Published 2016 on Down Under Flix
Director: Rachel Perkins
Director: Rachel Perkins
Stars: Paul Kelly, Kaarin Fairfax, Kelton Pall
In
the opening scene of One
Night the Moon, farmer Jim Ryan (Paul Kelly) awakens at his kitchen
table. An empty bottle stands at his side, a remnant from a night of drinking
to numb his pain. But the pain waits in readiness for him that morning, made
clear when he launches into song about having naught to live for. He retrieves
his rifle, passes an empty child’s bedroom, then his own bedroom where his wife
Rose (Kaarin Fairfax, also Kelly’s offscreen wife) lies crumpled and defeated,
then wanders out into the harsh outback. In these few minutes One Night the Moon makes
two things abundantly clear. Firstly, it’s a musical, and secondly, it’s not
one of the toe-tapping, knee-slapping variety. Where some of the best movie
musicals have an inherent weightlessness to them, One Night the Moon is all
weight: oppressive, foreboding weight.
Set
in 1932 and inspired by true events, One
Night the Moon depicts the disappearance and search for a
young girl (played by the offscreen daughter of Kelly and Fairfax, Memphis
Kelly) and the resulting emotional fallout. The local constabulary (headed by
Chris Haywood and David Field) are deployed to investigate, but Jim refuses to
let Aboriginal tracker Albert Yang (Kelton Pall) assist with the hunt for his
daughter on his land. Despite the white search party’s lack of success and
Albert’s continued overtures that they’re looking in the wrong places, Jim
stubbornly refuses to relent.
Director
Rachel Perkins’ debut feature Radiance was
the first film by a female director spotlighted on Down Under Flix (see my review here). That piece included some
troubling statistics about the number of women filmmakers in the Australian
film industry, and more recent reports indicate that things aren’t really getting better. Perkins is a necessary and vital presence in local cinema:
look no further than her bold choice of a 57-minute musical retelling of a
tragic historical incident for her sophomore feature (or, for that matter, her
savvy choice to return to the musical genre a few years later with the
feature-length, commercially slicker Bran
Nue Dae).
One
Night the Moon balances
realism and theatricality. On the one hand, it’s grounded by its setting and
protagonists – weathered, dog-eared individuals occupying severe country
terrain – but on the other hand, it’s liberated from realism by the innate
excesses of its genre. Bolstered by music and song and not tethered to
naturalism, Perkins and co play with some big symbols and amplify even minor
dramatic moments, telling their story in broad, evocative brush strokes. The
phrase “epic but intimate” is a cliché, but it very much applies here: One Night the Moon is
essentially a three-hander human drama comprising Jim, Rose and Albert that
also unfolds against a vast landscape. The film was shot in South Australia’s
Flinders Ranges (also seen onscreen in recent years in Rabbit Proof Fence, The Tracker, The Rover, and Wolf Creek 2), and its makers
milk the contrast between the wide, unforgiving environment and the tininess of
its occupants, alternating between tight close-ups of the actors’ pained,
knotted faces and wider shots pulling back to isolate them in their surrounds.
The presence of music and song also helps achieve this “epic but intimate”
effect, the score adding grandeur to even the minutest of human gestures and
expressions, investing them with a sense of the operatic.
The
film’s music is composed by Mairead Hannan (who initiated the project), Kev
Carmody, and Kelly. Kelly’s screen presence is slightly limited (not uncommon
with musicians on film) but this fits the characterisation of the proud,
pig-headed Jim, and the actor-musician finds expressiveness in his natural
forte via Jim’s singing. Fairfax, an actress with a long body of work
(including television adaptations of Ruth Park’s Poor Man’s Orange and Harp in the South as well
as Young Einstein),
fares better as the family matriarch, prohibited by gender laws and propriety
of the era from taking any meaningful, decisive action. Pall also does great
work as tracker Albert, similarly frustrated by the constraints of the time and
torn between resignation to his lot, anger at his dispossessors, and sympathy
for the missing child.
One
Night the Moon belongs
to a long cinematic tradition of the Australian outback preying upon visitors.
Indeed, when the young child is drawn out of her home at night, seemingly
hypnotised by the moon, it is evocative of the genre’s most iconic work, Picnic at Hanging Rock, in
which Miranda and her friends are called by some unknowable force to some
unknowable fate. Civilised trespassers get ensnared and damaged by their
uncivilised surrounds frequently in Australian cinema, whether at the hands of
the environment itself (Picnic at
Hanging Rock, both original and remake of Long Weekend), the animals that
occupy it (Razorback),
or the human animals who’ve taken residence (Wake
in Fright, Wolf
Creek, Welcome to Woop Woop). In all
these flicks, the land fights back against those who don’t belong, or those who
try to tame and claim it.
This
motif also enables Perkins’ film to address the issue of Aboriginal
dispossession, with Jim reprimanded not only for his misguided pride but his
original colonisation of the land and, symbolically speaking, the
transgressions that preceded him. The film was released in 2001, when the issue
of reconciliation and public apology for white Australia’s misdemeanours
against Indigenous Australians was a source of debate under the Howard Government.
Whilst a public apology would eventuate under the succeeding Rudd Government, a
quote at the end of One
Night the Moon – attributed to Perkins’ father, the Indigenous
rights activist Charlie Perkins – serves as potent reminder that tensions of the
past reverberate in the present and that reconciliation is ongoing: “We know we
cannot live in the past, but the past lives within us”.
One Night the Moon is an impressive, sombre entry into Australia’s small
and eclectic canon of musicals.
Ben Kooyman