5th Avenue, Manhattan, New York City, New York, USA
Central Park, Manhattan, New York City, New York, USA - (finale)
Columbus Circle Subway, Central Park, Manhattan, New York City, New York, USA - (finale)
Cortlandt Alley, Manhattan, New York City, New York, USA - (fight)
Disused lower level platforms, 9th Avenue Subway Station, Manhattan, New York City, New York, USA
East Village, Manhattan, New York City, New York, USA
Federal Hotel, McKinlay, Queensland, Australia - Walkabout Creek Bar)
Greenwich Village, Manhattan, New York City, New York, USA
Kakadu National Park, Northern Territory, Australia
Manhattan Bridge, New York City, New York, USA
Manhattan Municipal Building, Cnr Chambers & Centre Streets, Manhattan, New York City, New York, USA - (muggers and big knife)
Manhattan, New York City, New York, USA
McKinlay, Queensland, Australia - (Walkabout Creek)
New York City, New York, USA
Newark Liberty International Airport - 10 Toler Place, Newark, New Jersey, USA
Northern Territory, Australia
Plaza Hotel - 750 Fifth Avenue, Manhattan, New York City, New York, USA - (hotel that Mick Dundee stays at in New York)
Queensland, Australia
Subway Station Exit, Manhattan Municipal Building, Cnr Chambers & Centre Streets, Manhattan, New York City, New York, USA - ("That's not a knife. This is a knife!")
Sydney, New South Wales, Australia
Tomkin's Square, Greenwich Village, Manhattan, New York City, New York, USA
UDP Falls, Kakadu National Park, Northern Territory, Australia
Vazak's Bar - 108 Avenue B, East Village, Manhattan, New York City, New York, USA - (bar)
1987 Nominated Oscar Best Writing, Screenplay Written Directly for the Screen, Paul Hogan (screenplay/story) ,Ken Shadie (screenplay), John Cornell (screenplay)
Mick "Crocodile" Dundee (Paul Hogan) is “adopted” by New York reporter Sue Charlton (Linda Kozlowski). After Dundee saves her from a crocodile's jaws, she invites him to return to Manhattan with her to see if the big, bad city is any less dangerous than the bush.. His childlike reaction to everyday things we take for granted gives the story its main appeal.
Some changes in vocabulary had to be made for Americans to understand the Aussie colloquialisms, and several minutes were cut entirely: One scene, however, remained unchanged, although most Americans didn't understand the reference. At the end of the film, Mick is in the New York subway, fighting his way through the crowd, trying frantically to reach his girlfriend, Sue. In a sequence that parallels the familiar sheepdogs walking across the backs of the sheep in Australia (the world's leading sheep-breeding country), Mick climbs over the backs of subway patrons. Australians roared with laughter at this sight gag, while most Americans didn't catch on.
There are two versions of the film: the Australian version, and the American/international version, the latter of which had much of the Australian slang replaced with more commonly understood terms, and was slightly shorter.
This picture was one of fifty Australian films selected for preservation as part of the National Film and Sound Archive of Australia's Kodak / Atlab Cinema Collection Restoration Project.
The wild and ferocious buffalo that Mick Dundee pacified was drugged.
When Paul Hogan gave an interview for Crocodile Dundee in Los Angeles (2001), he put to rest the myth that there was a real Crocodile Dundee. He assured the interviewer that there was not, and that the idea for the character came from his own head. Hogan admitted that on a trip to New York he felt like a complete fish-out-of-water and the idea began to form in his head.
Sue: Weren't you afraid?..….Mick: Of dying? Nah, I read The Bible once. You know God and Jesus and all them apostles? They were all fishermen, just like me. Yeah, straight to heaven for Mick Dundee. Yep, me and God, we'd be mates.
That's incredible. Imagine seven million people all wanting to live together. Yeah, New York must be the friendliest place on earth.
I don't mean to put down your black widow spider, but the funnel web spider can kill a man in eight seconds, just by lookin' at him.
Well, you see, Aborigines don't own the land. They belong to it. It's like their mother. See those rocks? Been standing there for 600 million years. Still be there when you and I are gone. So arguing over who owns them is like two fleas arguing over who owns the dog they live on.
Mick yells at the buffalo; "Out of the way, dopey!", so it's clearly in the way. When he pacifies the buffalo, it lies down in the middle of the road, so he hasn't actually made it any easier to get by it. Incidentally, the next scene doesn't show how they get the truck past the buffalo.
In the subway scene, right after Crocodile Dundee climbs up to walk over the crowd in the subway station, if you look at his feet you can briefly see the platform used to assist him in walking.
Crocodile Dundee is a breezy, fun affair - a trifle that is extremely pleasant to sample and leaves no bitter aftertaste. It's a fantasy that's part romantic comedy and part fish-out-of-water, and, while most of the elements are familiar in a different context, Crocodile Dundee's method of merging them is unconventional enough that the film seems as fresh and unsullied as the Australian bush in which the first half of the movie transpires. Reviewed by: James Berardinelli of Reel Views.
Dundee quickly turns into less an adventure story and more a romantic comedy, as Sue falls for the rugged outdoorsman over her current, smarmy fiancé. This part of the film is forgettable, and the hapless foreigner-in-New York movie has been made countless times before and since, but it's Hogan's natural charisma that made the original Dundee so appealing. There isn't much else original in the film aside from his mannerisms and fish-out-of-water behavior, but it's enough to float the movie for an hour and change. Reviewed by: Christopher Null of Film Critic.
Parents need to know that this '80s comedy features violence and alcohol use -- even one instance of cocaine use. The language and sexuality are on par with most PG-13 films, but there's near constant drinking and cigarette smoking, and several fight scenes. Still, the humor of the "fish out of water" genre conveys some positive themes about Australian and Aboriginal culture, being in tune with nature, and being kind and chivalrous. Reviewed by: Common Sense Media.
