Mystery Road

A detective from a small outback settlement investigates the murder of an Aboriginal girl whose body has been found in a drain under the highway in the outskirts of town. His investigations soon reveal many dark secrets that underpin the town.

A couple of things in particular make this film really successful. Firstly, it has a compelling and deliberately developed mystery plot-line that slowly reveals its secrets; secondly, its Queensland outback location is wonderfully used to add atmosphere and depth. The Australian outback is really a very cinematic landscape, its sheer expanse and seeming endlessness can look great in a widescreen frame and the cinematography in Mystery Road shows again why. The shots of the landscape are often very beautiful. This contrasts quite jarringly with the small country town, which is entirely functional, with no beauty. We really feel the heat as well. This leads to a slowed down pace and a laid-back feel, very much in keeping with Australian life in general. This extends to the slow and deliberate way that the story-line unfolds before us.

The film looks at a few social issues that underpin the mystery story-line such as race relations, prostitution, police corruption and drug abuse. By the end, it would only be fair to say that all of the questions posed by the mystery have not been neatly answered. If anything, this works in the film's favour though as it makes you ponder events even more afterwards. What also helps is that the acting by the entire cast is very good. From the smallest support roles to the lead actors, everyone is excellent. Aaron Pederson in the lead role is particularly impressive. His measured and quiet persona is just the right tone and in keeping with the overall authenticity of proceedings. This is a film almost solely concerned with mystery mechanics at the expense of thriller elements. This, however, changes at the end where we are treated to one of the best shootouts you will see in any film. In keeping with the rest of the movie, this is a gun fight that retains its realism. It's because of this it's so interesting. It's messy and far removed from typical action movie shootouts; consequently it's far more effective. Of especial note are the long distance duels, where the delay between shots are so unusual and add considerable tension. It's an inspired ending to a very good Australian film.

Why was I immediately sold on this movie? Within minutes I was hooked, and stayed with it 100% right through. That, in my case, is an immediate plus point for any movie.

So how did it get me? I guess because it struck me as believable - the characters, the places, the story. Having visited the edge of the Auz outback I fully related to the backgrounds and the characters. The texture and feel of the presentation struck me as the genuine article. I have said it before about top quality film directing - that the feel was more like a documentary with real people and not actors.

The acting was excellent but not of a fine silken quality or in any way slick. Rather the characters were raw and gritty, which could explain some review comments suggesting wooden or poor acting.

This movie felt like a fly on the wall view of the hard side of a tough life in the Australian outback, replete with huge social problems, racism, and defeated and depressed people tying to survive while drugs and crime were eating into the life of the area.

As depressing as was the setting, funny enough, I was not in the least depressed by the movie. There was a strong ethical line and I felt throughout that good would make it in the end.

This is a great movie without any big name actors, without fancy settings, without a great musical score, without great special effects, without bells or whistles of any description. It is totally minimalist art. It's greatness is in the excellent direction, the acting, the cinematography, and a decent enough plot.

There is much to commend in this outback-set crime drama from director, writer and cinematographer, Ivan Sen.

The first scene sets up the whole film most deftly: its depiction of the magnitude of the land at sunset coupled with the place name, Massacre Creek, instantly makes it clear that the vastness of the Australian terrain and inglorious, largely unrepented historic events will frame what follows.

Aaron Pedersen plays the police detective Jay Swan, an Aboriginal returning from 'the city' to his small and extremely isolated home town after a 10 year absence. He is estranged from his former wife, now an alcoholic making a hash of raising their daughter, and also the community in which he was raised. Not fully accepted by the white community either, he is the classic outsider forced to go it alone.

Swan is assigned to the case of a murdered Aboriginal teenage girl whose body is found in a state of some decay quite some time after her violent end. It probably won't come as a great shock to find that the rest of the local constabulary, all white and male, are not only indifferent to the crime but hostile to its investigation, impeding Swan at every juncture. As Swan battles on uncovering corruption, drug dealing and civic sanctioned child prostitution, he starts to shed light on the town's inherent racism and misogyny – there appears to be no one in the town of any authority who is either black or female.

The film is a modern twist on the western genre: the lone lawman coming to town quietly determined to see right is done. It is the sort of role Gary Cooper, John Wayne and Jimmy Stewart all handled with ease 60 years ago. Aaron Pedersen is a worthy successor to these Hollywood greats, compelling in his restrained performance, giving just a hint of the angst beneath his calm exterior but always in control of himself. In the main, the supporting cast is also strong – especially Hugo Weaving as a police officer of dubious integrity and an alluded to murky past.

Like all classic westerns the film's denouement is a good old-fashioned shoot-out. This extended scene is particularly well handled by Sen with tight direction and camera work – although his cinematography throughout the film is praiseworthy.

The film has a few flaws. Early scene dialogue giving the backstory is rather stilted – though this quickly settled down; the minor character of a buffoonish local newspaper reporter was both unconvincing and irrelevant – it was as if Sen felt, wrongly, that his film needed a little comic relief. And I was surprised at the amount of drugs uncovered in such a very small town. I'm no expert but I'd have thought the quantity shown would be enough to supply the whole of Melbourne – including its nearby rock festivals – for a year.

Ultimately, many of the film's plot strands were left hanging which was, ostensibly, rather untidy. But on this, I'm giving Ivan Sen the benefit of the doubt. There was no neat resolution to his film or the crimes it depicts, because there is, as yet, no resolution to the social issues he raised in a non-preachy manner.

"Mystery Road" is a thriller (with film noir overtones) and a western rolled into one. It examines race relations in modern-day Australia, in particular those between the indigenous Aboriginal population and those Australians of European descent. It does so through the eyes of Aboriginal detective Joe Swan (Aaron Pedersen), who returns after a period of 10 years away to the remote small Australian town in which his daughter Crystal (Tricia Whitton) and her mother - Swan's estranged wife, Mary (Tasma Walton) - live. Swan is immediately thrown into the investigation of the murder of a teenage Aboriginal girl, whose body has been discovered in the outskirts of the town. His investigations soon yield a great deal of uncomfortable information, including police corruption, sexual exploitation and the possible involvement in the crime of his ex-wife and daughter (as well as sundry other local residents). The laconic detective has to contend with a complete lack of co-operation from his police colleagues and from the town's residents, who view any form of authority with suspicion and utter disdain. It all leads to a closing shoot-out sequence that is, for once, realistic and which is beautifully filmed. Indeed, one of the film's many strong points is its direction (by screenplay writer Ivan Sen). The cinematography (for which Sen is also responsible) is amazingly good - just about the best I have seen in any film. The cast too are terrific, particularly Pedersen and Hugo Weaving (who plays Johnno, a possibly corrupt white police colleague of Swan's). The only aspect of the film about which I have reservations is the plot, which does not seem to me to hang together. I may have missed something but there appear to be unexplained gaps in parts of the story. Other than that, "Mystery Road", which starts slowly before gradually building up to its dramatic conclusion, is an almost faultless film - and is certainly one that is worth looking out for. 8/10.

Huh! I just watched this new-to-me Australian Outback Neo-Western last night all the way through - it's a long and slow one - and never knew it preceded another new-to-me Australian Outback Neo-Western I discovered a few days ago also out of the blue online: Goldstone.

Now, I thoroughly liked Goldstone way better, and now I'm curious to revisit that one since I'm aware it's a sequel to this film. I really liked this main actor and character in both.

Admittedly, both films featuring (the GORGEOUS) Aaron Pedersen as Detective Jay Swan are incredibly slow, this one really made me feel it. Like this one was tough. Doesn't mean it wasn't good with solid acting, beautiful cinematography and sets, along with those dang Australian Outback flies again, though not as prominent here.

It's just, this time I was a whole helluva lost for the most part. It felt like they did, indeed, have a Mystery for Jay to solve, but it keep going in so many crime-filled directions, I never, ever - in fact - find out the bad guy's overall M.O. That might be just me, so you can watch this and make up your own mind. Or just get it. Frankly, I loved the feel of this movie and surroundings and the intrigue of following Jay around everywhere, I just went along for the ride.

Since few words are spoken by Jay and less understandable ones without captions on from his supporting cast, the background is questionable. Apparently, this Detective left this desert-dirt-n-drugs town in the middle of Nowhere, Outback, to work in the big city, leaving his alcoholic ex-wife and child behind. He's been gone for so long, by the time he mistakenly decides to move back "home," people have turned away from him. In all aspects.

Regardless, a truck driver coincidentally finds a dead teen girl under a highway overpass crossing and Detective Jay's on the case. Oddly alone, but he's always promised help. For the next two hours, he peels back the onion layers on the case and town. This man, again of few words, is as mesmerizing as he is good looking, so that helps since you will stay with him ALL THE WAY 'til the end...of this Mystery Road. I don't even recall more than two shots not featuring him.

I guess, knowing now that there were two movies featuring Jay, I can recommend both as a double-feature night. But, best to start early as both are deliberately slow paced. At least they saved the best of the two for last.

***

Final thoughts: I guess there was a TV series based on this movie and I might watch someday, if it's available. I just now wanna re-watch Goldstone again as I loved it so much and since I know who that Mystery Detective featured in that film is.

Update: I just rewatched Goldstone. I originally gave it 4½/5 stars and now I'm surprised I didn't give it 5/5. If you watch Mystery Road first and then Goldstone, you'll see probably one of the biggest transformations of a character from original to sequel in history. Know his background, know where he came from in the original movie and then see him here, in Goldstone, the sequel and the weight of what he became, what he endured with his daughter...and this sequel, Goldstone becomes a near masterpiece. But, again, it must be watched with Mystery Road. So, I DO recommend a double feature. Funny, tho: Mystery Road is available on Prime while Goldstone is available on Netflix. Hope you have both because they're both worth the journey.