SWEET COUNTRY

Australia, 2017, 110 minutes, Colour.
Bryan Brown, Sam Neill, Hamilton Morris, Matt Day, Ewen Leslie, Natassia Gory Furber, Gibson John, Anni Finsterer, Tremayne Doolan, Trevon Doolan, Thomas M. Wright.
Directed by Warwick Thornton.

Here is a film which should be seen by as wide an audience as possible, especially Australian audiences, both indigenous and non-indigenous.

It is based on events that took place in 1929 and was filmed in South Australia. Director and cinematographer, Warwick Thornton, received great acclaim for his film about young people in and around Alice Springs, Samson and Delilah (2009). Thornton has photographed quite a number of films, including The Sapphires, as well as directing some short stories in The Darkside and an episode in Tim Winton’s The Turning.

At one stage, a remark is made that this desert outback is a sweet country, good for cattle. However, audiences immediately realise that it is not necessarily a sweet country for indigenous people. As the credits begin, there is a close-up of water boiling and racist remarks being made offscreen. Then there is a close-up of Sam, an older aboriginal man in a court case. How did this happen?

Sam (a first screen appearance by Hamilton Morris, highly effective and persuasive) lives with his wife and niece on a land spread, managed by a God-fearing, Bible-reading owner, Fred Smith (Sam Neill). All are equal on this property. Suddenly, a neighbouring landowner, Harry Mitchell (Ewen Leslie) comes to ask for help from Fred and then asking for its permission to take Sam and his family to help with work. Harry Mitchell served on the Western front, does not believe in God’s presence nor in equality. He is harsh with Sam, has a lustful eye on the niece, exploits Sam’s wife. He is also harsh with the young aboriginal lad, Philomach, who belongs to another neighbouring spread.

Complications ensue, the boy, in chains, runs away, Mitchell goes in pursuit, confronting Sam, guns drawn and Mitchell shot. Sam realises that in killing a white man, it will be hard for him to get a hearing and justice. He and his wife go walkabout.

In town, the local policeman, Fletcher, Bryan Brown, is definitely in charge, a touch of the genial but also more than a touch of the arrogant. A significant part of the plot is his going out into the desert in pursuit of Sam and his falling victim to the desert and lack of water.

When Sam gives himself up, a young judge (Matt Day) arrives, rejects the suggestion that the case be held in the bar, takes it outside with a desk and deck chairs. Fred is there in support of Sam.

The court scene is very moving, the young judge, rather inexperienced and a bit full of himself, makes demands in his questions, impatient for answers, not appreciating the pace of indigenous reflection and response.

The screenplay leads the audience to an appreciation of Sam, as well as the old aboriginal man, Archie (Gibson John also in a first film role) who was taken from his family and is subservient to the white owner, to watching Philomach, and wondering where he will finish. But the film also dramatises the exploitation of the indigenous, both men and women, by insensitive and cruel white men, treating the workers as the equivalent of slaves, no respect for them as persons, a rugged atmosphere, a rugged life, with seemingly no future for the indigenous men.

But, in 2018, almost 90 years later, an indigenous director all is telling the story and reminding everyone of the shame.

1. A significant film about indigenous Australians? Post 1788 Australian history? Way to treatment of black people?

2. The director, his interests, films, awards?

3. The need for this kind of film for Australian audiences? To look back into history? To accept history? Consequences for the present and future?

4. The title, Australia in the outback, the outback perspective, indigenous perspective, land and country? The reference to sweet and good country for cattle? Yet the irony of the harsh history and reality?

5. The tone, the initial boiling water, the background voices, harsh violence and races and?

6. The next focus on Sam, his face, in court, the judge in the case?

7. The narrative, the insertion of images which correspond to memories and imagination of the different characters? The effectiveness of this device?

8. Fred Smith, his land, house, Sam and Lucy as equals, a peaceful man, biblical, reading the Scriptures, justice and equality? His life, lending sent to do the work for Harry Mitchell, leaving him as caretaker during his trip to town?

9. Harry Mitchell, the background World War I, not believing all Australians were equal, saying that God was not on the Western front? Arrival by course, disturbing people, his request of friend, his tone, Fred wanting to say no, eventually saying yes? Sam going, the hard work, Harry’s treatment of Sam and his wife, his niece? The accommodation? Lucy and Harry sexual exploitation? Wanting Lucy? A rage, the promise? Lizzie and her shame? Sam and his wanting to protect Lucy?

10. Sam, Amanda dignity, his age, relationship with Lizzie, aboriginal traditions? French treatment? His work, being busy, protecting, upset? Harry’s arrival, the threats, the gun at the door, his shooting, killing Harry? His saying he had killed a white man and expecting the consequences? Going on the run with Lizzie, her walking behind him, in country?

11. Fletcher, his role as the police, importance, self-image? Attending the funeral, his assistant and his death? Sam heading off, giving him the water, going to the pool, Sam watching?

12. The natives, their attack on Lizzie, Sam killing them?

13. Fletcher, the law, tough, his attitudes, in the bar, his relationship with Mel, concerned about her daughter? The daughter’s work amongst the men? The funeral, the aftermath, his pursuit? The screening of Ned Kelly and his closing down? His giving up, the return, sweet, hope, his attitude towards the judge, the clashes, is observing the case, the
verdict, accompanying the group out of town – and the shooting of Sam?

14. Kennedy, tough landowner, his relationship with A Mac, beating him for stealing the balance, Archie and his role in the land, can into despising him, moving him out of the hut, favouring Philip back, giving Phil a Mac the boots, the discussion about his being a witness of the case?

15. Archie, his background, one of the stolen generation, his work, attitudes, for education, his being put down, attitude towards Philip back?

16. For a Mac, the killing, taking the watch in the pouch, going to town, sting the chicken, the bonding with Lucy? Is watching the trial? Throwing the watch in the water?

17. Fred, good man, his code, present at the trial, defending Lizzie, her pregnancy, happy at the result, driving them away from town? The response to Sam’s death?

18. The judge, younger, his importance, not wanting the case in the bar? The encounter with Fletcher, the drink, talk Western Mark the case outside, the chairs, the men of the town standing at the back? The racist attitude towards Sam? His questioning the witnesses, demanding answers? The aboriginal men and women keeping quiet? Slow…? His being fair, appraising the case? Appraising it accurately and letting Sam go?

19. The story from the 1920s, the 21st century perspective, the regrets about the past, the challenges of the past into the present and future?