User reviews

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.

This is not a fun female cowboy movie. It's not a action-packed western. It's a cinematic tale of identity, endurance, and the construct of justice, which I much prefer to the first two options. The cinematography is unparalleled, the performances incredible, and the story devastating but enthralling. I will say I found the orchestrations in the first half of the movie distracting, and certain side plot scenes contrived, but overall this film is testament to Leah Purcell's overwhelming talent both in front of and behind the camera.

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.

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.

I was hoping for some Ned Kelly style action in this film, but no. Overall I found the whole thing depressing. I would not want to see it again. Usually I enjoy Australian films. Not this one though.

The Drover's Wife (2021) is a powerful, incisive movie that tells the story of a lonely bushwoman who struggles to raise her children and run the family farm while her husband is away. The movie is both a touching portrait of a mother's love and a searing indictment of the isolation and racism that continue to plague rural Australia.

Leah Purcell (who also wrote and directed) gives a powerhouse performance as the title character, bringing both strength and vulnerability to her portrayal of a woman who is fighting for her survival in a hostile environment. Rob Collins, as Yadaka, the Indigenous drover who comes to her aid, is also excellent, and the two have a great chemistry on screen.

The cinematography by Mark Wareham is breathtaking, and the Australian landscape is captured in all its harsh beauty reflecting the harshness of what first nation people had to endure following white settlement. The Drover's Wife is a slow-paced movie, but it's never dull. Purcell takes her time to develop the characters and their relationships, and the result is a deeply moving film that will stay with you long after the credits have rolled.

The soundtrack by Salliana Seven Campbell is also worth mentioning. It's haunting and beautiful, and it perfectly complements the mood of the movie although, on just a few occasions, it didn't quite resonate, for me, with what was happening on screen.

The Drover's Wife explores many themes in multiple layers. For example, the relationship between the drover and his wife is complicated by the fact that he is away for long periods of time, and she is left to fend for herself and their children. There's also the issue of race, as Yadaka is constantly reminded that he is an outsider in a white man's world. And then there are the themes of isolation, both literal and metaphorical, as well as the tyranny of distance. There is

Purcell has said that she wanted to make a movie about love, loss, grief, and country. And she has succeeded admirably. The Drover's Wife is a stunning achievement. It's must-see.

Despite the hype I was disappointed with this film. It´s so full of cliches and has a weak script. The worst thing is the music: electric guitar? This is supposed to be the 19th century. I don´t think electric guitar was invented then. It´s like Tarantino copying spaghetti Westerns. Where´s the originality?

I completely forgot I was watching people acting, I was so involved in this amazing film. It is harrowing to watch at times but highlights the harsh realities of racism, misogyny and violence that continue to this day. As hard as it is to face, maybe it's the dose of reality we all need to continue to create change.

Can't wait to now read the book!

It's ruined by heavy handed diadactics and a basically incompetent director and script writer.

I wanted to like it. I did. I saw the human drama in this Australian (and essentially every nation's) historical struggles and embarrassments with becoming civilized; but phew! The film undertook far, FAR too much SJW (social justice warring) in an hour-and-a-half film, as well as unnecessary subplots, which basically just caused the whole film to finally cave in upon itself in a an overly melodramatic and uncomfortable way. It was a relief when it ended.

Lastly, the entire cast and crew is guilty of allowing embarrassing quality bloops remain in the dialogue. People didn't talk like that in the 19th century! The script writer consistently used 21st Century language which showed a level of laziness and ignorance in the making of the movie. The entire cast and crew should know better! Not one aboriginal person in Australia in the 1800's would ever say sarcastically, "I'm guilty of existing whilst black." I physically cringed and face-palmed at that script blooper as well as the random F-Bombs. The Gen X'rs-to-millennials are apparently so hooked on this multi-purpose swear word that they can't even give it up for a historical film set in the 1800's!?

Also, did NO One on set or acting in the movie care enough to speak up about the obvious language and semantics errors in the script? Apparently they were just sleep-walking through the job. Or no one had the integrity or courage to speak up.

