Crocodile Dundee and the Re-emergence of the "Ocker"
Crocodile Dundee enjoyed one of the most financially successful US releases of any Australian film in recent times. In fact, it holds the earliest release date than any other film in the top ten of these box office figures, being released in 1986 and garnering approximately $174, 803, 906 USD in the US box office. So what was it about Crocodile Dundee that made it so internationally successful at the time, and in such a way so as to still hold the second position of internationally financially successful Australian films despite its release being over 25 years ago?
Source: Screen Australia
Source: Inside Story
It has been argued that what the protagonist of Mick Dundee represents is the image and ideals of a quintessentially Australian male; as McFarlane (2005) argues, Dundee represents a “peculiarly Australian hero; there is absolutely no question of his nationality” (p.126). Dundee’s surface-level heroism is outlined – his appearance as “physically brave”, his “reputation for courage” – but McFarlane notes a “likeably self-deprecating touch” (p.124). Mick Dundee calls back to the “old frontier heroes” of the Australian past, and McFarlane notes that “he’s like a descendant of the brave, leathery, good-humoured bushman, with a touch of the larrikin about him” (2005, p.126).
Mick Dundee acted as the first global representative of “Australianness”. McFarlane addresses Mick’s image as “lean, bronzed Australian manhood” (p.126), therefore perpetuating the stereotype that Australian men must be beautiful, tanned and “manly”. Lucas (1998) further discusses the ever-present tie between the notions of being Australian and being masculine, and argues that these notions are tied to the “Australian cultural experience” (p.138). Lucas further states that Crocodile Dundee presents a “conventional, phallocentric perspective of masculinity... this version of masculinity... is one of singularity, of physical and heroic superiority” (p.139-141). Lucas argues that this perpetuates the notion of man as being in control of his landscape and those who inhabit it, and that this “territorial domination is indicated through the prize of the woman” (p.142).
Many international reviews of Crocodile Dundee, published at the time of the film’s release, provide invaluable insight into how foreign markets interpreted the various representations of “Australianness” in the film, and indicate to how Paul Hogan was perceived as the defining image of Australians to the international spectators at that time. One reviewer described Dundee’s “larger than life character” as being “dear to the Australian national self-image” (as quoted in Crofts 1992, p.218). A particularly interesting interpretation of Mick Dundee comes in the form of a review by The New York Times’ chief critic Vincent Canby, who states that Hogan is a “newly proud Australian, the man who doesn’t apologise for not being born English, who relishes his very own, very pronounced, classless accent and vocabulary” (as quoted in Crofts 1992, p.218).
Crocodile Dundee perpetuated the notion that to be Australian is to be masculine; physically attractive, brave, and in-control of his surroundings. Furthermore, the international audiences were charmed by the apparent unapologetic “classlessness” and “larger than life character” that Mick Dundee performed; thus the stereotypical portrayal of the ocker Australian proved successful to international audiences. The new generation of the "ocker" was born.
Mick Dundee acted as the first global representative of “Australianness”. McFarlane addresses Mick’s image as “lean, bronzed Australian manhood” (p.126), therefore perpetuating the stereotype that Australian men must be beautiful, tanned and “manly”. Lucas (1998) further discusses the ever-present tie between the notions of being Australian and being masculine, and argues that these notions are tied to the “Australian cultural experience” (p.138). Lucas further states that Crocodile Dundee presents a “conventional, phallocentric perspective of masculinity... this version of masculinity... is one of singularity, of physical and heroic superiority” (p.139-141). Lucas argues that this perpetuates the notion of man as being in control of his landscape and those who inhabit it, and that this “territorial domination is indicated through the prize of the woman” (p.142).
Many international reviews of Crocodile Dundee, published at the time of the film’s release, provide invaluable insight into how foreign markets interpreted the various representations of “Australianness” in the film, and indicate to how Paul Hogan was perceived as the defining image of Australians to the international spectators at that time. One reviewer described Dundee’s “larger than life character” as being “dear to the Australian national self-image” (as quoted in Crofts 1992, p.218). A particularly interesting interpretation of Mick Dundee comes in the form of a review by The New York Times’ chief critic Vincent Canby, who states that Hogan is a “newly proud Australian, the man who doesn’t apologise for not being born English, who relishes his very own, very pronounced, classless accent and vocabulary” (as quoted in Crofts 1992, p.218).
Crocodile Dundee perpetuated the notion that to be Australian is to be masculine; physically attractive, brave, and in-control of his surroundings. Furthermore, the international audiences were charmed by the apparent unapologetic “classlessness” and “larger than life character” that Mick Dundee performed; thus the stereotypical portrayal of the ocker Australian proved successful to international audiences. The new generation of the "ocker" was born.