Must See Movie...

Good movie but grossly overrated

it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

One of the worst ways to make a cult movie is to set out to make a cult movie.

I found this Australian film listed in the book 1001 Movies You Must See Before Die, like many of the others titles featured, I knew nothing about what to expect, but with good ratings I was looking forward to it, directed by Fred Schepisi (Roxanne, The Russia House, Six Degrees of Separation, Fierce Creatures). Basically set in early twentieth century Australia, Jimmie Blacksmith (Tommy Lewis) is a half-caste young man, child of an Aboriginal mother and a white father, raised by Reverand Neville (Jack Thompson) and his wife Martha (Julie Dawson). With a letter of recommendation from his foster family, Jimmie searches for work and hopes to establish himself, but he faces prejudice and people taking advantage, including his first employer Healey (Tim Robertson) while he is fence building, and his second employer, local constable Farrell (Ray Barrett). Jimmie finds some stability working for the Newby family on their farm, but they treat little better than previous employment, then he meets and marries white girlfriend Gilda Marshall (Angela Punch McGregor), who is already heavily pregnant, she gives birth to a white child, he is upset by the public embarrassment, but Jimmie embraces being a parent. Shortly after the birth, Jimmie's full-caste brother Mort (Freddy Reynolds) and uncle Tabidgi (Steve Dodd) come to the Newby property, Jimmie enlists them to help with fence building, but Mr. Newby uses their presence as an excuse not to provide Jimmie with provisions and pay, meanwhile Gilda refuses a teaching opportunity suggested by schoolteacher friend Petra Graf (Elizabeth Alexander). Furious by his family's mistreatment, Jimmie enlists Tabidgi to help him "scare" the Newby women, threatening them with hatchets, but this suddenly turns into a rampage that leaves Mrs. Newby, Miss Graf, and all the Newby daughters but one infant dead. Jimmy's family are forced to flee, Tabidgi, Gilda, and the child are left behind, while Jimmie and Mort continue to run, they next murder Healey, Jimmie announces he has declared war against all that have wronged him. Soon Jimmie's killings are covered by the press and becomes national news, a reporter questions the butcher, who also doubles as the city's hangman for the police, what may happen to Jimmie when he is caught, Tabidgi is captured and sentenced to death for accessory to murder, he tells that the killing was not part of the plan. Jimmie and Mort still uncaptured come upon schoolteacher McCready (Peter Carroll), they wound him by gunfire, he convinces them not to kill him, instead they take him hostage, the brothers argue about the morality of their crimes, specifically killing women and children, McCready mocks that white people have influence over the native Aboriginies. McCready convinces Jimmie to go alone, Mort takes the hostage to a farm to recover, there a hunting party led by the Neby males and Miss Graf's fiancée Dowie Steed (Peter Sumner) kill Mort. Jimmie meanwhile is shot in a lake, he is able to tend to his wounds and hide overnight, however he is found the next morning and arrested, they try to avoid the townspeople from beating him, in the end the last rights of Jimmie are read by Reverand Neville in his cell, the butcher/hangman observes them, despite his unique physical characteristics, he declares that Jimmie's hanging should go as normal as any other. Also starring Robyn Nevin as Mrs. McCready, Don Crosby as Jack Newby, Mrs. Heather Newby as Ruth Cracknell and Home and Away's Ray Meagher as Dud Edmonds. Lewis does give a compelling performance as the half-Aborigine on a war cry of ferocious rebellion, this film caused some controversy upon its release, not necessarily for its obscenity, but it was caught up in the video nasties panic, the murderous rampage is certainly the memorable material, it is slow at times, but all in all an interesting period drama. Good!

American viewers who expect an old-fashioned story about race in which the minority is treacherous and the white guys are mostly honorable -- "The Birth of a Nation" with African-Americans or "Stagecoach" for Indians -- will be disappointed. So will those looking for a more politically correct story about white arrogance and noble savages -- "Tell Them Will Boy Was Here" or "In The Heat Of the Night".Instead they'll get something more along the lines of William Faulkner's more mature stories, in which race place a central part and there is a history of injustice, but people are people.I don't think I want to get into the plot too much. Jimmy Blacksmith is a handsome, cheerful young man, half white and half Australian Aborigine, industrious and polite. When he leaves the family of the Methodist minister who raised him, he runs into racism in forms that are both petty and materially important.Without much adumbration, there is an explosion of violence involving axe murders and shootings of men, women, and children. We attribute it to racism or, as the Brits call it, racialism. Jimmy feels insulted beyond endurance and finds retribution in murder. But as I write this, a week ago, a twenty-two year old American, went on a killing spree that left seven dead and thirteen wounded. He looked and acted normal, but left behind a long list of complaints about having been mistreated by others and having his importunings turned down by attractive women.Are people like Jimmy Blacksmith and Elliott Rodgers driven to madness by their mistreatment? Or do they decide to kill and then figure out the most logical reasons for feeling the way they do? Both, probably, but to what extent does each process contribute to the act? Deep, isn't it? The film is a reflection of its time. In the 1960s and 70s there were a spate of movies critical of what was sometimes called "the establishment." (Poor Bonny and Clyde, just a couple of kids.) This one isn't so easy. It's ambiguous in the way that life is often ambiguous. You'll have to work at it.

