It's 1922; somewhere in Australia. When a Native Australian man is accused of murdering a white woman, three white men (The Fanatic, The Follower and The Veteran) are given the mission of ... See full summary »
In the Summer of 1969 a young man is filled with the life of the idyllic old pearling port Broome - fishing, hanging out with his mates and his girl. However his mother returns him to the ... See full summary »
A story within a story. In Australia's Northern Territory, a man tells us one of the stories of his people and his land. It's a story of an older man, Minygululu, who has three wives and ... See full summary »
Rolf de Heer,
Western Australia, 1931. Government policy includes taking half-white, half-Aboriginal children from their Aboriginal mothers and sending them a thousand miles away to what amounts to indentured servitude, "to save them from themselves." Molly, Daisy, and Grace (two sisters and a cousin who are fourteen, ten, and eight) arrive at their Gulag and promptly escape, under Molly's lead. For several days they walk north, following a fence that keeps rabbits from settlements, eluding a native tracker and the regional constabulary. Their pursuers take orders from the government's "Chief Protector of Aborigines", A.O. Neville, blinded by Anglo-Christian certainty, evolutionary world view, and conventional wisdom. Can the girls survive?Written by
Casting Director Christine King joined Director Phillip Noyce in an Australia-wide search to cast the three young Aboriginal children: Molly, Gracie, and Daisy. Together, with about eight sub-Casting Directors, including teachers, parents, and community leaders, all armed with handycams, they conducted at least one thousand two hundred interviews looking for what Noyce described as "three tiny needles in a huge haystack." See more »
When Moodoo is first seen riding north along the Rabbit-Proof Fence to meet a police constable he's on the west of the fence. Shortly before the actual meeting he's on the east side of the fence. See more »
See that bird? That's the spirit bird. He will always look after you.
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The painting songs sung by the Walpiri, Amatjere and Wangajunka women were not sacred songs, but were songs able to be performed in public. See more »
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.
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