The amateurish mistakes are really too bad because the two empathetic characters were engrossing and the viewer was rooting for them to somehow triumph against the odds.

Overall, a compelling story of historical drama was just lost in this clumsy overreach. I wouldn't advise anyone to watch this, and I think it will downright anger many Australians for this heavy handed SJW film. I am sure the investors in this film are angry too.

We are so accustomed to seeing stories told through the eyes of men. When women or Indigenous people tell their stories some people find it 'virtue signalling' or boring. Where's the western action? The storyline of this film is harrowing, but I didn't find it difficult to watch. It was intensely emotional but neither emotion nor violence was gratuitous. It is incredibly beautiful, the interaction with the landscape carries all the power and mystery of our continent. The story unfolds gradually, and with a definite pace. This move is nothing short of a work of art, so moving, the story line so perfectly crafted, the acting so r powerful, I had to sit for a while afterwards to gather myself.

Aside from some reasonable performances this poorly executed story left me confused and wondering exactly what it was all about. Sub plots emerged and vanished without explanation, it's as if the story was supposed to be 10 chapters long and the budget only allowed for 5. I did enjoy some of the cinematography, but beyond that it is a confusing story line with no semblance of order. There were a number of obvious goofs. NSW became a star in 1901. This story is set before then. Frankly the fact that this production got off the ground is astounding. If you're going to do a period piece at least do your research.

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.

Magnificent performance of Leah Purcell and cast!

Leah Purcell magically directed and act at 'The Driver's Wife' for 5 weeks and 3 days creating this impressive film.

We cried, we laughed, we forgot we were in the cinemas. For a while I felt I was Her. Fighting for my kids.

It's a must watch! Prepare your tissues. 🖤

I like good build ups, don't need action and prefer good dialogues over special effects. I love good stories. But I bearly could focus since this story is told way too slow for me. And the constant stream of music didn't help either. I won't say more because it was said in other reviews already. Reviews are always personal views though.

Serious understatement to say this is an astonishing achievement, Ms Purcell's passion project is riveting and spare from beginning to end. It also takes no prisoners so prepare for your sensibilities to be assaulted.

Please remove the words "The legend of Molly Johnson" as There is no legendary tale here but that of a wife standing her ground for her kids. Which any mother would do. Expected to see some kick ass or crack shot Western story line.

Exist Wilst Black. Octoroons. And a beautiful story about wildflowers. Mankind and women's rights are wanting of this land needing laws, not a moral compass depicted in 1820 by Leah Purcell, Director and Screenplay, as Molly, and her son, Danny, lovingly portrayed by Malachi Power-Roberts. This story is about the courage and love of a woman in desperate and difficult times.

When you look out over the rivers, the hills, and the far horizon with a profound sense of your own littleness in the vast scheme of things, and yet have faith, hope, and courage - which is the root of every virtue. When you know that down in your heart every person is as noble, as vile, as divine, as diabolic, and as lonely as their own self, and seeks to know, to forgive, and to love your fellow humans.

When you know how to sympathize with people in their sorrows, yea, even in their sins - knowing that each person fights a hard fight against many odds. When you have learned how to make friends and to keep them, and above all how to keep friends with yourself. When you love flowers, can hunt the birds without a gun, and feel the thrill of an old forgotten joy, when you hear the laugh of a little child.

When you can be happy and high-minded amid the meaner drudgeries of life. When star-crowned trees, and the glint of sunlight on flowing waters, subdue you like the thought of one much loved and long dead; when no voice of distress reaches your ears in vain, and no hand seeks your aid without response.

What you do for yourself alone will die with you, what you do for others and the world will remain and be immortal. When warranted because of quality of story and significance of filmmakers and actors, I share heartfelt words and incidents of a hateful past with hope.,

BLACK HISTORY MONTH selection from me as a stand out film in my opinion only expressed here hopefully among trusted film lovers. Needed now more than ever before. A global movie addressing pride, bias, prejudice, and discriminating ways of our memories known as truths, love, and relief for those in distress, then and now.

