Why The Drover's Wife is about more than the Legend of Molly Johnson
Leah Purcell as Molly in The Drover’s Wife: The Legend of Molly Johnson
It’s 1893. The Australian Outback is unforgiving and fearsome. Only, the true beasts aren’t dingoes, bulls or snakes, but white men.
The Drover’s Wife: The Legend of Molly Johnson is the story of Molly Johnson, a pregnant mother of four who awaits the return of her drover husband at their remote homestead. She will do anything to protect her children… and she does.
This Australian film has Leah Purcell’s name written all over it – literally. Adapted from Purcell’s 2016 play, which is loosely based on Henry Lawson’s 1892 classic short story, the historical drama is writer and director Purcell’s debut feature. And guess who plays the leading lady… you got it!
“I’ll shoot you where you stand, and I’ll bury you where you fall” – Molly Johnson
Molly Johnson is an independent, tough and resilient woman. Described as a “crack shot” with the shotgun she perpetually clutches, she is a woman who needs no protection from a man. Wary of others and haunted by peculiar visions, we soon realise there is something dark buried beneath Molly’s almost unreadable surface. Purcell’s emotionally fixating performance ensures we stay to find out what that is.
Rob Collins as Yadaka in The Drover’s Wife: The Legend of Molly Johnson
Logie Award-winner Rob Collins portrays Yadaka, an Aboriginal man on the run after being accused of murder. In more ways than one he serves a life-altering purpose to Molly’s story, whether she realises it or not. Still, the gentle and endearing Yadaka – played to precision by the Tiwi actor – does little to soften Molly, only emphasising her hardiness in the face of calamity.
Jessica De Gouw’s (Gretel & Hansel) Louisa brings a sad tenderness to the film, simultaneously lightening and adding to the thematic weight. The sickly writer from London has progressive views about introducing legislation that will protect women (or “battered wives”) from domestic violence. Her husband, compassionate but by-the-book Sergeant Nate Klintoff (Sam Reid), sets out to make the settlement of Everton a “decent, godly, law-abiding town”, no matter the cost. Reid’s dignified performance challenges us to decipher Nate’s next move as he navigates the grey circumstances.
In The Drover’s Wife: The Legend of Molly Johnson, the sharing of First Nations traditions makes for touching moments amongst the racist confrontations and oppressive attitudes. Offensive racial slurs, including “touch of the tar brush”, hit like a slap and continue to sting long after the credits roll. But Purcell’s Indigenous perspective ensures self-discovery, belonging and family are at the forefront of this historical drama.
The Drover’s Wife was filmed in the Snowy Mountains of New South Wales, Australia
Filmed in the Snowy Mountains, NSW, the cinematography captures Australia’s spectral sights. The film opens with a wide panning shot of dry bushland and towering gumtrees set against a mountain backdrop, while sunlit and shadowed landscapes reflect the different shades of rural life: harsh mundanity and looming threats. Director of Photography Mark Wareham (Jasper Jones) favours low-angle shots to highlight the characters’ – mainly Molly’s – power. The first time we see this is when Molly removes a knife from under her skirt and points it at an invisible enemy. Looking up at her, there is no denying she is a woman to be reckoned with.
Debut feature film composer Salliana Seven Campbell’s musical score is more distracting than transporting. Tonally, the clashing of strings and keys struggles to fit into the mosaic of dramatic scenes. And although it elevates the astounding visuals of grim and glorious bushland, less is more where character moments are concerned.
A disjointed narrative expertly introduces us to the element of mystery that runs through this Western thriller. Eerie whispers ride on the wind in moments of voyeurism, forcing us to ask questions, such as “What is out there?” and “What do they know that we don’t?” Purcell intertwines flashbacks with dream-like visions as Molly’s intriguing story darkens, pulling us deeper into her past and simultaneously driving us toward her fate.
Whilst Leah Purcell’s direction is as vigilant as her character, her writing is less refined. At a trudging pace, Molly’s secrets are revealed and Nate’s suspicions grow. The climax, although brutal and confronting, rises and falls too suddenly. This flaw could be overlooked if the social commentary in the third act wasn’t so heavy-handed. When political statements are concerned, subtlety is often more effective.
If you are ever unsure of Australia’s ability to produce quality cinema, look no further than this tale of revenge, rage and ruin. The Drover’s Wife: The Legend of Molly Johnson is a moving and upsetting feminist Western film that will leave you wondering, is it enough to be heard?
