australian rock, classical or jazz
musicians to provide film scores which expressed a strong sense of place and
time.
