Tuesday, November 12, 2013
the pain and peril of living in exile: a theological film review of White Lies
Each month I publish a film review, for Touchstone (the New Zealand Methodist magazine). Stretching back to 2005, some 85 plus films later, here is the review for November, of New Zealand film, White Lies.
White Lies
“White Lies” has the same producer (John Barnett) and original writer (Witi Ihimaera) as the now celebrated New Zealand film “Whale Rider.” Yet “White Lies” offers a far darker exploration of New Zealand’s bi-cultural identity.
The era is early twentieth century and Maori medicine woman, Paraiti (Whirikamako Black) gathers native herbs and provides medical care for her people, scattered throughout Te Urewera wilderness.
On a rare trip to the city, she is furtively asked by Maori housekeeper, Maraea (Rebecca House), to help her wealthy mistress, Rebecca Vickers (Antonia Prebble), keep a secret. Together, these three women generate the emotional heart of the movie, an interwoven pairing of life with death and death with life.
Initially, Paraiti refuses to help, chilled by the alien whiteness of the world in which Maraea and Rebecca live. Her mind is changed by subsequent events, a child birth gone wrong, during which Pakeha display a callous disdain for Maori patterns and practices. All of which is history, for in 1907 the New Zealand Government passed the Tohunga Suppression Act, which limited the services Maori could provide to their communities. For Paraiti, her actions will be an act of resistance, a way of restoring some justice.
This is an acting debut for well-known Maori singer, Whirikamako Black and she is superbly paired with Antonia Prebble, best known for her portrayal of Loretta West in TV drama, “Outrageous Fortune.”
Plaudits are also due to other New Zealand artists. The house in which Rebecca lives is a triumph for film designer, Tracey Collins, while the forests in which Paraiti gathers herbs and the room in which Rebecca gives birth, allow the well-honed atmospheric skills of Alun Bollinger to unfold in all their gloomy cinematographic glory.
Written and directed by Mexican born Dana Rotberg, “White Lies” significantly reworks Ihimaera’s novella, “Medicine Woman.” Maori carvers return to their work, reasoned Ihimaera, so why not writers? Despite the re-carving of words, the early scenes of the movie lack pace, failing to provide momentum the emotional centre deserves.
What unfolds in “White Lies” are three contrasting approaches to dominant Pakeha culture, each embodied in the three women: marginality in Paraiti, accommodation in Maraea, ultimate assimilation in Rebecca.
What is thought provoking is to then lay “White Lies” alongside the First Testament. Israel’s experience of exile offers another perspective on how minority communities activate resistance. We see marginality in the return of Nehemiah to a Jerusalem destroyed. We see accommodation in the book of Esther, her willingness to parlay her sexuality in exchange for influence. We see assimilation in Jeremiah’s injunction to build houses, plant gardens and take wives.
“White Lies” a century on offers little hope. Rebecca’s final decisions are chillingly bleak, while the forest gathering ways of Pariati are, in twentyfirst century New Zealand, long gone.
All that remains, as the movie tagline declares, is the reality that redemption comes at a price. Christians will ponder the crucial birthing scene, in which Rebecca hangs in a crucifix position, arms spread wide, supported by a watching woman, in the painful journey through which new life will eventually be won.
Rev Dr Steve Taylor is Principal at the Uniting College for Leadership and Theology, Adelaide. He writes widely in areas of theology and popular culture, including regularly at www.emergentkiwi.org.nz.
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