O Canto de Jimmie Blacksmith

Fred Schepisi's 1978 film may well be just that but it's not included in my Australian Cinema 12 disc boxed set and I've never known it to be on TV, here. I became aware of it through my old film 'bible' Halliwells and they rated it very highly, awarding a rare maximum score, citing it as 'one of the greatest achievements in Australian cinema'.

It's taken me a good number of years to finally find a copy that was on region of DVD I could play and wasn't a silly price.

The first thing you notice is the sheer authenticity. Language is as brutal as any and is more akin to a Victorian Scorsese than starched collars and stiff upper lips. The language used to describe the aboriginal natives is as coarse and racist as you'll find in any gritty 70's set LA cop show and for that it is both upsetting and rather embarrassing, but at least goes to show the leaps and bounds humankind has largely made on this issue, since.

Jimmie Blacksmith is a half-cast, a subject that has been visited in a few memorable films, particularly 'Rabbit Proof Fence' and as 'these' were often the result of rape against white women, were seen as worse than the lowest. Jimmie (superbly played by Tommy Lewis) does have an advantage, he's overseen by the local white vicar and is known as a hard and honest worker.

He soon goes on to work for white farmers, along with his fully aboriginal brother, erecting fences. Miles of them. He does too good a job and they don't want to pay, so he moves on. His relationship with a white girl, then marriage results in a child, that by colour alone, cannot be his. Then, around half-way in, all this pent-up anger boiling up inside the civilised and decent Jimmie erupts. This is when the violence (extreme in its day, now, maybe sadly, average) erupts as he goes on a vengeful killing spree.

I need not go further than this, except that obviously, he is then a wanted criminal and a fugitive on the run.

There's a real sense of the epic, with cinematic hints and nods to Nicolas Roeg's 'Walkabout', with the natural geography, fauna and the culture all vividly brought to life, superbly filmed by Ian Baker .

Thankfully - hopefully, this can now be seen as a historical drama, the like of which can never happen again. It is as hard-hitting and making as powerful a statement on in-bred racism there is and is without doubt a five star classic.

I have seen this several times and it remains the best film I've ever seen about racial oppression. White Australians are shown to be so deeply convinced of their own superiority they can only see Aborigines as half-human good for nothings. This is the story of a hal-aborigine raised by missionaries who tries and fails to be integrated into white society - even into it's fringes. Everything works here: performances, photography which captures something of 19th century Australian paintings, great music that evoked the tragedy of Jimmy's plight, and intelligent script and direction. The build up to Jimmy's explosion is perfectly sustained, and the violence unforgettable.

Well intentioned and well meant, I am sure, but director Fred Schepisi is perhaps a little too reverent in his interpretation of the original book to the detriment of a smooth and effectively flowing cinematic narrative. There is an awful predictability here and for a lengthy film not really enough for the viewer to get their teeth into. It is true that the violent incident that transforms the action does come as a surprise in so far as the extent of the violence is concerned but it is something that has been signalled for a while. Beautifully shot, this is an attractive looking outback and countryside that is presented but the film is preceded by Picnic at Hanging Rock (1975) which is far more beautiful overall and Walkabout (1971) which is far more dramatic. Jimmie Blacksmith has some fine sequences portraying the indigenous peoples but less maybe is more and these do not seem as dynamic as those in Nick Roeg's film. it is tempting to wonder just how much Schepisi was influenced by the rock formations and aboriginal depiction in the earlier films but it seems a little unfair and if the political and racial issues are a little heavy handed is to be applauded that he tackled them at all.

Deals with the antihero that goes over the edge...beyond obvious comprehension. Many miss the point...."he's half white." This film explore what structural racism produces, especially in that individual that seems to have the chance of crossing lines. Instead these are the individuals that are repeatedly humiliated and demeaned by those they are seeking acceptance from. This is the point of the film. It is the potential from the "half breed" that contextualizes the journey to where is own people/ family see him as a devil. He is a man gone rabid...tormented by the world he does not fit. This film is moving on many levels and provides a glimpse into a history foreign to many. A tragedy in the deepest sense.

Thomas Keneally's THE CHANT OF JIMMIE BLACKSMITH novel works on so many levels - a period piece, as a biting satire and as a wonderfully composed drama. This film of the same name attempts to capture the poignancy and strength of the original classic novel. It achieves this wonderfully. The film is excellently acted and the violence is both well shot and vibrantly enacted. The score is great too. Also the Australian landscape - not to mention its social underbelly, was never shot with as much insight.

An excellent starting point to understand such great Aussie films like the tracker and rabbit proof fence.

10/10