AustLit logo
image of person or book cover 7369731500806849766.jpg
Screen cap from promotional trailer
form y separately published work icon The Big Steal single work   film/TV   humour  
Issue Details: First known date: 1990... 1990 The Big Steal
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Latest Issues

AbstractHistoryArchive Description

'When 18-year-old Danny Clark asks the beautiful Joanna Johnson out on a date, he tells her he owns a Jaguar car, a car he certainly doesn't have, and a car he feels he now must buy to 'prove he isn't lying'. But Danny is ripped-off by an unscrupulous used-car salesman, and when normal avenues of recourse fail, Danny and his mates take revenge on the car yard.'

Source: Screen Australia. (Sighted: 18/3/2014)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Form: screenplay

Works about this Work

Claudia Karven : The Girl Most Likely Alexandra Heller-Nicholas , 2017 single work essay
— Appears in: Senses of Cinema , June vol. 83 no. 2017;
"Film is the Art Form of Today" : An Interview With Nadia Tass Isabella McNeill (interviewer), 2017 single work interview
— Appears in: Senses of Cinema , June vol. 83 no. 2017;
The Big Steal Jane Freebury , 2016 single work essay
— Appears in: Metro Magazine , Autumn vol. 188 no. 2016; (p. 102-111)
Coming-of-age plots were common in the new Australian cinema of the 1970s and 1980s, including some of the most notable achievements, such as Picnic at Hanging Rock (Peter Weir, 1975), The Getting of Wisdom (Bruce Beresford, 1978), and The Devil's Playground (Fred Schepisi, 1976). What was less common was to find them informed by a cosmic spirit, which is what distinguishes The Big Steal. It is not that the film doesn't treat its young protagonist's seriously, as good comedy always does, but rather that there is a really engaging lightness of tone, which Jane Freebury recalls and captures in her essay. She also reminds us of the attractively idiosyncratic contribution the creative team of Nadia Tass and David Parker made of a couple of decades of Australian cinema. – Brian McFarlane
When the Sun Sets over Suburbia : Class and Subculture in Bruce Beresford's Puberty Blues Lesley Speed , 2006 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 20 no. 3 2006; (p. 407 - 418)
Is Your Film Language Greek? Some Thoughts on Greek-Australian Film-Makers Bill Mousoulis , 1999 single work criticism
— Appears in: Senses of Cinema , December no. 1 1999;
'An overview and discussion of the work of Greek-Australian film-makers, and whether the voice they speak with is inherently, deeply Hellenic.' (Editor's abstract)
Can a Screenplay Translate to Text? It's Academic Peter Hutchings , 1991 single work review
— Appears in: The Sydney Morning Herald , 1 June 1991; (p. 43)

— Review of Sweetie Gerard Lee , Jane Campion , 1989 single work film/TV ; The Big Steal David Parker , 1990 single work film/TV
Untitled Jonathan Dawson , 1991 single work review
— Appears in: Australasian Drama Studies , October no. 19 1991; (p. 118-120)

— Review of Sweetie Gerard Lee , Jane Campion , 1989 single work film/TV ; The Big Steal David Parker , 1990 single work film/TV
Blood Oath and a Bloody Beauty M.D. , 1990 single work review
— Appears in: The Independent Monthly , September vol. 2 no. 3 1990; (p. 43)

— Review of The Big Steal David Parker , 1990 single work film/TV ; Blood Oath Denis Whitburn , Brian A. Williams , 1990 single work film/TV
Festival Closes on Joyful Note With Comedy Neil Jillett , 1990 single work review
— Appears in: The Age , 26 June 1990; (p. 15)

— Review of The Big Steal David Parker , 1990 single work film/TV
More of the Same, Only Much Funnier Neil Jillett , 1990 single work review
— Appears in: The Age , 20 September 1990; (p. 14)

— Review of The Big Steal David Parker , 1990 single work film/TV
When the Sun Sets over Suburbia : Class and Subculture in Bruce Beresford's Puberty Blues Lesley Speed , 2006 single work criticism
— Appears in: Continuum : Journal of Media & Cultural Studies , vol. 20 no. 3 2006; (p. 407 - 418)
Is Your Film Language Greek? Some Thoughts on Greek-Australian Film-Makers Bill Mousoulis , 1999 single work criticism
— Appears in: Senses of Cinema , December no. 1 1999;
'An overview and discussion of the work of Greek-Australian film-makers, and whether the voice they speak with is inherently, deeply Hellenic.' (Editor's abstract)
Con Artists and the Big Sleaze Virginia Trioli , 1990 single work criticism
— Appears in: The Age , 20 September 1990; (p. 14)
How to Steal an AFI Award, by D Parker Eva Friedman , 1990 single work criticism
— Appears in: The Age , 12 October 1990; (p. 5,16)
The Big Steal Jane Freebury , 2016 single work essay
— Appears in: Metro Magazine , Autumn vol. 188 no. 2016; (p. 102-111)
Coming-of-age plots were common in the new Australian cinema of the 1970s and 1980s, including some of the most notable achievements, such as Picnic at Hanging Rock (Peter Weir, 1975), The Getting of Wisdom (Bruce Beresford, 1978), and The Devil's Playground (Fred Schepisi, 1976). What was less common was to find them informed by a cosmic spirit, which is what distinguishes The Big Steal. It is not that the film doesn't treat its young protagonist's seriously, as good comedy always does, but rather that there is a really engaging lightness of tone, which Jane Freebury recalls and captures in her essay. She also reminds us of the attractively idiosyncratic contribution the creative team of Nadia Tass and David Parker made of a couple of decades of Australian cinema. – Brian McFarlane
Last amended 30 Aug 2017 10:50:16
X