The Drover's Wife: The Legend of Molly Johnson

A lot of (Australian) people don't like Australian movies. This one takes us back to the glory days with a solid story, good script, characters and across-the-board acting. With the broadest part of the germ of the idea picked from Henry Lawson's short story The Drovers wife (1892), it examines the life of a woman living an isolated life with her children in Australia's Snowy Mountains while her drover husband is away with the cattle. As the layers of the story unpeel the complexity of life on the frontier are revealed. Life is hard and Purcell's character, Molly Johnson, battles to protect and provide for her kids. Reflecting Henry Lawson's drover's wife she's their protector, but this is where the stories depart. This film looks at themes and issues, as current today as they were in the 1800s. Rob Collins is great as Yadaka an aboriginal man on the run, as is Malachi Dower-Roberts who plays Molly's son, Danny. He forms a friendship with Yadaka which helps build trust between Molly and Yadaka whose back-story is interesting and central to the film. Sam Reid plays Sergeant Klintoff who's come to the high country from the UK via South Africa with his wife, Louisa (Jessica De Gouw). He's a good man with a tough job in a small settlement and a vast territory to cover. This is a movie of secrets, about heroism and toughness, and ultimately is positive. Some will say some of the issues (black/white, male/female relations) dealt with are heavy-handed, but I don't think so. It's what happened and is put together to depict the realities of life on the frontier of 'civilisation'. Some of the key points are so subtle you don't realise it's happening until the horse has bolted and destinies are set. There are gaps in the story (for example, how does a very remote place with a minute population have a resident Magistrate let alone a Judge?), but they're not serious, and at the end you're left with an overall satisfaction and in my case, a sense of optimism. Written, produced, directed and acted by Leah Purcell - big job, well done.

If you see one movie this year or don't go out to see movies often, this one is a must see. Leah Purcell did the short story some incredible justice. The landscape and story are just perfect.

Much of the acclaim for The Drover's Wife, it turns out, seems suspiciously like virtue signalling. Yes, it's a lovingly crafted, passionately felt adaptation of Henry Lawson's tale. But it is also a very mixed bag of a film, and much less effective than it should have been. The film's chief virtues are some strong performances and striking cinematography. But the storytelling is repeatedly undermined by dialogue and sensibilities that are more 21st century than 19th century. The dialogue also occasionally gives way to poetic patches that, however much they evoke Lawson, further undermine the dramatic intent. Rather than trust the story, Purcell resorts to some extremely heavy-handed underlining of theme and message - moments in which the film plummets into something akin to second-rate political theatre from an amateur women's collective. A somewhat clumsy and largely ineffective score doesn't help either. Reservations aside, Purcell is clearly a good director, and, for all its flaws, The Drover's Wife is infinitely better than most first films. It's well worth your time; just don't expect the masterpiece some have been trumpeting.

This is a well written story capable of building a strong emotional bond with the audience. A woman raising a family on her own in the wilderness of ancient Australian high country. Excellent acting by Leah Purcell rich with motherly emotions and fierce protector. Rest of the cast supplements too. Clever use of visuals of lush and lonely high country that seem to have no end, is both scenic and haunting at the same time. A wide range of characters that lets this tale touch on many key developments in ancient socities despite all the unlawfulness and savagery. Molly Johnson's life is a wonderful tale that's told well.

What would you do, an outback setting where there's few, not more than a brooding mare, only good for child care, have to take it on the chin, turn a cheek, you just can't win, no escape, there's no way out, just prepare for the next clout.

Leah Purcell leaves us under no illusion, with an outstanding performance, as to the challenges faced by women in the lost and lonely landscapes of 19th century Australia where abuse, torment and oppression are commonplace, and where racism and prejudice prevail - I'd like to say we've come a long way since, but you can make your own mind up about that and the reasons for it, so if this film does nothing other than get you thinking, then it's 90 minutes well spent.