The Tracker

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.

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.

I left this brilliant film being excited and proud to be an aspiring Australian film-maker. What a film experience. Surely this is one of the great Australian films, certainly of this current year and without doubt for a long time. I say this film made me feel proud but really, as I was sitting after the film enjoying the warm sunshine and the beauty of the Sydney Opera House and the Sydney Harbour, I was quite ashamed and saddened to be an Australian. The film deals with a very dark and still repressed area of Australian history that goes to the very heart of what it means to be an Australian, what out heritage is and what our role is in relation to this heritage. Rather than give a synopsis (they are always so boring) of how the film deals with these issues, I would just simply implore everyone everywhere (not just Australians) to see this film. I really believe the film has importance and resonance for all people, apart from its issues and meaning I think the film is simply film-making of the highest calibre. Bold, creative, subtle at times as well as appropriately disturbing and unsettling when it needs to be. Rolf De Heer has surely made his best film, a film to make you stand up and take notice of his ability. Visually beautiful (what an amazing country we have) and the use of Aboriginal singer Archie Roach's haunting songs is inspired and integral to the film's impact. I have to make special mention of the actors. Basically the film is a four-hander with Grant Page, Gary Sweet, Damon Gameau and David Gulpill giving outstanding performances. Particularly Sweet, giving authority and complexity to a unlikeable role that Australians would be not used to seeing after his television appearances. Can I also reserve a particular rave for Damon Gameau who plays the role of the young follower. Gameau, just out of drama school, is a real find. The Australian press have not given him the praise that he deserves and acknowledged the exceptional way he manages to convincingly capture the complicated shifts in the arc of his character's journey. For me at the end of the film, Gulpill and Gameau together onscreen deliver the film's final moments with such sensitivity and beautiful chemistry that you can't help but be incredibly moved.

Finally I want to say that above all, at the centre of the story, David Gulpill is just extraordinary (one interviewer described him as our biggest Aboriginal movie star, certainly his performance has to be the highlight of his long and significant career.)You feel everything this film has to say, every part of its journey in his performance. You feel the injustice, the horror, the abuse, the loss of culture and identity. Conclusively, you feel for real that being an Australian means acknowledging that our country, as we now know it, was founded on the invasion and near-obliteration of a pre-existing people and their culture.

As far as Western films go, the Tracker is nothing groundbreaking or particularly accomplished. I'd compare it to Anthony Mann's Naked Spur, another beautiful looking wilderness bounty-hunter film with a primary interest in psychological tension between morally ambiguous characters. Like Naked Spur, there is a trickster figure, an innocent, a veteran trailblazer, and a sadistic military figure. There is plenty of intrigue between characters as new situations arise, but The Tracker lacks the complexity of the screenplay thanks to the director's political heavy-handedness. Gary Sweet's character is not convincing or particularly well developed, as his simplistically evil nature makes him highly predictable and almost comedic. While I enjoyed the music on its own merits, I agree with another commenter that it leaves little room for the viewer to come to his own conclusions about the characters.

On the other hand, there are some great moments, such as the Tracker's improvised trial of the Fanatic, which causes one question how capital punishment becomes perceived as legitimate. The Tracker's adoption of white traditions and religious rites causes us to view him differently than we would otherwise. The circumstances of the Fanatic's dependence upon the Tracker and the Tracker's dependence upon the mercy of the Fanatic create an intrigue that is again reminiscent of the Naked Spur. Aided by the beautiful scenery of the outback, the cinematography is very nice, and the editing is distinctive as the film maintains a slower pace with spacious musical and visual interludes that are sometimes kitschy but occasionally effective. Overall, this was I film that I thoroughly enjoyed, even if the screenplay wasn't as powerful as I had hoped.

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.