Thank you kindly for the opportunity to write when the film draws emotional responses that should be shared generally among a global audience here at calsonassociates's Reviews & Ratings.2023. SMIB-KMC SR (Scottish Rite)

There's a reason a short story should stay a short story. Not every short can fill the canvas of a feature film. Henry Lawson would roll around in his grave. The fact that Leah Purcell even dreamt that this could be a film for a wide audience is beyond me. The film is disjointed and so slow you start to ask what is the film about? Is it about the treatment of women, some racism? Its trying to have many themes but it doesn't execute them well. You cant tell me that the screenplay was a page-turner, like you couldn't put the script down. Films can be slow if you have an interesting plot and dynamic characters. What a damn waste of a BIGGER budget than most aussie film. This was apparently 8 million dollars, what for?

Great cinematography, great locations, music, costumes and production design, love the colour grading. The child actor was the best thing in the film. Leah's acting is good - not memorable. Rob Collins was a standout and mesmerizing but none of these things were good enough to hold my attention. A waste of a canvas that could have let the right director make an incredible Aussie western. Don't waste your time. Terrible directing by Leah Purcell.

The ending was supposed to be emotional but because of the uninteresting boring journey, it just felt contrived and forced.

Leah Purcell's dedication is unmatched in telling the story of "The Drover's Wife". Writing, adapting, directing, and starring in this tale, she bridges personal reflection with the all too common themes of colonialism, oppression, along with the unsurpassed love in parental sacrifice. Typically the movies presented in this genre are filled with the same a list actors, a predictable plot, and unmet expectations. This film is beautifully shot, with scenes of the landscape that can only be described as breathtaking. Purcell is brilliant as the tough as nails Molly Johnson, and one could easily see her as a frontiers woman driving cattle, living off the land. Our female ancestors had stories that were never shared. Stories of unmet steel and sturdiness, existing in times that were unforgiving for women, especially minorities and indigenous peoples. This film gives space for some of those stories that will never be told, luckily it is in good hands.

The title is the only connection to Henry Lawson short story about a lonely woman living with her children in the highlands. The entire movie plot is completely new and has little other connection to any other cultural appropriation of the orignal tale. The story was written and directed by Leah Purcell who also acted in the lead role. Leah has obviously put her heart into the character, it shows! As Leah demonstrates much stronger in the skill of acting, than her other multitask roles. This story would have been much better as a six-part episode series to retain audience interest and allowing for more of the topics that Leah wanted to highlight, which could have been visited in more informatove detail. Music and graphic design was so outdated I thought I was watching an old-old Australian film from the 1990. The movie's only savour appeal (besides Leah's performance) is the professional artistic filming caturing of the highland landscape.

Leah Purcell has simply outdone herself, completely! I am so grateful that the time has finally come to allow women's voices to be heard without the filter of a man's perspective. This film is just that and it does so brilliantly. Only women can truly tell about the plight of being women in a world where about 70% of the men hate women, and about 30% of them don't even know that they do, and are too ignorant to ever come to the realization that they do.

This film addresses all the horrors that men inflict on women, and the present and coming 'Come to Jesus' reckoning that men are and will experience even more, till it stops. Right now, men still run things and believe that they can continue to abuse women, abuse people of color, burn women alive in the streets after calling her and adulterer in some countries, and destroy the lives of women and the children that they father and abandon, abuse and molest with no consequences. That is all a lie that is coming to an end, and this film is a solid announcement of same. Purcell announces that boldly and clearly in this film, and we are all the better for it if we listen, including the men who don't know any better. They will live to see another day if they learn, change and teach their children better.

A few inconsistencies, like the music. Black is the color of my true love's hair may not have been around during this time period, but we can forgive that.

I am so happy that the re-victimization of women and people of color by romanticizing the exploits and abuse of white men is being portrayed for exactly what it is, abuse, exploitation and victimization. Not one thing more, just evil.

Bravo to Purcell and all involved for this masterpiece!

Molly's a hard woman in the outback trying to raise her kids while the hubby is gone. But she's done some things and harboring an aboriginal guy doesn't help her case. The law finds out that's she's really been protecting herself.