Bran Nue Dae

If there’s one thing worse than being brow-beaten by a film then it’s coming out of a cinema after 90 minutes wondering what the point was at all. One can sympathise with the filmmakers behind “Bran Nue Dae” – it’s understandable that after so many heavy-handed, glum social realist dramas they would want to shy away from a MESSAGE. Instead they’ve opted for a lighter touch for their glossy Indigenous musical. But the irony is that the less a film has to say then the less audiences will be inclined to see it. Rachel Perkins is not a timid filmmaker, so it’s surprising that “Bran Nue Dae” is such a lightweight, timid experience.

Though they are poles apart in budget and intent “Avatar” makes for an interesting comparison. For all the familiarity of the story at least James Cameron is true to his convictions and delivers a film about something. His anti-imperialist, pro-green message has not hurt the box office one bit - audiences are turning up for the style and are almost surprised to be delivered something of substance.

The key problem in “Bran Nue Dae” is that the main thrust of the story has Willie (newcomer Rocky McKenzie) going on a road journey from Perth to Broome with no great drive or purpose. If in Broome his childhood sweetheart Rosie (the radiant Jessica Mauboy) was in some sort of danger with Rocky’s rival Lester (Dan Sultan) then it would raise the stakes of Willie’s journey and make the audience care that he succeeds. Rosie actually seems better off with the hunky Lester – at least he has some sexy charm and knows how to have a good time. But once again an Australian film shows us that sex is something to be feared and avoided. Even “Grease” had more to say about teenage sexuality than this.

Along the way Willie encounters a series of special guest stars – Ernie Dingo and Missy Higgins (both surprisingly strong), Magda Szubanski and Deborah Mailman (both mugging their she-devil roles) – and takes it all in with a look of blank apprehension. Geoffrey Rush does what he can to pump up thin material. The highlights of the journey are an excellent Bangara-style dream sequence, some toe tapping songs, lots of colour in a “South Pacific” way and a beautiful Missy Higgins song. In the end Willie learns that he can be proud to be Aboriginal, though this did not seem to be the question that needed answering for him. Willie’s search for identity – whether to model himself on white men or his own people – could have been an interesting direction for the story to take.

It’s certainly encouraging to have two Indigenous films made in the same year, both of such different styles. But “Bran Nue Dae” is a good example of a film which could have been both entertaining and profound, but when stripped of anything contentious ends up as mildly enjoyable but empty.