Romper Stomper (1992)

Before Russell Crowe became a big old charming softy, he was a maniacal ticking time bomb ready to fight any defenseless kid who got in his way. And if you're an adolescent Vietnamese boy in Romper Stomper, you are most at risk. Crowe plays Hando, the head of a handful of Hedonistic Hellions in this Indie Aussie Flick. If you can ignore the deep irony of neo-Nazis in a country like Australia, you will probably find the plight of these white boys quite endearing. You see, after white settlers gently brushed Aboriginals aside to make room for a new colony, white Australians could rest assured that they found a nice dry arid place to set their bums. But watch out! Here come the Vietnamese and suddenly, young angry delinquents like Cackles, Bubs and Champ start to feel a little insecure about their majority status. Initially, things are going peachy for Hando and his hounds. They can bully immigrants, smash and grab, get sloshed and admire Nazi memorabilia. But then the perpetual targets of their hate decide that they are fed up with being sadistically victimized. They decide to attack Hando's heathens on their own turf and re-enact Australian history. Only this time, the Asians are playing the white settlers. After the skinnies get pwned by a friggin flash mob of angry Vietnamese, they are little more than refugees in their own depressing urban wasteland. All they can do to achieve a bit of levity after such a demoralizing defeat is force two men to kiss for a bit of impromptu entertainment. But gay-bashing just doesn't have the redemptive impact it used to have for these goons, and they are forced to sit and reflect on the error of their ways. But unfortunately, there's no mirrors in their souls. After squatting for a while in a garage, they decide it's time to get some revenge! But before they can launch their counter attack, they have to make a supply run. They burglarize the home of a pedophile prick all for the purpose of spreading the gospel. Witness Sonny say, "God sent us." It would appear, however, that the house master is a staunch atheist and doesn't appreciate the noble efforts of sinless Sonny, charitable Champ and benevolent Bubs. Hark the Hando angel sings! This film is a light-hearted romb & stomp from down under. It's a cautionary tale about the perils of neo-nazi love triangles.

Frequently compared to 'American History X', this likewise is a tale of young skinheads and the hate-filled, violent lives they lead. The most obvious difference between the two films is the setting, with 'Romper Stomper' set in the streets of Melbourne, but this is actually a vastly different take through and through, location aside. Whereas the Edward Norton film centres on a skinhead reforming his ways, there are no such character progressions here. The film is extremely non- judgmental of the skinhead characters; there are no discussions of right and wrong with it instead left up to us to judge their actions for ourselves. Another nice touch is how intelligent and well-read Russell Crowe's character turns out to be, knowing Mein Kampf inside out, and yet we only get to know two characters aside from his in any depth. Fortunately, the are both intriguing: Jacqueline McKenzie who has joined the skinheads to escape sexual abuse and Daniel Pollock who acts circles around Crowe in a heartfelt turn as Crowe's only underling who begins to think for himself. More attention to McKenzie would have not gone astray; the atmospheric music score is also sadly often pushed into the backdrop to make way for less moody Nazi-themed songs. Generally speaking though, this is an interesting alternative to 'American History X', even if never quite as powerful.

In the decaying urban squalor of Melbourne's back streets a gang of racist Skinheads live out a crude existence of nazi-rock parties, heavy drinking, and brutal assaults on immigrant youth. Led by psychotic neo-nazi Hando, the gang comprises Davey (his best mate), Bubbs (the underage mascot), Sonny, Cackles, Brett, Champ and Luke, along with their female 'camp-followers' of two dubious Goths and some tough-talking Skin-Girls. Several scenes (one presumes intentionally) eerily remind of "A Clockwork Orange" which adds marvellously if not chillingly to its overall tone, although the film is otherwise a piece of no holds barred realist cinema.When Gabe, a lost soul and deeply troubled young woman, strays into a back-street pub claimed by the gang as their hangout, the subtle cracks in the dynamics between Hando and Davey gradually unfold. As no-less a violent and unrelenting racist as Davey is, he is evidently a gentler more mild personality than Hando, and is to a large extent in Hando's shadow. As Gabe gets it on with Hando becoming the gang's latest auxiliary, Davey is smitten and his interest is not lost on Gabe, who for her part at least encourages his attention…if not craves it.Then a vicious attack on two immigrant men, which starts as an impulsive act of 'political activism', becomes the beginning of the end for the Skinhead gang and for the relationships between Hando, Davey and Gabe. After a terrifying mass fight against an overwhelming mob of Vietnamese men, which towers leagues above anything I've seen in any other 'gang film' and which arcs the entire middle of the movie, the Skinheads end up well and truly on the run. Resorting to basic human instincts and no longer able to conceal their worst personal defects (or in Davey's case, his affections for Gabe), the remnants of Hando's gang try to survive the dire circumstances their actions have brought upon them, and as they continue a catalogue of lawless deeds against those perceived as their enemies, the proverbial time-bomb continues to tick. One by one they fall, as Hando's once iron grip slips to sub-gutter (quite literally in one scene) leadership, forcing Davey to abandon his 'idol' and attempt to go it alone. With a tragically magnificent finale, this is a timeless story which delves into the raw and ugly of our times.

It's hard to imagine many times when you actually think to yourself, 'Hey... I really fancy sitting down to watch a film about Nazi skinheads, beating up people they perceive as different.' However, just because the subject matter is pretty distasteful, doesn't mean that the film's that bad.Naturally, a lot of people claim that this film is 'racist propaganda' and refuse to watch it. However, after spending just over ninety minutes in the company of these 'Hitler worshipping' Aussie thugs, I can't see that their lifestyle would come across as very appealing to anyone – even the very impressionable among the audience. You could hardly want to be like these guys.The other thing 'Romper Stomper' is remembered for is Russell Crowe's performance as the main skinhead character. He does play him well – scarily well. It's amazing that he was able to build what became quite a diverse career on his angry, monotone performance here. Russell and his crew spend their days hunting down 'non white' residents who they're convinced are bringing down the neighbourhood and taking it away from the 'natural' white race. And, when they're not hitting other people, they're also hitting each other while jumping up and down to 'shouty' type skinhead music, spouting the wonders of 'bald-headed fighting men.' Just like 'Trainspotting' was a film about undesirable junkies, this is a film about undesirable skinheads. Neither tells you to behave like those on screen, but both offer a world into a (thankfully) niche group of people and the way they live their lives. You certainly don't have to like what to see to enjoy the film. Just be thankful you don't have Russell and co living next door to you.