Van Diemen's Land
June 5th 2009 04:51
It’s curious that two movies about Alexander Pearce should be made so close to each other. Not a strange thing in Hollywood, but the Pearce movies are not products of Tinseltown, they’re products of Australia, where Alexander Pearce was a penal colony convict in the first half of the 19th Century.
The Last Confession of Alexander Pearce (2009) was a more elaborate telling of the events of Pearce’s incarceration, escape, journey through the dense Tasmanian wilderness with seven other convicts, their demise to cannibalism, Pearce’s re-capture, his second escape (after his story of cannibalism was dismissed as cover-up for the other at large convicts), his capture again, the discovery of a mutilated body close by, and his confession and subsequent execution.
Van Diemen’s Land (2009), directed by Tasmanian Jonathon Auf Der Heide, is a more sober telling, beginning with the escape and ending with the murder and consumption by Pearce (Oscar Redding) of Robert Greenhill (Arthur Angel), but a far more chilling study of the darkness that engulfs a tortured mind in a state of starvation. “Hunger is a strange silence” reads the movie’s tagline.
The feature originated as a short, Hell’s Gates (2008), Der Heide’s graduation film for Victorian College of the Arts (it went on to win best short film at the Melbourne International Film Festival last year). The core cast return for the feature, with Oscar Redding (who plays Pearce) co-writing the screenplay with Der Heide. It’s a solid script that slow burns toward its inevitable frayed (or should that be flayed?) end. If I was being facetious I’d make a distasteful analogy that the movie is like confit long pig.
Slow-moving it may be, but Van Diemen’s Land is gripping and powerful stuff indeed. Every performance is nuanced and commanding, with Pearce’s character more subdued (for the most part) and introspective than the performance of Ciaran McMenamin in Michael Jay Rowland’s Alexander Pearce movie. But the imagery is just as vivid a character as the actors. The cinematography is dark and brooding, the Tasmanian landscape rustling like a sleeping demon. Der Heide’s visual narrative is superb, and his subtle use of symbolism (the abandoned boots of each convict after their respective demise, Pearce seeing human blood around the axe in the tree instead of sap) adds a tenebrous poetry.
The sound design and score is also memorable, as well as the attention to the different dialects spoken by the convicts; some were Scottish, some were Irish, and some were Australian. Pearce was an Irishman who spoke Gaelic, and it’s his philosophical musings used as narration that punctuate the movie, such as “A man with no blood on his hands is no man.”, “Let God have his heaven. I am blood.”, “Four Godless men walk to the Devil.”, and his final statement, “I’ve looked up at God looking down. He dances with an axe in his hand.”
While Der Heide doesn’t linger on any graphic horror he still allows violence to have a significant say in the story, for this is without a doubt a tale of inhumanity and human destruction. The question of morality is cast asunder as these desperadoes try in vain to reach what they call Hell’s Gates AKA Macquarie Harbour, where they believe their true freedom lays in wait. This is a tale of betrayal disguised as survival, of savagery disguised as necessity, of paranoia reigning supreme and finally overwhelming the rational mind. But when hunger consumes the mind and body, rational thought is banished, and the tortured soul becomes hollow, starved of the nutrients it craves, leaving evil to feed on the marrow within its bones.
Here’s the teaser trailer:
Here’s the trailer to the original short film, which uses much of the same imagery (and the same actors, albeit with less facial hair):
The Last Confession of Alexander Pearce (2009) was a more elaborate telling of the events of Pearce’s incarceration, escape, journey through the dense Tasmanian wilderness with seven other convicts, their demise to cannibalism, Pearce’s re-capture, his second escape (after his story of cannibalism was dismissed as cover-up for the other at large convicts), his capture again, the discovery of a mutilated body close by, and his confession and subsequent execution.
Van Diemen’s Land (2009), directed by Tasmanian Jonathon Auf Der Heide, is a more sober telling, beginning with the escape and ending with the murder and consumption by Pearce (Oscar Redding) of Robert Greenhill (Arthur Angel), but a far more chilling study of the darkness that engulfs a tortured mind in a state of starvation. “Hunger is a strange silence” reads the movie’s tagline.
The feature originated as a short, Hell’s Gates (2008), Der Heide’s graduation film for Victorian College of the Arts (it went on to win best short film at the Melbourne International Film Festival last year). The core cast return for the feature, with Oscar Redding (who plays Pearce) co-writing the screenplay with Der Heide. It’s a solid script that slow burns toward its inevitable frayed (or should that be flayed?) end. If I was being facetious I’d make a distasteful analogy that the movie is like confit long pig.
Slow-moving it may be, but Van Diemen’s Land is gripping and powerful stuff indeed. Every performance is nuanced and commanding, with Pearce’s character more subdued (for the most part) and introspective than the performance of Ciaran McMenamin in Michael Jay Rowland’s Alexander Pearce movie. But the imagery is just as vivid a character as the actors. The cinematography is dark and brooding, the Tasmanian landscape rustling like a sleeping demon. Der Heide’s visual narrative is superb, and his subtle use of symbolism (the abandoned boots of each convict after their respective demise, Pearce seeing human blood around the axe in the tree instead of sap) adds a tenebrous poetry.
The sound design and score is also memorable, as well as the attention to the different dialects spoken by the convicts; some were Scottish, some were Irish, and some were Australian. Pearce was an Irishman who spoke Gaelic, and it’s his philosophical musings used as narration that punctuate the movie, such as “A man with no blood on his hands is no man.”, “Let God have his heaven. I am blood.”, “Four Godless men walk to the Devil.”, and his final statement, “I’ve looked up at God looking down. He dances with an axe in his hand.”
While Der Heide doesn’t linger on any graphic horror he still allows violence to have a significant say in the story, for this is without a doubt a tale of inhumanity and human destruction. The question of morality is cast asunder as these desperadoes try in vain to reach what they call Hell’s Gates AKA Macquarie Harbour, where they believe their true freedom lays in wait. This is a tale of betrayal disguised as survival, of savagery disguised as necessity, of paranoia reigning supreme and finally overwhelming the rational mind. But when hunger consumes the mind and body, rational thought is banished, and the tortured soul becomes hollow, starved of the nutrients it craves, leaving evil to feed on the marrow within its bones.
Here’s the teaser trailer:
Here’s the trailer to the original short film, which uses much of the same imagery (and the same actors, albeit with less facial hair):
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Comment by samaritan
Samaritan's Stories
Samaritan
Comment by Matt Shea
20/20 Filmsight
Comment by Damo
You actually sounded as if you enjoyed this movie.
I find the story a fascinating piece of history and journey into the dark recesses of the beasts within mankind.
There was similar event that occurred in Western Australia but happen after a ship wreck. The ordered lives fall apart as each person becomes desperate.
Comment by Bryn
Horrorphile
Comment by Damo
I was being facetious.
I will watch this as soon as I can.
Comment by Bryn
Horrorphile
Comment by David O'Connell
Screen Fanatic