Through simplicity, more deep and profound meaning often arises. Such is the case for "The Tracker." David Gulpilil, a highly renowned Australian actor from "Rabbit-Proof Fence" fame, stars in this moving epic set in the wilds of the Outback. Although problems like long wandering shots and obtrusive music hinder the film, the feeling of originality transcends these issues to give it an air of brilliance otherwise absent in many films today.
Gulpilil will appear at the festival to view this film and answer questions after the screening. Gulpilil, who also appeared in the critically-acclaimed "Serenades," explores the tensions between the Australian and aboriginal way of life. Gulpilil displays an air of maturity and excellence as an actor. The people of Charlottesville have an immense pleasure with this guest celebrity at the film festival. He brings a new sense of realism to his trade. With a simple glance, his eyes can express great forlorn passion and intensity.
The story of this film is simple: Three men must find an aboriginal man who supposedly murdered a white woman. They enlist the assistance of a "tracker" -- Gulpilil, who is also aboriginal -- to find the convict.
Over the course of the film, the viewer readily observes the distinctions between white and aboriginal men. Law officials clearly consider aboriginals to be subservient to white men -- depicted in this case by a chained leash Gulpilil wears throughout the picture. Characters call out racial epithets loudly and openly throughout the film.
All of the actors in this cast are exceptional, but Gulpilil is by far the most powerful and interesting. None of the characters actually have names, going instead by "the fanatic," "the follower," "the veteran" and "the tracker." The lack of names forces the viewer to focus on their actions and language. Each character is fulfilling a certain role, which, in a way, typecasts them as stereotypical stock characters. However, while watching the film, the audience realizes that these characters are anything but stereotypical. They have their own ideas and do not conform to their role as set forth by society.
The director utilizes an interesting technique when filming certain scenes in the film. For the exceptionally violent portions, (i.e. murders, stabbings, etc.), the film inserts artwork, which illustrates the violence rather than have it acted out on screem. At first this was disorienting, but as the film progresses and more pictures appear, this technique forces the audience to concentrate on the situation rather than the violence. The audience should understand and appreciate the larger meaning and importance at hand rather than be distracted by blood and gore.
Sweeping shots of the Australian landscape and haunting yet intrusive music detail many of the traveling parts of "The Tracker." These are the main drawbacks of the film. It often appears that the men walk for minutes at a time, and although the landscape is beautiful, the inclusion of these shots drags down the otherwise powerful story. The music is equally ethereal in nature, but often becomes annoying and uninteresting.
Other than these minor faults, "The Tracker" showcases the talents of Gulpilil nicely and it is a great pleasure to have him here at this year's festival. It is not very often that Gulpilil journeys to this country, and neither his latest film nor his personal presence should be missed.
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