The Convert

The Convert (2023), based on a story by New Zealand writer Hamish Clayton, is a film that's been a long time coming. Directed by Lee Tamahori, a seasoned veteran of both drama and action genres, it's a film that's been quietly simmering on the back burner since its sales rights were acquired at the 2022 Cannes Film Festival.

I'd done some reading about it a couple of years ago, and it seems the film spent those two years languishing in some production company drawer. The reason, I suspect, is the current state of movie-going audiences. Let's face it, most people (with a few exceptions) aren't flocking to theaters for two-hour (or longer) historical dramas. The box office numbers back this up. And I guess the production company didn't want to relegate this film to a straight-to-streaming/home video release either. They have a point.

Guy Pearce, one of the most talented actors working today, but one who's been plagued by a less-than-stellar career trajectory, takes the lead role. And boy, does he deliver. He's absolutely mesmerizing, bringing a Shakespearean intensity to every scene as if he were performing on the National Theatre stage. It's clear he's deeply invested in the story, perhaps due to its historical relevance to his own background.

Gin Loane, whose work I haven't seen before, delivers stunning cinematography that captures the rugged beauty of the New Zealand landscape. Tioreore Ngatai-Melbourne gives it her all, and it wouldn't surprise me if she snags an award for her performance in this film. (I haven't checked, but it wouldn't be undeserved.)

The Convert is a film that deserves recognition for its acting, well-choreographed fight scenes, seamless integration of the Maori language, and authentic portrayal of 1830s New Zealand society. It's a film that transports you to another time and place, immersing you in a world of conflict, faith, and redemption.

Greetings again from the darkness. Ten years ago, no one would have thought twice about a preacher traveling to a remote island with the given mission of converting souls - both indigenous and British - to Christianity. But much has changed in those 10 years, and writer-director Lee Tamahori (hit and miss with NEXT, 2007; DIE ANOTHER DAY, 2002; ALONG CAME A SPIDER, 2001; THE EDGE, 1997) and co-writers Michael Bennett and Shane Danielson take head-on on the "white savior" backlash that's surely coming their way (not from me).

It's 1830 and Thomas Munro (Guy Pearce) is catching a ride across the rough waves of the Tasman Sea. His beautiful white steed doesn't much care for the boat's ups and downs, and both man and beast are happy to go for a run on the sandy shore once they reach their destination. And that's pretty much the end of the good times. Munro has been hired by the colonists to be their preacher and bring Christianity to the locals ... tribes of Maori. Munro stumbles into the brutal inter-tribe battles and he quickly negotiates to save the life of Rangimai (a stunning Tioreore Ngatai-Melbourne), the daughter of the other tribe's chief.

Early on, we also learn that Munro is no ordinary preacher. He has a past that haunts him - and skills that come in handy in this new environment. Mostly though, he does a great deal of talking - regularly negotiating one thing or another with one side or another. His sketch book offers proof that he's a good man with good intentions, and one who seeks the good in others. What he also learns is that muskets are often more powerful than Christian words.

Munro's mission is aided by Charlotte (a terrific Jacqueline McKenzie) who acts as a translator, while carrying her own personal history of tragedy. Racism is of course on full display, despite Munro's efforts to negotiate peace between the tribes and the always-hovering British colonists. Throughout the film, there are some sloppily staged fight scenes, yet the cinematography from Gin Loane is exceptional. We do get the crescendo of a final showdown, as well as a somewhat surprising ending on display in a "Four years later" epilogue. Director Tamahori hits us very early with a smaller bird being attacked midair by a larger bird, with the survival of the fittest on display - whether here in New Zealand, or most any other place throughout history.

Opening July 12, 2024.

Guy Pearce plays Munro, a lay preacher tasked with looing after a new British settlement on the coast of 1830's New Zealand. The area is riven still with tribal wars and Munro becomes involved in these by accident, during other endeavours.

While this does not pretend to be an accurate retelling of events, it does portray very much the feelings of the time. Tribes who think revenge blood is the only redemption, explorers who think they have a right to other lands, a King who seeks to rule over lands he's never even seen, and the power of the passionate belief of a handful of people.

Munro, an ex soldier who has realised that war is not the route to peace, attempts to convince 2 warring tribes to find a more peaceful way. Of course, this ends in a brief war. However his influence appears to have lain on the victor as he seeks peace from now on with the vanquished.

There is of course a lot of sacrifice along the way of loved ones, some dirty dealing, some giving up of values and some compromise. But is that a fair price to pay for peace?

It's very, very well acted, and the story flows quickly yet in great detail. Guy Pearce is his usual excellent self and the story is inherently interesting and emotional. I liked it a lot so I gave it a solid 7.

A very simple straight forward watch about the start of the invasion of west into new Zealand. I love watching Maori films , but unfortunately majority of them are terrible and unwatchable. Due to all new Zealand TV being pretty cheesy and terrible. When I was there , quality is like watching stuff from the 80's.... Anyway the film has fantastic locations and captures the maori's well . Brutal culture , very tough people. They were way more aggressive than native Indians in usa. Their general rule of thumb is they will cook you until your eyes pop out , then feast on you. This film kept me to the end and I enjoyed the acting and story. It reminded me of the last samurai with Tom cruises character, very similar to the main protagonist in this movie. It has hints of the old traditional movie ' The bounty ' as well. It's a little slow to begin with , but has some fun exciting scenes towards the end.

The Convert, director Lee Tamahori's latest historical epic, takes us on a journey to 1830s New Zealand, a land simmering with tribal tensions on the precipice of British colonisation. We meet Munro (Guy Pearce), a disillusioned former soldier turned lay preacher who arrives at a fledgeling British settlement. When he's caught in the crossfire between warring Maori tribes, Munro's faith and identity are put to the ultimate test.

Tamahori doesn't shy away from the complexities of this period. The film beautifully portrays Maori culture, from intricate haka dances to the spiritual significance of moko (facial tattoos). There's a refreshing lack of subtitles for some te reo Maori dialogue, forcing us to immerse ourselves in the world and appreciate the characters' communication struggles. This commitment to authenticity extends to the production design, with meticulously crafted costumes and settlements that transport us back in time.

The Convert occasionally stumbles in its attempt to balance historical accuracy with crowd-pleasing action. The fight choreography, while intense, can veer into slightly unrealistic territory at times. Likewise, the film flirts with the "white saviour" trope in the first act, although Munro thankfully develops a more nuanced relationship with the Maori characters as the story unfolds.

The performances elevate the film. Pearce delivers a solid portrayal of a man grappling with his past and purpose. But it's Tioreore Ngatai-Melbourne as Rangimai, a fierce Maori warrior, who truly steals the show. Her performance is brimming with raw power and vulnerability, making Rangimai a character we can't help but root for. The supporting cast is equally strong, fleshing out the Maori community and the fledgeling British settlers.

The sweeping cinematography captures the breathtaking beauty of New Zealand's landscapes, with rolling hills and lush forests contrasting with the harsh realities of tribal warfare. The score is appropriately evocative, using traditional Maori instruments alongside a more modern orchestral sound. The editing is generally crisp, keeping the pace steady without sacrificing character development.

The Convert isn't a perfect film, but it's a compelling one. It's a visually stunning and thought-provoking exploration of cultural clash, faith, and the fight for survival. While the action sequences might not be the most grounded and the narrative occasionally flirts with clichés, the film's commitment to historical authenticity and the strength of its performances ultimately won me over. If you're looking for a historical epic that's both beautiful and thought-provoking, The Convert is definitely worth a watch. Just be prepared for a bumpy ride along the way, but one that ultimately leads to a rewarding destination.