The location and period for 'In A Savage Land' emerged out of a fascination with the Trobian Islands that began with Bennett when he was eight years old, looking at "old photos taken by his war photographer father." (1) After spending over two years intensely researching the Trobian Islands, which are located in the Solomon Sea, between the PNG mainland and Bougainville, "the idea of a love story set against this complex social structure evolved." (2) Bennett sums up that "if it's possible to reduce ('In A Savage Land') to one single word...in the end it is a romance." (3) Fundamentally, the story revolves around Evelyn and her affection for Mick and loyalty to Phillip. However, it has also been labeled as having a "middle - class, liberal feminist" (4) theme, an assertion that Bennett doesn't deny. "Thematically it is actually similar to my other films...three people in an alien landscape, and the central character is a woman. And it deals with sexual and gender politics and male / female power." (5)
Unfortunately though, I think many of the problems with the film emerge because of the fact that 'In A Savage Land' is thematically similar to his other films and the simple fact that the film can be summed up as a romance. Firstly, Bennett's "terms of reference are the Australian outback, or urban misfits" (6) and in these terms, he was able to bring uniqueness out of the ordinary and out of awkwardness, charm, a trait that critics and the public alike, have learned to admire in Australian films. With 'Kiss or Kill' specifically, he was able to create an interesting and new angle on the same romantic and feminist themes. 'Kiss or Kill' won five AFI awards for its originality. But he doesn't have the opportunity to bring uniqueness out of the ordinary in 'In A Savage Land' because both the period and location are foreign to him. Instead I think he relies purely on the location to add an interesting dimension to the love triangle theme. Unfortunately though, the Trobian Islands are not explored as much as I would have liked. Instead, it seems that he holds onto the one thing that isn't foreign in order to make the story - the feminist and romantic theme he has used so often before. Subsequently, instead of getting an original and exotic love story, we get a well hashed and rather mediocre love story. It lacked much originality, possibly because it was also unoriginal in theme to the director and scriptwriter after their previous efforts.
Bennett felt that "having the central characters as anthropologists would enable us to step into the culture and examine it." (7) However, the scenes where this actually occurs are few and far between. Instead what we see is the exotic culture instigating the feminist themes. We see that the matriarchal society of the Trobian Islands liberates her to some degree, but nonetheless Evelyn continues to remain an outsider, controlled more strongly by the white men. The three European males (Phillip, the missionary and the colonial) attempt to beat her down and keep her in her place. The exception of course is Mick Carpenter who admires her defiant streak and allows it. Evelyn does become stronger, even defiant, but in a somewhat stunted way. The bedroom scene between Evelyn and Phillip, where she takes control manages to suggest that Evelyn enjoys an increased sense of power. When she returns from studying separately though, the long scene where she takes on the traditional mourning ritual of the natives is more about her wallowing in her own misery and isolation, than for her husband with whom she never seemed particularly close. The mourning seems to turn into a form of punishment for betraying and hindering her husband, but nonetheless she is rewarded with the love of her life in the end.
Production
The filming of 'In A Savage Land' (Bennett, 1999) was done over eight weeks in the
Trobian Islands, followed by a two week shoot in Adelaide, costing around $10 - 12
million dollars to complete.
Rising Sun Pictures based in Adelaide were employed to take care of the digital effects having been involved in the project since the pre-production stage in late 1997. The full scale effects production began properly in November of 1998 and "according to the visual effects supervisor Tony Clark, a total of 35 effects shots were created for the film". (8) A key crew including David Short and Ben Paschke both spent six weeks each building CGI models of authentic Japanese battleships needed for the impending invasion scene. Additionally, the effects team enhanced water, smoke and gunfire as the explosions "weren't as spectacular as we hoped, so we added new elements and made them more detailed." (9) Additionally effects were needed for the scene in which Evelyn reunites with Mick. In this scene we see that Mick has lost his leg and due to the difficulty of this effect the scene had to be shot dry and have the illusion of rain composited over the finished product.
Despite the difference in period and location, 'In A Savage Land', retained the stylistic element of 'jump cutting' which Bennett used in 'Kiss or Kill'. Personally, I think it works well for both movies, creating a fast and haphazard pace. The most noticeable scene in which this occurs, is when Evelyn is fighting to keep her belongings and subsequently gets bashed by the headhunters. The scene is jolting to the viewer, but simply because of the action. The 'jump cuts' were introduced slowly and steadily throughout the film and so the sudden increase of pace is not jolting stylistically. Another aspect of the cinematographic style that has to be mentioned is the fact that all of the scenes shot in Papua New Guinea were done by a handheld camera. This is fact that I couldn't find in any of the literature, but was told by Maya Stange when she introduced the preview I saw at the cinema. Admittedly at first, especially on the large screen, the shakiness is quite disconcerting. However, as you relax into the story, it is something you cease to notice. Apart from a couple of long shots, for example where Evelyn looks up at Mick from the beach, the handheld work is brilliantly done. I cannot explain why the use of a handheld camera was chosen, possibly to make shooting in a difficult location a little easier, but stylistically, it may be argued that the effect adds to the memoir feel.
