The Nightingale is another triumph for Kent. Not one to aim for more crowd-pleasing material and palatable choices, she directs this visceral and moving revenge picture with a very sure hand. Shot in the Academy ratio (1.375:1), which was used commonly in films worldwide from the 30s to the 50s the look of the picture is more square, less cinematic, keeping the actors front and center against the stunning Tasmanian landscape. The vicious history of what was once called “Hell on Earth” by its inhabitants is brought to life through an unflinching depiction of a time of unbridled cruelty. Despite the intensity, the script does offer moments of levity that give us a chance to breathe and offer us a chance to warm up to the characters of Billy and Clare as they forge ahead on their mission.
From a production standpoint, The Nightingale is utterly perfect. Authentic costume design by Margot Wilson captures the lives of everyone from the military to the peasants to the indigenous people with striking clarity. Production design by Alex Holmes is at once beautiful and repulsive sharing the contrasts of the natural beauty of the wilderness with the fabricated textures of the colonizers.
“…owed it to the victims to accurately portray a time that even native Australians may not be familiar with.”
Claflin’s Hawkins is a vile monster of a man that triggers anxiety in the viewer. While handsome, he is abusive, brutal, and randomly murderous with no regard for the life of any creature, human or otherwise. Ganambarr’s Billy is a sympathetic and wonderfully resourceful foil to Clare. Arguing and taunting his Irish employer, we slowly see his gruff, flippant exterior give way to connection and respect. Nikki Barrett’s casting shines in the choice of Franciosi as Clare. Initially softspoken and demure, we see Clare transform like a phoenix rising from the ashed to exact vengeance when she has nothing left to lose. Franciosi creates electrifying moments of honesty that had this reviewer literally trembling at times and cheering at others.
This is not a film for everyone. Despite being warned of the frank depictions of violence, several audience members walked out of the theater, tapping out at the brutality. In an interview director, Kent said that she owed it to the victims to accurately portray a time that even native Australians may not be familiar with. I could understand that and I was personally prepared for the heavy material. I was rewarded with a truly outstanding film made from a place of dignity and respect for the history of horrific violence that marred that time period. Jennifer Kent continues to be a fiercely original, very brave filmmaker who demands to be respected.
The Nightingale (2019) Written and directed by Jennifer Kent. Starring Sam Claflin, Aisling Franciosi, Damon Herriman, Ewen Leslie, Charlie Shotwell, Baykali Ganambarr, Nathaniel Dean. The Nightingale screened at the 2019 Sundance Film Festival and the 2019 San Francisco International Film Festival.
9 out of 10 stars
Another Aussie movie that signals the limited mindset of its writer/director/producer within the first 10mins – it doesn’t get much uglier than this tosh. Some moviemakers appear to simply want to lay claim to making a new ‘gross’ movie, to out-gross the one that went before, that’s not much of a claim to fame. Jenifer Kent’s prior claim to fame came in the form of the horror entry “The Babadook “14 The Nightingale is set in early Tasmanian colonial history but its head is deeply lost in cheap horror. While sadly there have always been atrocities involved in settling new lands (the world over) this work tends to come across as the anti-white PC brigade –pushing a cheap ‘them and us’ mentality—solely for the sake of spreading increased hatred.
98% of all whites featured are deliberately shown to be as bad as bad can possibly get – so bad as to be simplistic caricatures, designed to manipulate the audience to want to see them killed in the most horrific manner possible, and of course, they are. The sensationalistic foul language is right out of today and equally overdone as the sordid voyeurism. For the industry to lord over writings such as this, is demeaning to the trade, and won’t bring respect or many ticket sales from general audiences. The only following this picture is likely to garnish will be those who relish schlock horror and repugnant, vulgar brutality. When the bulk of performers are not over-acting it appears it might just work but this is very short-lived. The claustrophobic cinematography (shot to no advantage in small screen format!) seems to perhaps be attempting to hide the over cleared and developed landscape for its time.
Those who ‘think’ about what ‘entertainment’ they are being fed, will see so many ridiculous plot failings and under-developed situations that it’s difficult to see who this nasty mess could benefit, and doesn’t ever warrant a second look. It’s time to move on and help overcome this eternal nurturing of hatred or tell it with a little more balance and intelligent respect for the viewer.
Absolutely brilliant movie and probably THE BEST that has come from the Aussies. Kudos for depicting a truth regarding the treatment of Aboriginal people as well as those living in a penal colony. The world must know and
history has to be presented as it really happened. This movie is no more brutal that others depicting war and genocide such as Apocalypto and Hatred. Bravo…a WELL DONE movie.
Wao très bon Nightingale sans aucun doute bon et dur http://cinemay.biz/