In a Savage Land

From a former cultural anthropology student, I have to say, this movie was good from a scholastic point of view. It was like taking a vacation for two hours too. And the beautiful people, and scenery...I thoroughly enjoyed it.

Real Anthropology is of course an impossibility - how can a human study human society objectively? Earlier this century Western scholars were under the comfortable delusion they could apply the eye of God technique (so useful for writing novels) to the study of indigenous peoples in various parts of the earth. The eye of God sees all, but the anthropologist, constrained by his or her own conditioning, saw only a partial picture, or else got it wrong entirely. Thus Margaret Mead saw free love in Samoa, where in reality there was a complicated series of taboos.

This visually gorgeous film, made with great difficulty on location in the Trobriand Islands of New Guinea, is the kind of picture you would get if National Geographic did joint ventures with Mills and Boon. Spunky young anthropology graduate (Maya Stange) marries her handsome if rather remote Professor (Martin Donovan) and they go off to the fabled Trobriand Islands to do a year's fieldwork in the steps of the great Malinowski who described them as the Isles of Love. The Prof has the rather strange idea that he can study a matrilinear society (where kinship is determined by female descent) by talking exclusively to the men. Naturally Spunky has other ideas and soon starts to make waves. Conveniently located nearby is devastatingly handsome Trader Dick (Rufus Sewell) who soon starts displaying an interest in Spunky. Naturally things get a bit tense. Just as the plot gets a bit tedious, Force Majeure in the form of World War Two intervenes. Will Spunky find her lost love? The answer depends on which version of the film you see.

The two anthropologists, neatly outfitted in tropical linen, make bulls in china shops look like brain surgeons. The Prof is supposed to be experienced, yet he plunks himself down in the middle of the village, completely ignoring the fact that not only can he see all through the village, the inhabitants can see him 24 hours a day also. He, or the script writers, had only to read Malinowski's diaries to appreciate the difficulties of this kind of fieldwork. Spunky on the other hand intervenes every time she comes across a local custom she doesn't like, though to her credit after causing a tragedy she comes to see the folly of her ways. Then she overreacts by going native for a while.

The real problem with the film though is that, like Spunky and the Prof, we stay outside the native society, we do not feel with them, but observe them from a distance. The anthropologists, two implausible characters in a half-formed plot, simply do not get inside their subject. The redneck traders understand the natives better even as they exploit them. As one of the traders says, "these are the nicest people in the world and you can't believe a thing they say." That does help to explain how Margaret Mead got it so spectacularly wrong in Samoa.

All that said, Maya Stange as Spunky holds the viewer's attention and Rufus Sewell does a nice understated Trader Dick with a somewhat indeterminate accent - Dick is mean to be American.. Max Cullen turns in a convincing portrait of a weary (and regrettably authentically racist) Australian colonial servant. The photography is as luscious as one could wish. Maybe the producers should have just made a documentary and left Messrs Mills and Boon on the shelf.

Visually this is a stunning movie showing the New Guinea landscape in all its glory. I loved the golden look of many scenes. The performances were very good, with Maya Stange a wonderful surprise as the heroine - although her sudden conversion to native and back again was strange to say the least. Bill Bennett has again demonstrated that he is one of Australia's best new directors.

If you're looking for something a little different and with an unusual setting and story, I'd definitely recommend this. Although filmed under challenging circumstances in a remote part of the world, it is a superb production with great acting performances all round, good direction, visually stunning camera work. Perhaps not one for the average guy, but any gals who like period pieces should really enjoy it.

Bill Bennet's really come of age as a film maker with this masterful epic. Top notch performances from Sewell and Donovan are shadowed by the stunning Strange.

Maya Strange may be unknown to viewers outside Australia, but through small roles in such films as 'Head On' and "McLeod's Daughters" we down in Oz have watched and waited to see her in a role which does justice to her talent. At only 24, she not only carries her own alongside Donovan and Sewell - but also carries the film itself, appearing in almost every scene.

The script by Bennet and his wife Jennifer is layered and complex. The photography, by first time DOP Danny Ruhlmann, is exquisite.