‘Shoot the dog, mate.’ The film begins by showing us a low-income community of Snowtown, Australia; a tiny settlement, north of Australia and near the country’s capital. The community is introduced to us through the austere atmosphere, with cramped houses and trailers; as if stuck together in post-modern punk architecture. We see living-room couches outside the houses where people just sit and watch the cars go by. The cinematography is bleak with washed out colours that make the sun-starved, wet neighborhood look even more downtrodden and solemn. Director Justin Kurzel’s feature debut is brave and doesn’t shy away from matters of great sensitivity. The resolute direction often makes the viewer uncomfortable, however the performers and the filmmakers never let go of the obstinate grip they have on the visual styling of the film. Snowtown begins by introducing to us a barrage of characters, each with his or her own demons to battle. Everything is shown as a matter of fact. The director does not delve in to the back story too much. The ‘history of violence’ unfolds throughout the length of this masterpiece. After a baby-sitting job goes awfully wrong, a neighborhood watch is set up. The meetings are held at the victims’ family home and they talk and talk, referencing names and dates and places that make no sense. However, this is the confusing, almost provoking first forty minutes of a 120 minute feature, which the audience cannot do without. Had the director tackled the subject in a different manner, it could have gone wrong. This film also made it to the number 2 spot of a horror films website ‘Most Violent Films’ list (I personally think that is not accurate) – but here’s the thing, although the violence is shown with water-tight and superior editing, it is always after the gruesome act that something evil and highly unsettling starts to unravel itself in the keen viewer’s head; all this while the film continues with its ‘old man and cane’ pace. The restrained, controlled and unyielding acting by the main characters helps build up the not so casual themes of the film; de-realization, poverty, bigotry among others. Justin Kurzel who plays Bunting in the film does a grand job of manipulating and simultaneously being a father-figure to the family. However, Jamie, played by Lucas Pittaway, takes the cake with the inner turmoil always visible on his despondent and beautiful face. This is Pittaway’s first feature length film and I want to see more method/character performances from this actor. In a nutshell, ‘The Snowtown Murders’ moves at a slow place and as mentioned above the acts of violence are succeeded by more potent scenes where the mindless violence shows glimpses of its roots. The film intertwines scenes of violence with the dreary landscape of Snowtown. And as the murders become arbitrary, and non-selective the narrative throws at you scenes of torture and misplaced ideologies, right in your face – with the same unhurried tempo that the film is made with. This predicament alone leaves you feeling hopeless, uneasy and also satisfied at watching the unforgettable and compelling film. This is not your run-of-the-mill serial killer narrative. It goes beyond the boundaries of the genre and travels in to territories that are yet to be defined or explored by new-age Hollywood. Be patient and the pay-off is huge. A strapping watch that takes its time to let the projection and hate grow at their convenience.
Posted on: Mon, 16 Jun 2014 10:09:08 +0000
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