Monday, September 14, 2015

Last Cab to Darwin: a theological meditation on outback place

Monthly I publish a film review for Touchstone (the New Zealand Methodist magazine). Stretching back to 2005, some 90 plus films later, here is the review for September 2015, of Australian film, Last Cab to Darwin.

Last Cab to Darwin
A film review by Rev Dr Steve Taylor

Last Cab to Darwin is a visual introduction to contemporary Australian stereotypes. Indigenous men drink and fight. White fella Australians drink and fumble emotionally. English women tourists are blondes willing to sleep around.

Death strides into the midst of these caricatures. Rex (Michael Caton), a taxi driver from Broken Hill, is diagnosed with terminal cancer. With three months to live and afraid of hospitals, he hears of Dr Farmer (Jacki Weaver), advocating in the Northern Territory of Australia for the right to euthanise.

Last Cab to Darwin is based on a true story, including the gaps in Australian law between Territory, State and Federal parliaments. It offers the potential to dwell in complexity. The reality is that the road trip genre becomes an excuse to speed past rich cultural complexity.

Driving his cab to find Dr Farmer, Rex encounters Tilly (Mark Coles Smith), who proceeds to fight and drink his way with Rex toward Darwin. Their narrative journey is broken by a set of clichés, including watches that stop, feral cats hung from outback trees and Tilly’s salvation through sport, if he can beat the bottle. Speeding toward yet another stereotypical scene (Darwin sunsets), Tilly has a one night stand with English barmaid, Julie (Emma Hamilton), who wraps herself into their journey. These images, of indigenous men, white fella Australians and blonde English women tourists simplify the complexity that could ennoble Australia today.

I refer to the lens through which the outback is viewed. The desert landscape depicted in Last Cab to Darwin is simply a dusty red backdrop through which visitors pass, collecting experiences on a road to somewhere. There is no sense of another story, of “anhangha idla ngukanandhakai,” the indigenous (Adnyamathanha) understanding of living in memory.

This understanding of outback is beautifully depicted in the recently published Yarta Wandatha. It is a rarity, a theology book with colour photographs of outback landscape. Unlike Last Cab to Darwin, these scenes are never backdrop on a trip to somewhere. Rather, each is story, around which memory is wrapped. Interpreted in Yarta Wandatha by indigenous woman Denise Champion in creative dialogue with the Christian story, we find the unfolding of a very different outback story.

Last Cab to Darwin introduces two indigenous women. Polly (Ningali Lawford) is Rex’s neighbor, having an affair they are both scared to make public. Sally (Leah Purcell) is Tilly’s wife. The movie provides stereotypical similarities of these indigenous woman. Both are abandoned by their menfolk. Both approach conflict by shouting angrily at those they love.

Such is the simplicity of stereotype. In contrast, when Denise Champion tells the story of Awi-irtanha, the Rain Bird, we encounter a more complex story, in which indigenous resources, considered in light of Jesus, avoid the ugly consequences of unresolved conflict.

Watching Last Cab to Darwin I kept waiting for the road trip to engage these stories on the road between Broken Hill and Darwin. The only hint is when Tilly locates Sally’s mob as fighters against colonial invasion. Once again, 40,000 years of rich and storied memory is lost, replaced by the stereotypes of recent arrival.

Rev Dr Steve Taylor is becoming of Knox College for Ministry and Leadership, Dunedin. He is the author of The Out of Bounds Church? (Zondervan, 2005) and writes widely in areas of theology and popular culture, including regularly at www.emergentkiwi.org.nz.

Posted by steve at 01:29 AM

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