Geração Roubada

I've seen several movies recently ("Adaptation," "The Hours," "Bowling for Columbine," "City of God," etc.), and "Rabbit-Proof Fence" is the best of the bunch. It's a simple story, but a very moving one. In particular, the performances by the young leads, the beautiful cinematography, and the wise, uncluttered script made this a strong cinematic experience for me. Kenneth Branagh was convincing as the racial purity zealot who manages the whole forced removal scheme. I also really enjoyed the subtle changes we see in the mysterious character of The Tracker (played with wonderfully restrained power by David Gulpilil), as his dogged pursuit of the girls eventually gives way to a dawning admiration. And to cap it all off, the closing real-life footage and text postscript leaves the audience feeling simultaneously devastated and triumphant. Wow.

Few films have garnered so much applause (from critics and public alike) with so little. The plot of "Rabbit Proof Fence" can be found elsewhere on this website. Suffice it to say it's about three girls walking and walking and walking and walking and....across some of the most visually austere country on the planet; the Aussie outback. There's little story behind the film, zilch for Hollywood tinsel, and a minimal cast of relative unknowns (except for Branagh's small role). It would be easy to make the case that this film is one long boring flick. However, it would also be easy to make the case it is a beautifully filmed story of courage, determination, and the triumph of the human spirit. I would argue the latter. (B+)

MILD SPOILER AHEAD: This is the 200th film I have reviewed for IMDb and one of the most satisfying. Phil Noyce has produced here a piece of cinematic poetry when it could have easily been tendentious agit-prop. The story from the 1930s of three half-cast aboriginal girls walking 2000 km of Western Australia to escape the clutches of white assimilationists is seen through their frame of reference. We see the harsh beauty of the countryside as they do, not an alien landscape but as their back yard. They have all been brought up in the desert and together know how to survive, a point eventually realised by their pursuers, who then lie in wait at their destination.

The three young girls, Mollie, Grace and Daisy, are stunningly portrayed by Everlyn Sampi, Tianna Sainsbury and Laura Monaghan. Molly, at 14 the oldest, has the largest part but the three of them function together as if they really were sisters. Their mother and grandmother , played by Ningali Lawson and Myana Lawson (daughter and mother in real life) are equally convincing, as is David Gulpilil as the relentless black tracker.

The most difficult role in the film is that of A O Neville (Mr Devil, as the aborigines called him), Chief Protector of Aborigines, a sincere and energetic advocate of the monstrous policy which resulted in a generation or more of half-cast children being removed from their families. It would be easy to pillory Neville as a monster, but Kenneth Branagh manages to give us a rounded picture of a man who was not inhumane, who tried to advance what he saw as the welfare of his charges despite lack of money and enormous logistical problems (not to mention an unco-operative police force). Had it not been for these obstacles the aboriginality of Australia would probably have been reduced to a few scattered reserves in the deserts run as freak shows for tourists.

Some critics of the armchair lefty variety have criticised the movie as not being political enough, and its true there's plenty of room for righteous (or leftist) indignation on the topic of the stolen generation, but I think a more overt political message would have diminished it. Imagine say, if John Pilger had made this film. Instead we have a near-classic. Never I have I seen the visual power of the Australian landscape better depicted, and seldom have I seen a better celebration of the human spirit. And this is a true story. The real Molly and Daisy take their bows at the end. Things didn't quite work out for them the way they might have, but they survived and stayed with their people.

Yes we've seen children-on-the-run films, but such glib commentary demeans this true life drama and its implications in real life. This magnificent and tragic story is yet another must-see in re:the little holocausts that have gone on, even in the most "civilized" nations - in this case Australia. What a touching story of three girls, marvelously portrayed by unknown young actresses, who escape from a horrific government policy, initiated by white supremacist Australia pre-Hitler and Nazi Germany. It is odd to say this is beautifully filmed in the Australian outback... and Kenneth Brannagh, echoing his recent portrayal as Heydrich in "Conspiracy", plays white evil incarnate - a prim bureaucrat diligently doing his government job's mandate - to cleanse Australia of "half breeds" in a most heinous (if not deadly) fashion. It is compelling from beginning to end, and the epilogue is most chilling and bittersweet. Superior and meaningful film making.

This powerful film follows the journey of three young aboriginal girls who are taken from their family and forced to assimilate into an empty culture by the white settlers of Australia. This is known as the "STOLEN GENERATION", a dark period in Australian history which the current prime minister of Australia refuses to say sorry for the past atrocities. But this is not to say that this film preaches or manipulates emotions for political gain. No! It just tells the story with powerful images that allows the viewer to enter the torment of the stolen generation. Dialogue is minimal as our heroes are taken from their family and driven to the other side of Australia. But their will and instinct to be with their strong culture has the girls escape the camp prison and follow the rabbit-proof fence back home. The rabbit proof fence was built down the centre of Australia to contain the plague of rabbits from entering farm land. It was this white-man built fence that lead the girls back home.

As for all journeys, they are filled with internal conflict and confrontations with strangers. These confrontations with certain people show the diverse group of settlers in Australia. Not all were ignorant but most were repressed and abided to the harsh cultured laws. For instance, the girls arrive at a farmstead and are given clothing and food by a white woman. The motherly instinct of this woman understood that the girls had to be with their mothers. But at the same token the farm woman could not jeopardise her own family by looking after the girls or else it would have brought trouble. It was wonderful scenes like these that was played out visually without having to dumb it down with words. As human beings we understand these actions and need no explaining.

The most interesting relationship was the one between the aboriginal tracker in search of the girls. He could sense the persistence of these girls to get home by making it difficult for him to track them down. This he respected and slightly dropped his guard. Once again, a string of images tell of this distant relationship between tracker and girls.

The images also became so strong during the scene when the girls were taken from their mothers in a horrific manner. I doubt there will be a dry eye during that scene. This hooks you in as you then become the spirit of their journey back home.

Only by the performances of the girls do these scenes work because they are so natural and heartfelt. Children who overplay their role just become cute but those who underplay and rely on emotions of the situation deliver a powerhouse performance that a trained actor may sometimes find difficult to achieve. At first the name of a high calibre actor - such as Kenneth Branagh - in an Australian film warns you where the limelight will shine. But Kenneth just took a step back and become another important confrontational figure in the journey.

A bonus is the music by Peter Gabriel. It is a mixture of his famous trademark of world music infused with that of the Aboriginal. It soars and plays with the emotions, maybe a little too much but when you are dealing with a thousand year old culture that has music as its central universe, then you may be able to understand that the overpowerful music is just an extension of that.

Congratulations to all who were brave enough to bring a project of this strength to the screen. And for those who may wonder how I saw the film prior to its release, lets just say I was lucky enough to be at the right place at the right time. And No! I'm not tied to the project in any way because I don't sell out that easily.