(Spoilers) Jimmy Blacksmith is a young, half-caste Australian Aborigine who has been raised into adulthood by an English minister and his wife. It is 1901 and, as presented, systemic racism is in full effect. To show concern for the Aborigines the minister is intent on "imbuing one with decent ambition." Being half white gives Jimmy an entry into the minister's world, the thinking being that the white half of him might allow him to turn out acceptably well. Jimmy goes along with the thought and tries to fit into the white world, the outcome being that he is tragically caught between two cultures. The minister, seeing that Jimmy has applied himself to getting an education and worked hard, sends him out into the world with a letter of reference. Jimmy takes on fence building at a couple of farms and both times he is given less compensation than agreed on and then given the boot. Then he takes a position with the local police where he obligingly executes the law, even against his own people. After witnessing a monstrous miscarriage of justice he quits that job. Finally Jimmy winds up working on a sheep ranch.The movie is well paced in that with each indignation Jimmy suffers we see his change in attitude from eagerly trying to join the dominate culture to resenting the abuse he suffers because of his race. With each event I also became more indignant. The fuse was set and a sequence of events at the ranch results in a spontaneous explosion of violence. Many may want to avert their eyes during that scene. It left me with conflicting emotions. Everything that happened was perfectly understandable, but hard to condone. When the bad guy finally gets his in a movie, you can usually accept it since he was the bad guy after all. Here the people who are killed are not necessarily bad people. True, they have bought into an evil doctrine, but how many people are independent thinkers enough to buck societal norms?After the killings Jimmy goes on the lam with his brother Mort. The second half of the film deals with tracking them down. And that is not easy, since Jimmy and Mort are skilled at moving about the countryside, being able to move fast and cover their tracks. As a late attempt to stave off the massive search effort Mort and Jimmy take a hostage, a school teacher. The teacher is the unusual person who cares even to think about the problem of racial oppression and how it can lead to violence. He comments to Jimmy and Mort, "You can't say we haven't given you anything. We've introduced you to alcohol, religion, influenza, measles, syphilis, school. A whole host of improvements."The acting is solid, especially considering that playing Jimmy was Tommy Lewis' first screen appearance. The cinematography is noteworthy, with the Australian countryside being used to great effect.Being an American, English subtitles would have helped me.This is based on real events in the life of one Jimmy Governor. Any fictionalized version of real events is always a bit suspect, but this movie has the feeling of authenticity. I hope that is the case, since the movie deals with topics of such gravity that it would be a sin to rewrite the history to any great extent.

This film from 1978 as directed by Fred Schipisi of SIX DEGREES fame and of Thomas Keneally's book - he wrote SCHINDLER'S LIST - is a grim and disturbing depiction set during colonial 19th century Australia of a young Aboriginal man's descent into frustrated violence against his white English landowner masters. It becomes a really brutal film with explicit axe murders, especially against young girls and older women, and it is this visually distressing depiction that ultimately alienated the cinema audience. Jimmy's humiliation and cruel treatment is equally explicit and it is a relentless string of unhappy experiences by his inhumane 'boss' that ultimately causes him to crack - and hack. As a novel it is all in the mind of the reader but as a cinemascope color film, the 'running amok with an axe' sequences make any crowd want to run from the cinema. It was not seen on TV in Australia for almost 20 years and it is not likely to be either without most of the violence cut out, thus blunting the heavy handed message and the ultimate impact. Like poor Jimmy himself, the film version is in no man's land either. Past all that, it is a well made film and with an excellent cast; but very tough going. It fits well into a series of very sharply observed Australian films depicting the British colonial mind and its misunderstanding or cruelty towards Aboriginies: JEDDA in 1956, WALKABOUT in 1970, this film in 1978, RABBIT PROOF FENCE in 2001 and THE TRACKER in 2003. Each and every one are unique and excellent in their story. This one however, is the most violent which does derail its message. White urban Australia run amok is hilarious in a 1966 comedy THEY'RE A WEIRD MOB or demented boozy antics in THE ADVENTURES OF BARRY MCKENZIE in 1972... and alarmingly, horrifyingly realistic, soaked in beer bullets fists and dead kangaroos blood in Ted Kotcheff's superb 1971 drama OUTBACK. See the lot! It is a head-shaking but enlightening string of films, especially if seen in chronological order....like we all did! (may explain why our film makers in the 90s made musicals)