Serendipity is a wonderful thing. I’d been researching Australian Cinema and, zapping through the channels on TV, I stumbled across this key film on Sony’s ‘Movies 4 Men’ channel about to start. I’ve always known there was a Vietnam War film from Australia and I thought I’d seen it back in the 1970s, but couldn’t remember anything about it. The Odd Angry Shot was made in 1979 and was based on a novel by William L. Nagle who served in Vietnam as a cook in the later 1960s. The film was written and directed by Tom Jeffrey. Australia became involved in the Vietnam War under the Liberal (i.e. ‘Conservative’) government of Robert Menzies, whereas the UK Labour Prime Minister Harold Wilson refused to bow to American pressure. Vietnam became a signifier of the shift of Australia into the American sphere of influence and away from the UK. The war would eventually become the focus for protest movements in Australia, especially after conscripted men started to be sent to Vietnam after 1966.
The Odd Angry Shot belongs to what seems now to be known as the ‘AFC period’ of production in the 1970s. The Australian Film Commission and the funding agencies of the individual states provided a big boost for Australian production in the second half of the 1970s and it was these films that became known in the UK as the ‘New Australian Cinema’ or ‘Australian New Wave’. Several got mainstream theatrical distribution in the UK and others appeared on UK TV. The Odd Angry Shot didn’t make it to the UK until a 1988 video, but it did get a simultaneous Australian and US cinema release in 1979, presumably because of the subject matter.
The film begins with a combined 21st Birthday/’Going Away’ party for Bill (John Jarratt) who soon finds himself on a chartered Quantas flight to Vietnam. He’s the rookie in an SAS Unit led by Harry, an experienced corporal played by Graham Kennedy. Bryan Brown (‘Rogers’) and John Hargreaves (‘Bung’) make up the quartet who we follow throughout the film. In one sense, The Odd Angry Shot is an unusual ‘war combat’ picture. We don’t get any of the training period for young conscripts – I don’t think we know how Bill gets there. Is he a recruit or a conscript? Does he already know the ropes? Soon we are on patrol and the narrative switches between brief snatches of action – when the ‘odd angry shot’ is fired (and the odd squaddie is killed or badly injured) – and longer periods back in the makeshift tented base camp. This latter is familiar from M.A.S.H (1970) and the TV series that followed. There is a brief R&R visit to Saigon, but mostly the film is about that Australian sense of ‘mateship’. The four central characters are also ‘larrikins’ – that uniquely Australian term for the unruly, whose disdain for authority and search for fun is received with affection by many. There are only a few scenes in which officers appear and they are depicted as quite sensible, the big confrontation comes when the four mates meet a Sgt-Major who tries to be officious and Harry gives him a mouthful. Harry has clearly seen it all before and an officer arrives and backs him up.
The Odd Angry Shot found generally very appreciative audience in cinemas. Reading through the IMDb comments it’s clear that the Australian and US Vietnam vets recognise the accuracy of the film in terms of the preparation for patrols, the quiet and methodical way of advancing on suspected Viet Cong positions and the boredom and attempts to relieve it in the camp. Because of the tiny budget (it was shot in Northern Australia, utilising a military training area in Queensland, for around A$600k) there are no doubt mistakes in the right kinds of helicopters and weapons, but that doesn’t really matter. As several commentators note, it gives a much more realistic depiction of fighting in Vietnam than most of the Hollywood films of the period (the film followed Apocalypse Now and Coming Home but preceded Platoon and Full Metal Jacket. The importance of the film, however, is best articulated in its closing section when Harry and Bill return to Sydney at the end of their tour. There is no triumphant or heroic ending – nothing ‘gung-ho’. They go to a bar (in dress uniform) and answer “No” when the barman asks if they have just come back from Vietnam. They take their beers and sit back with a view across the bay. Earlier, in one of the few ‘speeches’ in the film Harry expresses his world-weary view about being in a dangerous place in Vietnam. ‘We all have to be somewhere, and we’re here.” In this useful review of the DVD, there are quotes from the DVD commentary suggesting that some critics thought the film wasn’t sufficiently ‘anti-war’, but I think that misses the point. The film never attempts to ‘explain the war’, only to present the soldiers’ experiences.
Here’s the trailer for the 2016 restoration of the film by the National Film and Sound Archive of Australia. The entry on the NFSA website is also useful.