RED HILL
Australia, 2010, 96 minutes, Colour.
Ryan Kwanten, Steve Bisley, Tom E. Lewis.
Directed by Patrick Hughes.
Bad day at Red Hill.
19th century outback Australia was a frontier which many have compared with the American West. John Hillcoat's The Proposition (2005) was a striking case in point. Would it be possible to make the same comparisons for anywhere in Australia in the 21st century? Outback, of course. But what about the Victorian high country around Omeo?
Red Hill shows that it can – and uses the conventions of horses, prison escapes, guns and shootouts, along with cars, radio phones, to advantage. It is the work of Patrick Hughes, a first feature which he wrote, produced and directed in only 40 days. For quite an elaborate plot and use of outside locations, this is an achievement and Red Hill was selected for the Berlinale Panorama section and was well reviewed.
The action takes place over a day and a night. It is the first day on the job for Constable Shane Cooper who had transferred from the city to a quiet country town to help the health of his heavily pregnant wife. It all seems very ordinary, especially when he listens to the police chief at a pre-breakfast town meeting bemoaning the changes and the likely death of the town.
Cooper's first job is to ride a horse to investigate a mauling of stock – allegedly by a rogue panther descended from animals who had escaped from a travelling circus. The panther makes later symbolic appearances.
However, if we had been listening attentively to the incidental television reports at the police station, we would realise that the film is being set up for a confrontation between an escaped prisoner and the local police.
However, the condemned murderer is an aboriginal brumby tracker who was found guilty of killing his pregnant wife and attempting to kill the police chief. So, as now might be expected, it is a bad day at Red Hill, the police mounting a road blockade and then a hunt, Shane confronting Jimmy Conway, the prisoner, High Noon style shootouts in the main street, ambushes and a final showdown.
The aboriginal issue is the question – as might be guessed about a 2010 film. All is not as it might seem and truth will out.
Tom E. Lewis, more than thirty years after he appeared as Jimmy Blacksmith, is once again an iconic aboriginal figure, his face half-scarred by fire, making it like a horror-movie mask. He stands like an outlaw and speaks only one line, just at the end. Thirty years on from riding with Mad Max, Steve Bisley is the hardened police chief. And Ryan Kwanten, into international stardom in TV's True Blood, is a credible rookie, both naïve and pleasant.
A genre film with an Australian flavour, re-visiting Australian issues.
1.An Australian western, the high country, the comparisons with the American west? The western genre and conventions? Well used?
2.The landscapes and their beauty, rugged mountains, the horses, the panther, homes and roads?
3.The musical score and the overtones of spaghetti western scores?
4.The town of Red Hill, small, the homes, the streets, the information centre, the Aboriginal window? The town hall, the motel, the police station, the shops? Realistic?
5.One day, the first day for Shane Cooper, seeing everything through Shane’s eyes and experience, presumptions about the town, the murderer, the change of perspective, audience involvement, Shane’s involvement and discovery?
6.The information given about the escape, on the television, in asides, the information and the setting?
7.Shane and his wife, the first day, arrival, the reasons for going, his wife’s pregnancy, high blood pressure? Unable to find his gun? Walking to the police station, the police personnel, welcome and unwelcome, going to the town hall, the meeting, hearing Bill speak? Manning and Barlow?
8.Bill and his speech, not wanting change, diehard, the possibilities for change in the town, the role of the government, national park? His exercise of power, influence, the audience's favourable reaction? The speaker and his differing from her? His shaming Shane, not having his gun? Having breakfast, talking? Shane’s story of the young boy with the gun, his being shot, having therapy?
9.The job, going out to Gleeson’s farm, by horse, the mutilation by the panther? Return, knowing how to ride the horse? The language and the documents?
10.The news, Jimmy Conway’s escape, the photo, his burnt face? Looking like a horror mask? A top tracker? The accusation of murdering his wife, the attempt on Bill’s life? The explosion at the prison and his escape?
11.Bill and his plans, covering every road, sending Shane out to cover a road? Shane meeting the vehicle, the elderly couple, Jimmy in the van, the confrontation with the guns, his falling? His first aid treatment, recovery? Meeting the couple again, going back to the police station, finding the dead?
12.Jimmy and his arrival, the gun, not shooting Shane, going to the police station, shooting the men, eating the dessert, taking the horse? The High Noon atmosphere in the main street, the shootings and deaths, the snipers on the buildings? His passing the Aboriginal statue in the window, taking it? His confronting Shane again, not shooting him, taking him to safety? The set-up, his tracking the last two men, the confrontation with Billy? Tricking Billy? Finally shooting him?
13.Bill and the group, the plan, tough, prejudice against Aborigines, their strategies? The truth, Shane hearing more of the truth, handcuffing Billy? The bluff at the end?
14.Shane, his being handcuffed in the barn, the panther passing by, looking at him, taking Barlow’s body?
15.The flashbacks, the truth, the motivation, Jimmy and his protest about the railway, the sacred site? Billy and the posse, burning the house, burning Billy, raping his wife? His wife pregnant?
16.Shane and his help, the final confrontation, the gun, the brothers and Billy’s taunt, shooting them?
17.Jimmy’s final words, saying his wife was pregnant? Having seen that Billy had the book about boys’ names?
18.Rite of passage for Shane? Australian society, history, awareness of the oppression for Aborigines, prejudice? Revenge?
