The Proposition

An inspired Hillcoat-Cave collaboration that will repulse and attract audiences in equal measure, The Proposition is a lyrical, enigmatic but brutal examination of the human condition set in early settler Australia. Hillcoat's stark framing and unflinching portrayal of violence is perfectly blended with Cave's multi-dimensional characters, and atmospheric soundtrack.

Captain Stanley goes after the murderous Burns brothers by setting them against each other. His proposition is that middle brother Charlie kill older brother Arthur, in order to save younger brother Mike from the noose. It is expedient justice but also astute psychology on Stanley's part; Charlie seems less than reluctant to take on the task of dispensing with his charismatic but psychotic older sibling.

Stanley's mantra is that he will civilize this land, but his failing is in choosing the wrong target. His treacherous sergeant, feeble superior, and uptight wife together conspire through ignorance and fear to undo the Captain's intent. When Mike is flogged beyond reason and physical endurance, the Captain's moral argument is won, but perhaps at the price of all their lives, as the Burns brothers come seeking vengeance.

Pearce adds impressively to his CV, in an understated but powerful performance as the brooding middle brother. Stanley is not exactly a good guy, but as much on the side of good as it is possible to be in this God-forsaken landscape. It has taken a while to get used to Winstone in such roles, starting with Sexy beast, but he is wearing them with aplomb now. Danny Huston is a pleasant surprise as the educated but deranged Arthur, while John Hurt revels in playing against type. Emily Watson, never less than excellent, embodies the prim Victorian. My own first impression of Australia was flies, flies, flies, and Hillcoat captures this. The question is not why there are so many flies in this film, but why they are curiously absent from other Australian films. They are both a metaphor for the squalor and decay that infest existence, and an acutely observed detail of the arena.

Before the British, other Europeans famously arrived in Australia but considered the landscape uninhabitable. Threaded through The Proposition is the suggestion that they were right.

The broader reference is the existence of our dark side, embodied in Arthur, a Kurtz-like figure, a god-like presence in an inhospitable landscape, facing an assassin dispatched from a 'civilization' that does not like what he reminds them of. The film references Conrad's infamous tale but anchors it in this universal tale of white men's ill-fated attempts to conquer a land where they do not belong. The aborigines tolerate them, or despair of them. "Strange, you whities" says Jacko, while house servant Tobey shows his role as subservient ends at the garden gate, where he leaves his boots and returns to his barefoot roots. Two Bob simply abandons his white mates at the end. Like the land, their attitudes to these invaders range from indifferent to hostile.

The Proposition is less poetic violence than violent poetry. Too much to take in here in one viewing, in time to come this might just match Walkabout as the masterpiece of Australia-set cinema.

Nick Cave's essay in the true and tried Western format, shows how a harsh land (Colonial Australia) brutalizes the men who try and conquer it. Yet this tale has passages of lyricism that counterpoint the sudden moments of savagery. It is a very gritty often grisly picture of 19th Century Australia, warts and all, right down to swarms of blowflies. Perhaps the sadistic violence gets a bit over the top especially towards the end, but thanks to a fine cast, crisp direction, and the scorched cinematography it generally works. A standout performance in a minor role by John Hurt rather steals the show, while Ray Winstone and Emily Watson are particularly sensitive together. One suspects the harsh conditions are somewhat overstated for dramatic purposes, though the story is supposedly based on fact. Tombstone Territory never looked as unpleasant as this. It is certainly one of the most interesting period dramas made in Australia.

Australia is a country in the throws of settlement by the English and lawlessness is rife. As the bloody clearing of aborigines continues, one gang's attack on a white family causes outrage. The pressure is on Captain Stanley to bring in the Burns gang, led by the sadistic and heartless Arthur. When Stanley's men capture the two younger brothers he strikes a deal with Charlie, the elder of the two. In nine days time, on Christmas Day, young Mike will hang unless Charlie has returned with his brother – dead or alive.

The plot summary and the advertising seemed to offer some form of thriller but in reality the film delivers something altogether more interesting and memorable. Set in the Australia outback where settlements are being born and laws being established, the film charts the moral complexities of the good and bad in the story while painting a beautifully bleak backdrop of open space and bloody, pointless violence. It is not an easy film to watch and certainly not one to expect to come out of laughing or feeling good about things. Nor is it a film to go into expecting a traditional plot because it is this area where the film is at its weakest because it is not a "this happened, this happened then that happened" sort of story. This is not to say it is boring but it does require patience for the casual viewer. Personally I found most scenes to be interesting but most admit that the narrative kind of hangs around rather than moving forward firmly in one direction.

The substance is more in the characters than in the narrative and on this level it was engaging. Although the posters and summary will tell you this is about the Burns brothers, it is as much if not more about Stanley and his wife. It is he would has the duality of trying to defeat violence by encouraging it while also heaving under the burden of trying to take this job entirely on his own shoulders while protecting his wife from knowing anything about the real world out in the desert. It is an interesting thread and for my money it was the thrust of the story – the issue of what Charlie will do is actually part of Stanley's story rather than the other way around. With this as the story the film is much better because it does paint a convincing tale around this. The Burns brothers thread is still interesting but less is done with it – with Arthur himself being very little more than an enigmatic plot device.

