As soon as I saw Sweet Country on the roster at the Gulbenkian I knew was going to see this film; as an Australian myself and a fan of westerns it was a no brainer. I’ve watched a few Australian westerns before, as well as a decent chink of modern American ones and the John Wayne films that my father made me watch.
Sweet Country tells the story of Sam Kelly (Hamilton Morris), an aborigine farm hand who kills a neighbouring farm owner in self-defence. Unfortunately for Sam, the farm owner was a ‘whitefella’ named Harry March. This leads a group of men from the local town to hunt him down and make him pay for this killing. Set in the Northern Territory frontier in the 1920s, this film is stark, showcasing the harsh but beautiful landscape of the Outback, almost devoid of vegetation.
It is a remarkable film, but not at all what I was expecting. It was extremely slow and the dialogue was minimal – I can only assume, to mimic the surrounding landscape. During the first half of the film I wasn’t sure about the pacing or the lack of dialogue, but as it progressed I realised it was a slow-moving boulder that hit momentum hard and fast. The final scenes are incredibly good and worth the wait.
The performances of the aboriginal cast were all phenomenal; you really empathise with their positions and the strife they feel, but more prevalently their belief that the ‘whitefellas’ stole their land and don’t know what they are doing with it. Hamilton Morris kept me captivated throughout with his calm, collected, and country smart character, while his wife is strong but emotionally battered.
There are two uncomfortable scenes in Sweet Country and they are each other’s opposite. The first is a harrowing moment that had me feeling horrified and slightly sick whilst the other was Sam Neill singing a church hymn in the Outback amidst his awkward travellers in an attempt to lighten the mood, a relief the audience needs as this film is not an expressly happy one. There were moments that made me think of The Proposition by John Hillcoat, to the point I was fully expecting a similar action to occur whilst watching Sweet Country.
It is directed by Warwick Thornton, who has worked primarily as a cinematographer and filled that role for Sweet Country as well. The beauty of this film cannot be understated, with the unique landscape of the Outback highlighted so skilfully it is a wonder for the eyes. The film is also clever and meaningful, but quite emotional. Choosing its moments carefully to break away from the slow pace at semi-regular intervals and keep the audience engaged, it builds gracefully towards a staggering ending.
Thanks again to the Gulbenkian for allowing me to see this film!
by Jack Wierenga
edited by Jules A Maines
Big Lens Film 