If most have the idea that an Australian musical isn’t plausible, then most wouldn’t know what they’re talking about. After all, Muriel’s Wedding is arguably a loose musical; with the ABBA soundtrack used as an emotional outlet. You can throw Priscilla: Queen of the Desert in there too. But since Chicago, Hairspray and Mamma Mia! making the successful transition from Broadway to Hollywood, the musical has stepped up a notch to become a potential powerhouse genre. Look at what the High School Musical films did for Zac Efron. So what for the stars of Bran Nue Dae, the first dynamic Australian musical to ever hit screens? Yes, dynamic – because it actually pokes fun at social issues and everyone can hold a decent tune. Even Ernie Dingo. Quite simply, the fact that no other true musical made in this country comes to mind makes it a stand-out. It’s truly worth a watch.
The film is something you won’t expect, especially within our film industry where the gritty drama has dominated over the last decade. Last year’s Samson and Delilah explored the current hardships that many Indigenous people face, but Bran Nue Dae’s 1969 setting signals the beginning of a more prevalent recognition. Willie’s (Rocky McKenzie) story and self-discovering journey aren’t necessarily groundbreaking, but the film’s amusing manner allows forgiveness and a largely enjoyable ride. When he runs away from boarding school in Perth to return to his home of Broome and love Rosie (Australian Idol 2006 runner-up Jessica Mauboy), teaming up with homeless Uncle Tadpole (Dingo) begins a bizarre road-trip that takes the young man out of his comfort zone. Willie’s a good kid that yearns to be home, thriving on his desire to be with Rosie and in familiar surroundings. The film explores the pride of Indigenous culture, but at the same time never takes itself seriously. It plays on the stereotype of goon-loving hobos but rarely highlights a negative divide between Indigenous and ‘white’ Australians. And it doesn’t need to – the songs provide a pretty self-explanatory impression of Willie’s situation.
Based on the 1990 stage musical of the same name, the songs truly add to the film. They’re positioned well and don’t tire, while the content is something to truly marvel. Satirically poking fun at Western ideals, singing “There’s nothing I would rather be/Than to be an A-bo-rigine” brings plenty of laughs (as does the outlandish choreography), while Dingo manages to get through a sobering solo. The singer influence is important too, with Mauboy and Missy Higgins adding credibility to duets and extending their repertoire. The cast all hold their own; Rocky McKenzie exudes innocence as Willie in his debut feature, and Geoffrey Rush’s German accent is a hoot; Deborah Mailman’s turn as a drunk is the funniest you’ve ever seen her. Director Rachel Perkins has done well to earn a spot at Sundance 2010, and with this film showcases charming Indigenous comic talent. Each member of the cast provides laughs, intertwining sub-plots are well handled and the story is kept appropriately at a very tight 88 minutes. Bran Nue Dae gets funnier as it goes along, and its slow build-up pays off for the surprising finale. The climax may be slightly far-fetched, but so are those in most musicals.
Verdict
It’s a Bran Nue Dae for Australian comedy. Enjoyable and satirical; a pleasant surprise.
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