The shooting in Papua New Guinea was apparently alot more difficult than expected, despite all of Bennett's research. "It was chosen for its..untouched wilderness and its savagery. But it took its toll, so isolated and undeveloped as to be the equivalent of shooting on the moon. A hot, steamy, jungle-covered moon. With wily locals who squeezed every advantage out of the strangers." (10) Reportedly the film crew had to deal with disgruntled islanders who weren't economically gaining from the the film, trying to sabotage it. Apparently one group of islanders punctured the film crews tyres, created a road block, and with machetes in hand and demanded a payment of $10,000. The disputes didn't stop at the citizens though. "According to Bennett, a local parliamentarian repeatedly demanded payment of more than $200,000 from the film crew."(11) Furthermore, due to the fact that the film showed numerous bare-breasted women, a representative of the former PNG Prime Minister, Bill Skate, questioned the film crew over why he shouldn't deport them for 'making a pornographic film.'
The Critical Uptake
I was unable to find the box office results for 'In A Savage Land'.
It also failed to register in the Encore magazines top twenty newly released films or Video Ezy's
top 50 newly released videos.
Unfortunately, as Michael Roche put it, "it looks destined to be remembered as a
critical and commercial flop" (12), it "attracted poor reviews before vanishing from Australian
cinemas only three weeks after its release."(13)
So why wasn't it successful? After all, it cost around $10 - $12 million dollars to make,
which compared to the average $3 million dollars of an Australian film, is an extremely high
budget. I think the actors were extremely good
and the cinematography was extremely good, opinions both verified by the AFI nominations.
A large factor must have been a lack of marketing, although I was unable to acquire any exact figures. An Australian film with a $10 million dollar budget, would be expected to have a proportionate marketing allowance, however, due to box office numbers for the opening weekend not even registering, I feel its fair to deduce that little of the budget was spent on promoting the film. An opening weekend for a film is usually determined by its intensity and success of marketing, and not by word of mouth or personal opinion. If you look at the newly released Australian film, 'Looking For Alibrandi', their marketing is superb, and it is certainly paying off. Additionally if this $10 million dollar venture had been highly successful, it might have convinced backers that a higher budget can make a better movie and profit therefore boost our industry.
The second and most important reason that this film didn't succeed, I believe would have to be the script. As I've already stated, I feel the film didn't fulfill its potential. It could have evolved into a far more exotic and interesting film. Unfortunately a high budget doesn't necessarily ensure a good script. Australian films have to work twice as hard to be original as Hollywood - such as the likes of 'Kiss or Kill' which was duly awarded. This feel, in my opinion didn't work hard enough, despite the feminist themes, it was far to similar to a Hollywood romance. The fact that the ending was tested on an American audience and changed to their liking, suggests to me that that was exactly what it was attempting. It can be accused of the same things as many of the Hollywood films: a lack of depth and instead became just another mediocre romance using an exotic location as an excuse for uniqueness. I feel that the Australian critics felt this way too, considering their notable lack of comment after its release. The majority of interviews and articles I found, were written before the release, very hopefully and positively. This indicates the industries desire to support new and upcoming films but I feel they were disappointed by 'In A Savage Land' once it was released. 'Kiss or Kill', which won five AFI awards set high expectations for his following films but unfortunately didn't deliver.
In conclusion Bennett said "It's yet to be seen if its successful. I don't know if it's mainstream...it's a thinking person's film."(14) Maybe I didn't think hard enough, or in my opinion maybe it's a nicer film if you don't think too deeply about it.
Bibliography
(2) Urbancinefile - In A Savage Land, Online @ http://www.urbancinefile.com.au/scripts/cinefile/Features.idc?Article_ID=2893, accessed on 3 May 2000
(3) Urbancinefile - In A Savage Land, Online @ http://www.urbancinefile.com.au/scripts/cinefile/Features.idc?Article_ID=2893, accessed on 3 May 2000
(4) Roche, Michael. "Exploiting The Exotic - A Cinematic Journey Into Darkness", in Metro Magazine, 8-2-2000, No 121/122, pp 125 - 128)
(5) Urbancinefile - In A Savage Land, Online @ http://www.urbancinefile.com.au/scripts/cinefile/Features.idc?Article_ID=2893, accessed on 3 May 2000
(6) Urbancinefile - In A Savage Land, Online @ http://www.urbancinefile.com.au/scripts/cinefile/Features.idc?Article_ID=2893, accessed on 3 May 2000
(7) Urbancinefile - In A Savage Land, Online @ http://www.urbancinefile.com.au/scripts/cinefile/Features.idc?Article_ID=2893, accessed on 3 May 2000
(8) Mooney, Jacqueline. "Digital Effects Feature - Sun rises to Savage task'.1999, in Cinema Papers, 17 May 1999
(9) Mooney, Jacqueline. "Digital Effects Feature - Sun rises to Savage task'.1999, in Cinema Papers, 17 May 1999
(10) Urbancinefile - In A Savage Land, Online @ http://www.urbancinefile.com.au/scripts/cinefile/Features.idc?Article_ID=2893, accessed on 3 May 2000
(11) Roche, Michael. "Exploiting The Exotic - A Cinematic Journey Into Darkness", in Metro Magazine, 8-2-2000, No 121/122, pp 125 - 128)
(12) Roche, Michael. "Exploiting The Exotic - A Cinematic Journey Into Darkness", in Metro Magazine, 8-2-2000, No 121/122, pp 125 - 128)
(13) Roche, Michael. "Exploiting The Exotic - A Cinematic Journey Into Darkness", in Metro Magazine, 8-2-2000, No 121/122, pp 125 - 128)
(14) Urbancinefile - In A Savage Land, Online @ http://www.urbancinefile.com.au/scripts/cinefile/Features.idc?Article_ID=2893, accessed on 3 May 2000