The Tracker
ArtMattan Prods.
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
- 7/9/2004
- The Hollywood Reporter - Movie News
The Tracker
ArtMattan Prods.
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
NEW YORK -- Australian director Rolf De Heer's Outback saga "The Tracker" has the punch of a good Western with a clean and direct script plus an adventurous use of songs and folk paintings. The film's single-minded, somewhat stylized approach reminds of Clint Eastwood at his most economic and brutal -- "High Plains Drifter", for instance. "The Tracker" has no warm moments and few scenes of redemption. General audiences will probably find these raw emotions a tough watch, though critics and cineastes will certainly be impressed. The story's similarities to Philip Noyce's talked-about "Rabbit Proof Fence" could widen its boxoffice appeal.
De Heer's script tells of four very different men on the trail of an Aboriginal fugitive in 1920s Australia: The Fanatic (Gary Sweet, from De Heer's more recent "Alexandra's Project"), a racial supremacist who hates all Aborigines
the Follower (Damon Gameau), a nervy rookie policeman
the Veteran (Grant Page), an aging conscript with no stomach for his job
and the Aboriginal Tracker (David Gulpilil), who seems content to do the white men's bidding.
As the quartet range deeper into the Outback, conflicts develop. The Fanatic murders any Aborigine he comes across. These acts of violence gradually alienate him from the Follower. The Tracker, in his element, coolly manipulates the situation to his advantage and finally dispenses rough justice to the white men.
De Heer's approach to narrative is unusual. He allows folksy songs (written by Graham Tardif and sung by Archie Roach) to run at length over the images. Far from being background music, these songs elucidate both the history of the treatment of Aborigines and the feelings of the Tracker. The acts of violence are represented by Aboriginal paintings inserted into the narrative. Ian Jones' cinematography emphasizes the vastness of the land, effectively using a quick zoom -- usually the most reviled of photographic techniques -- to pick out a relevant feature or character in the Outback.
The film is unequivocal in its depiction of how the settlers sought to destroy Aboriginal life and culture.by Stephen Hopkins and Eric Bross. Hopkins, whose experience at action shows includes directing "24," brings a brisk pace and a sharp eye for composition to the first night. Bross maintains the roller-coaster ride on the second and third nights, eliciting strong but restrained performances. In particular, Koteas shines as the mysterious but dedicated agent juggling long-distance family responsibilities with a job that doesn't come with a well-defined playbook.
Vancouver fills in for Seattle thanks, in part, to geographical proximity and similar climates. Scenes of foreign locales, also shot in Vancouver, are more generic and slightly less convincing.
TRAFFIC: THE MINISERIES
USA Network
Initial Entertainment Group
Credits:
Executive producer/writer: Ron Hutchinson
Producers: Stephen Hopkins, Jay Benson
Consulting producer: Ilene Kahn Power
Directors: Stephen Hopkins, Eric Bross
Director of photography: Joel Ransom
Production designer: David Fischer
Editors: Tod Feuerman, John Duffy
Music: Jeff Rona
Art director: Don Macaulay
Set decorator: Dominique Fauguet-Lemaitre
Casting: Mary Jo Slater, Steve Brooksbank
Cast:
Adam Kadyrov: Cliff Curtis
Mike McKay: Elias Koteas
Brent Delaney: Martin Donovan
Ben Edmonds: Balthazar Getty
Carole McKay: Mary McCormack
Fazal: Ritchie Coster
Ronny Cho: Nelson Lee
Alex Edmonds: Tony Musante
Tyler McKay: Justin Chatwin
Kahn: Brian George
Angie: Jennifer Rae Westleyear="none" />Editors: William Morris, Teki Cruickshank, Adrian Herrera, Fred Hawthorne, Marc Cahill, Michael Auerbach, Brian Horn, Jeff Cooper
Host: George Gray
Starring:
Todd Santos="none" />No MPAA rating " />Shane McCutcheon: Katherine Moennig
Dana Fairbanks: Erin Daniels
Alice Pieszecki: Leisha Hailey
Kit Porter: Pam Grierppencott, David Vanacore, Mark T. Williams
Main title theme: The O-Jays
Casting: Rob LaPlante...
- 1/27/2004
- The Hollywood Reporter - Movie News
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