The Tracker

It gets off to a slow start. On horseback in the Australian desert, three white men representing officialdom follow close behind an aboriginal man on foot, "tracking" another aborigine wanted for killing a white woman. There's no character development, no explanations, no music ... just four men plodding along in silence.

But the plot gradually picks up as the four men encounter frustrations and problems along the way. This film is unusual in that, from start to finish, it takes place entirely outdoors. The stunning cinematography not only captures the stark beauty of a rugged and unforgiving land, but also creates some memorable cinematic art, most notably the profile of a man, whose corpse dangles in the wind against the background of a bright yellow sun.

For a film about "tracking", the script has little to say about real life tracking skills. At one point the tracker stoops down to notice one small rock that has apparently been moved. The tracker then uses this stone to conclude that the stalked man has recently been here. But how does the tracker know the rock's disturbance was the result of the wanted man, rather than some passing wild animal, or a local aborigine? The tracker doesn't explain, and his three white boss men don't ask.

But the film is not really about "tracking". It's about politics and philosophy. The lead white man is repulsive in his violence and racism. He whips and chains the tracker, and verbally abuses him. Yet, to accomplish his mission, the boss man needs the tracker. The film's theme thus centers on how imperialistic, militant whites overpower natives of a country to get what the whites want, with the help of guns, of course. It's a frequent theme throughout human history, and in its application to American history it is known as "manifest destiny".

Reinforcing this theme is the film's haunting soundtrack. I especially liked the visceral "All Men Choose The Path They Walk". The music adds emotional and philosophic depth to the story, as do aboriginal drawings, or sketches, that figuratively show what is happening, when the film's plot turns violent. The film's casting and acting are fine. David Gulpilil is himself an aborigine, and does a good job as the tracker.

This is an unusual film in that there is not one single scene that takes place indoors. It has a political theme that runs deep, enhanced by haunting music. Although "The Tracker" gets off to a slow start, it build tension en route to a powerful ending. It's a film that would appeal to viewers looking for something a little different, as well as those interested in cultural history or outdoor adventure.

If you've ever wondered why Aboriginal people in Australia want an official apology from the head of government, see this film. They haven't gotten one yet. Maybe later--time moves slowly for the oppressed. Economically savvy, rich conservatives will not want to hear an official State apology rendered. Why? Because, they believe that the "sorry" campaign is a ploy to hit the Austalian Federal Government with a plethora of expensive lawsuits. Rank and file social conservatives, who make up about 10% of the population, just think that Aboriginals should be happy that they've gotten citizenship in "the Lucky Country" and keep their mouths shut.

Each character in "The Tracker" is a metaphor for prevailing historically based and continuing attitudes between the indigenous people of Australia and European settlers. Not only that, but within the dialogues and actions in "The Tracker", one can see the still existing fundamental conflict between European legal traditions and those of peoples who settled Australia some 60,000 years ago. By the end of the film, one can discern the outlines of a lasting reconciliation in Australia based on mutual respect between human beings.

If your'e not already familiar, "The Tracker" will show you what most of the Australian interior looks like. It's hot, red, dry and largely empty. Yet, if you slow down and focus your eyes, there is much more to the land than you might have thought. A good tracker could show you how large a human footprint on this natural setting of the Earth can be. A good tracker can also show you the wisdom inherent in patience and respect.

David Gulpilil plays this tracker and he steals the movie. Rolf de Heer's writing and direction in this film is to be applauded. In fact, I have yet to see a bad film come out of Rolf de Heer's directing. His "Ten Canoes" should have won greater recognition in 2006. Gary Sweet as the racist fanatic was convincing. Overflowing with hypocritical Christian piety, Sweet made me feel sick to be identified as "white". You could almost hear him saying, "We had to kill the blacks in order to save them." Damon Gameau, as the follower, played his role with wooden innocence. Grant Page as the apolitical, amoral veteran was at his best after he took a spear. But, automatons are like that.

I stumbled onto this movie during the Palm Springs International Film Festival. When I noticed folks lined up outside the theatre an hour before the movie, I thought I'd join them. What a surprise! The haunting closeups and aerial views of Australia's outback serve to intensify the interactions of the characters. The music can, and does, appear overpowering at times, but along with an ocasionally inserted "painting", helps dramatize aborigine culture, a key to the film's intent. If you're tired of the usual american formulaic movie, but aren't into the hassle of reading subtitles, this may be for you.

I wanted to like this film more than I did - I wanted to be able to rave about it unreservedly, but I couldn't.

First, I loved: David Gulpilil's performance. Such subtle contempt - almost as subtle as the way he actually tracks the landscape. This is an expression that should be seen more often in Australian cinema, just as there should be more opportunities for actors such as Gulpilil to shine. Secondly, I loved the paintings. At moments of transformation or violence (or transformation through violence - three words that sum up the history of the Australian continent) we were shown a still photograph of powerful, colorful paintings that were obviously (I hope! - I couldn't find a credit for them) by Aboriginal artists.

On the down side, the white actors were not allowed a great deal of subtlety, which was a real shame. In particular, Gary Sweet's character was so one dimensional as to be a little annoying, and I am not sure if this was the writing or the performance. Where was the fear behind the arrogance? Where was the hardness rather than blankness? I know that this was an opportunity for the story of The Tracker to shine, but that is no reason to not have well balanced performances (and writing) for the white characters also - or the story begins to lose its power and punch.

So, on balance, the performance of Gulpilil and the power of the story wins out (also probably motivated by the collective guilty conscience of all Australians) over the one dimensional white characters. A great companion piece to 'Rabbit Proof Fence'.

The music MAKES the movie. I believe the director of the film wrote the words and Graham Tardif did the music. I would kill to get my hands on the soundtrack. Unfortunately, it is an almost unknown movie, so the chance of finding the soundtrack is next to nil. The tracker, fanatic and follower were great characters, as were the last 10-15 minutes of the movie, which in my book earns it a 10. The BEST Aussie movie I have seen. It belongs in the center of the pool room. I can't get the music out of my head. There are long periods without dialogue, just the viewer, the music and the Australian outback - a beautiful place if you know it. If the scenery appeals to you, and you enjoy a good read, then try The Tree Of Man by Patrick White.