csprague
Posts 393
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6/21/2007 2:55 PM
posted awhile ago
Ten Canoes
Ten Canoes Directed by Rolf de Heer. A man teaches his younger brother an important lesson through an ancient fable in this period comedy-drama shot in Australia, and the first feature film made in the Aboriginal language of Ganalbingu. As narrator David Gulpilil Ridjimiraril Dalaithngu sets up the story, we watch a group of tribesmen led by elder Minygululu ( Peter Minygululu) set out on an expedition to gather bark for canoe building and collect the precious eggs of the magpie geese. It has become clear to Minygululu that his younger brother Dayindi ( Jamie Dayindi Gulpilil Dalaithngu) is infatuated with the youngest of his three wives, and Minygululu wants to be sure Dayindi doesn't do something he'll regret later on. To teach his brother a lesson, Minygululu shares with him a long story about Ridjimiraril ( Crusoe Kurddal), a warrior who finds his brother Yeeralparil (also played by Jamie Dayindi Gulpilil Dalaithngu) has become a rival for the affections of his bride. However, while Minygululu's story caries a clear message for his brother, it also goes on long enough with enough twists, turns and digressions that it gives Dayindi little opportunity to get into mischief during the trip. Ten Canoes received its world premier at Australia's Adelaide Arts Festival, and was first screened in North America at the 2006 Toronto Film Festival. ~ Mark Deming, All Movie Guide
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QFLW
Posts 51
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7/7/2007 1:28 AM
posted awhile ago
Re: Ten Canoes
I recognized narrator David Gulpilil’s voice right away; his hearty chuckle after opening with “Once upon a time, in a land far, far away…” most pleasantly set the tone for what followed. The film’s story-within-a-story centers on a cautionary tale being told to Dayindi (played by Gulpilil’s son Jamie), a young Aboriginal man who obviously covets his older brother’s youngest wife, while the men are on a goose hunting expedition. Lovely cinematography framing the immemorial custom of one generation attempting to impart life wisdom along with practical knowledge to the next. The film’s pace is a bit slow, maybe, for our impatient culture, and too often the subtitles are difficult to read (white lettering set against black and white grassland needs to be re-thought). But it’s an enjoyable glimpse into Aboriginal culture and its mystical/mythical sense of history and what is "true." The point of the elder’s story to Dayindi felt a little anti-climactic (“be careful what you wish for/be patient and accept your lot” – which tends to leave the young dissatisfied & no less disgruntled), but the characters, the journey were interesting enough that it didn’t matter. Touching, funny, all in all a delight. http://www.spout.com/films/279001/default.aspx
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moviedodd
Posts 7
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7/8/2007 3:22 PM
posted awhile ago
Re: Ten Canoes
I recently had the opportunity to review the film The Adventures of Priscilla, Queen of the Desert, which gave me the opportunity to reflect on Australia’s national cinema. Many of the films from Down Under that I have viewed, including Priscilla, Two Hands, The Proposition, and Sweetie, tend to focus on white characters. This led me to notice the dichotomy between these white characters, and those of Aboriginal descent when they are present in the storyline. With the exception of projects such as Rabbit Proof Fence, most Aboriginal characters are treated as background characters that simply come and go. The only thing that the viewers gather from these depictions in film is that of savagery, mystery, or didgeridoo-playing. After recalling these representations on screen, it pleased me to come across a film like Ten Canoes. This is a picture completely dominated by Aboriginal culture that pushes Paul Hogan aside, and allows the people to become the protagonists whom we admire and empathize. The film opens with vast, colorful, overhead shots of the greenery and swamps of Australia. David Gulpilil, who has portrayed Aborigines in various mainstream projects, provides the narration as our storyteller. He focuses our attention backwards over a thousand years ago on the Ganalbingu tribe. In the process of collecting bark in the swamplands for canoe-building, an elder member of the tribe, Minygululu (Peter Minycululu) discovers that young Dayindi (Jamie Gulpilil, son of the narrator) is fixated on his youngest wife. To better communicate to Dayindi the moral code of the tribe, he tells him yet another story referring to ancient times when the rules of the tribe were first established and understood. Flashback once again to another era where we meet Yeeralparil (also played by Jamie Gulpilil), who fancies the young, beautiful third wife of his brother Ridjimiraril. Rather than heeding to the warnings of others, Yeeralparil responds to his urges by constantly sneaking glimpses at Ridjimiraril’s wife. Meanwhile, Ridjimiraril’s second wife goes missing, and the village blames a mysterious stranger from another tribe as being the abductor. The men of the village, including an obese, honey-loving elder and the local sorcerer, pursue the location of the suspected stranger, while Yeeralparil sees the absence of the men as an opportunity to sneak more time with Ridjimiraril’s youngest wife. Ten Canoes is a film I appreciate strongly thanks to its adherence to Aborigine ways. Rather than being a film that puts Australian modernity in the forefront with Aboriginal characters used as background props, this film wholly embraces the ideas of the tribe. Even the storyline tries to diverge from classical Hollywood narrative. While the film may be scripted, the audience becomes enveloped by the magic of David Gulpilil’s words. There is much emphasis on oral tradition evidenced by the multi layers of storytelling. On one tier, there is the contemporary narrator referring to a time long ago. On another tier, the characters within the narrator’s tale focus on yet another morality story from the past. Ten Canoes is directed by Rolf de Heer and Peter Djigrirr who adopt an anthropology filmmaking technique similar to that of Jean Rouch. This is a cinema verite style where the camera seems to be observing the subjects. However, the co-directors take a more tactful approach to the filmmaking, and do not treat the characters in this fictional film like mere documentary subjects. We the viewers get to know these particular characters because, despite their cultural ways that diverge from European traditions, they are very much likable people who cherish their surroundings just like anyone else would. The use of humor between the characters is especially well timed. In addition to the documentary feel, the filmmakers also cleverly utilize bright colors and black and white to distinguish between the worlds of the storytellers and subjects. By the end of Ten Canoes, I felt that sense of fulfillment. As someone who has seen numerous films and is always yearning for something different, I felt refreshed to see a picture that gets in touch with the Aborigine culture rather than position it as something of a joke that differentiates from modern times. Everything here is plentiful from the fine filmmaking to the humor to the storytelling. This is a definite recommendation for anyone seeking something that stands it ground from mainstream fare. 4 out of 5
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joem18b
Posts 689
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9/7/2007 2:09 PM
posted awhile ago
Re: Ten Canoes
As I watched "10 Canoes," I was reminded of a book I first read 40 years ago, "The Tiwi of North Australia." The Tiwi live on Melville and Bathhurst Islands, 25 miles north across the water from Arnhem Land, where "10 Canoes" was filmed.
I've revisited the book from time to time over the years because of its fascinating description of Aboriginal marriage and dueling practices, both of which are on display in this movie.
Having watched "Ten Canoes," I'm ready for a few sequels. I explain why in my review.
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