With Australia Day celebrated, commemorated or wish consigned to the dustbin of history for another year, I can think of no better film to see at the moment than HIGH GROUND, an exquisitely executed and brilliantly acted production concerning Frontier encounters between the conflicting cultures of Indigenous Australians and the conquering colonialists.
HIGH GROUND presents the view that there really is no such thing as ‘settlement’ it’s all about conquest.
The picture begins with a pleasant peacefulness, a boy being initiated into the way of the land. There’s a tranquility to this enterprise, an idyllic quality, and yet, director Stephen Johnson imbues a sudorific anticipation of something sinister that is going to cause upheaval to the harmony.
The serpent in paradise is the white settler, a nomenclature that is a contradiction in terms as their actions are totally unsettling to the traditional tenants of the land.
Faced with the myth of Terra Nullius, it would seem that these white colonists had to make the myth reality. Annihilation of inhabitants who were allegedly non existent would propagate the myth. Motive for massacre.
The young fella, Gutjuk, survives the slaughter, succored by Travis, a sniper returned from the First World War. He takes him to the safety of a Christian mission but unable to deal with his part in the massacre and the ensuing cover up, Travis leaves and disappears into the bush.
Fast forward twelve years later, the now 18-year-old Gutjuk hears news of the ‘wild mob’ – a renegade group of Indigenous warriors causing havoc along the frontier attacking and burning cattle stations, killing settlers. It’s said their leader is Gutjuk’s uncle, Baywara thought also to be a survivor of the massacre.
Cruel coincidence conspire to skein Gutjuk and Travis, entwining their fate to help him track down the Wild Mob. As Travis and Gutjuk journey through the outback they begin to learn about each other and some uncomfortable truths arise.
In his feature film debut, Jacob Junior Nayinggul is striking as Gutjuk, proud, conflicted, committed.
Producer/Actor and co-founder of the band Yothu Yindi Witiyana Marika plays Grandfather Dharrpa with profound wisdom and gravitas.
Quite a revelation in her feature film debut is Esmerelda Marimowa, as Gulwirri, a fierce warrior woman of the Wild Mob. It’s a representation of individual and community strength and integrity, speaking on-screen in Kunwinggu, the language of her people. Looking into her eyes you see an unutterable sadness, the legacy of a life deprived of tenderness.
Simon Baker is stoically conflicted as Travis, returned from defending Australia overseas only to feel, rightly so, as a shameful hypocrite and complicit player in the appalling treatment and Jack Thompson is bloody brilliant as Police Chief Moran, exuding all the callous, culturally insensitive chauvinism that fed the white supremacist paternalism that pervades political thought on Indigenous Affairs still.
HIGH GROUND is about country and the key locations are the stone and floodplain country around the East Alligator River near Gunbalanya (Oenpelli) and the glorious Cannon Hill and Gunlom Falls in World Heritage listed Kakadu National Park. It is awesome country beautifully shot by cinematographer, Andrew Commis.
HIGH GROUND raises the bar high as a human drama, infused with entertaining, engaging storytelling. It’s a story of fear, treachery, heroism, sacrifice, freedom and love, misguided beliefs, an unequal struggle for power, and grief. All the ingredients of a successful recipe to thrill, excite and enlighten.
Chris Anastassiades’ script is wonderfully wrought, taking us on a wild ride through a wider aspect of Australia’s history, excavating the appalling arrogance and ignorance and violence instigated, and the enduring resistance of its legacy.
HIGH GROUND takes the high ground and holds it. If any other films assail its heights it’s going to be a bumper year.