Style wise the film is fantastic as it delivers a bleakly convincing picture of the birth of Australia. The landscape is beautifully filmed and, although Cave could have done more as writer, his contribution to the soundtrack is as welcome as it is well used. The sudden moments of violence are uncomfortable and difficult to watch. They are delivered in visceral moments of gore that are bereft of any touches that would glamorise the death; here it is horrible and full of flies. Of course you are right to note that a hauntingly stylish delivery should not be taken as a replacement for substance but I think it has just about enough of the latter and an abundance of the former to carry the film as a whole.

The cast are mixed but nobody really turns in a bad performance. Winstone dominates the film with easily the best performance and the most interesting character. His Captain Stanley wears every decision and Winstone allows us to see the effect this country has had on his soul. Watson is also good, simple at first but touched by the violence that her husband cannot defend her from. Pearce is an astute and subtle actor who keeps the audience with his thread even though it is less interesting; however Huston is not used as well as he deserved. He gives a memorable performance but his character is never more than an action waiting to happen. Wilson is convincingly young and his flogging is difficult to stomach, while Hurt turns up in a nice cameo as a bounty hunter. As much as the performances though, the film is about atmosphere, and Hillcoat has done a great job in producing a desolate film that is as beautiful as it is disheartening.

An imperfect film due to the lack of a strong narrative, this is still a memorable affair for many reasons. It looks great, has a great use of music and produces a haunting desolation in the country and the characters. Not a fun night out by any means but for what it is, it is well worth seeing.

Set on an arid desert and sun-baked continent, during the late 1800's British settlement days, Pearce stars as Charlie Burns, one of three brothers that make up the notorious criminal Arthur Burns…

At the opening credits Charlie and his younger brother the 14-year-old Mikey are captured after a bloody shoot out with regional Captain Stanley in the aftermath of a brutal rape and murder… The decent captain is after their eldest brother Arthur described as 'the beast,' and is prepared to do just about anything to get him...

Thus Stanley lays out Charlie an unholy bargain: While Mikey stays in his custody, in jail, Charlie must find, kill or return Arthur or his teenaged brother will be hung on Christmas Day… He has nine days to do so…

Charlie eventually finds his brother but is left with one choice… He must decide if he can live with his decision to either kill Arthur or let Mikey be executed…

John Hillcoat's characters not only strike us with their emotions of grief and pain, or their passion of hate but they are presented in their real states that sway down hopelessness, denial, pity and firm belief…

Pearce combines a touch of kindness to Charlie's character, but it's a touch that keeps out of the way any love… It's, in essence, only enough to add a decisive influence on his personality that makes him unpredictable…

Danny Huston is magnificent as Arthur Burns… His deeply intelligence and totally brutal character is captured in a very good sense…

Richard Wilson, Mikey is given little to do beyond being frightened and horrorized…

Winstone is amazing in the role of the army officer who wants to civilize the place… We feel how his nerves are about to break… He imprisons his wife Martha for safety and protection caring at the same time about her delicate sensibilities…

Emily Watson is absolutely stunning as the fragile woman whose gentleness captures convincingly the character of Emily, the innocent wife who cares about her husband, her house and her perfect "garden" but her way of life is so far away from the reality of her surroundings…

John Hurt gives an interesting performance as the deranged bounty hunter…

"The Proposition" is too violent, too dirty, too bloody, and too barbaric to be forgotten so easily

Following the rape and murder of a colonial family, outlaw brothers Charlie and Mikey burns are captured by ruthless local lawman, Captain Stanley. Rather than imprison both fugitives, Stanley presents Charlie with a proposition (though it's really a demand) that Charlie kill his older brother, and gang leader, Arthur or else Mikey will meet his demise at the end of a hangman's noose. It is a proposition which will have karmic repercussions for all involved.

Directed by Brisbanite John Hillcoate from a script by Aussie indie icon Nick Cave, this film has some of the most gorgeous photography of the Australian outback ever committed to film, showcasing it's unique desolate beauty in it's dust, flies and exquisite sunsets.

Hillcoate assembles a very fine ensemble cast, most notably Ray Winstone as Captain Stanley and Guy Pearce as Charlie Burns - two actors performing at the top of their game. Danny Huston is effective as Arthur Burns, a man whose serene exterior belies his vicious temperament. Other performers include Emily Watson and John Hurt, as well as fine Australian talent David Wenham, Leah Purcell, Tommy Lewis and quintessential movie aborigine David Gulpilil. All performances are excellent.

Despite it's high violence quotient, the film has an admirable lack of moralistic tone. There are no obvious good guys and bad guys, all the characters are shades of grey possessing both positive and negative attributes, although some characters may lean one way or the other. In particular, Captain Stanley has a good heart though history may judge his methods of justice with contempt, and Charlie Burns has a fierce sense of loyalty and honour but his associated family ties have led him to commit horrific crimes. Even Captain Stanley's wife, Martha, in all her Victorian innocence and naivety, has a dark side to her soul; an attribute which will further propel all towards their destinies.

It's strong subtext of white colonialists' condescending treatment of the aboriginal population puts this film in fine company with other Australian indigenous-themed films such as Fred Schepisi's The Chant Of Jimmy Blacksmith, Nicholas Roeg's Walkabout, Rolf de Heer's The Tracker and Phillip Noyce's Rabbit Proof Fence. The Proposition is the best of these. This is a big call, I know, but the fact is that none of those other very fine Australian films possess the tension which so completely permeates Hillcoates' picture. This film represents a major achievement for both Hillcoate and Cave and is the best Australian film to leave these shores since Ray Lawrence's Lantana.

8.5 out of 10.

Slick. :cool: