Mystery Road

The negative reviews baffled me and the positive ones can't do Mystery Road enough justice.

From the opening until the dramatic end, the movie is a captivating tour de force. Coming from the U.S. I'm completely ignorant of the racial biases apparently at play in the Australian Outback, and this film subtly puts them on display without having them become overbearing or preachy.

The acting is tops and Aaron Pederson does his subject well, playing him with confidence and understatement. Hugo Weaving's turn as Johnno is also a well-crafted part, not to mention all of the minor roles, all of which came across as completely believable. It's easy to say the Australian landscape had just as large a role as any of the cast, and it read its lines perfectly.

Although there were a few parts where I found it difficult to understand what was said as a result of the local accent, there was no missing the message that was delivered. Again, from beginning to end the movie hit all the right notes, and even its climatic ending delivered a superbly satisfying denouement to the whole.

I've come to appreciate films not produced in the U.S. because they all too often are so formulaic with shallowly cast characters. Mystery Road represents among the best of what I look for in a movie produced anywhere and is tops among such "foreign" films. It is definitely one to catch.

I don't think this is the greatest film ever made, or even Ivan Sven's best, but it's definitely worth a look. You'll have to leave aside any US parochialism (the US experience of place, politics, and film convention all too often stand in as "universal" or "neutral") and accept that this film may be addressing particularly Australian experiences and expressions of place, race, and politics, even as Sven tries to frame these concerns within recognisable genre conventions. His film probably doesn't fully succeed; and like most genre films, there's some predictability and inevitability about the plot line and outcomes. However, there's an excellent central performance and - if you allow yourself to settle into the rhythm the film demands, instead of looking for satisfaction of your own particular expectations/needs - the mood of the piece is affecting. In parts, it reminds me of Wake in Fright. That it presents an Aboriginal man as the central figure - and a policeman at that - "waking in fright" as an outsider in his own town/country is worth thinking about. Is it an "authentic" representation of "the outback"? What would that be? What's "the" "outback"? How would we know it was "authentic", and who has the right to say? Is John Ford's "The Searchers" an "authentic" representation of "the West"? I'm not suggesting this is on the same level as The Searchers, but to write it off as some have on this site seems harsh. Worth a look; it may teach you something about race relations in Australia.

"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.

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.

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.