So, that was it

I finally caught up with the much acclaimed (by everyone other than Tim Train) film Samson & Delilah on TV tonight.

Tim, I'm pretty much with you on this one. It reminded me of European films I have watched on SBS from the (perhaps less popular now than it used to be) "social-realism-at-the-expense-of-a- story-arc-or-dramatic-interest" school of film making. This involves competently filmed and acted movies about people leading hopeless and depressing lives at both the start and end of the film, regardless of what has happened in a more or less plausible way in the middle, thereby raising the question "what exactly was the point of that?"

But I have some specific, slightly narky, comments too:

1. While I don't have first hand experience to draw on, my impression was that "Samson" did not seem zonked out enough after sniffing petrol. Also, his whole body looked unrealistically healthy for someone who seemed to not have eaten properly for years.

2. "Delilah's" hair looked unusually good in the township after cutting it herself with a knife. Who knew hairdressing was so easy?

3. Andrew Bolt liked it because it showed a remote aboriginal community as a terrible, hopeless place to live full of social problems. (It even showed the old style "someone must be blamed for a death" thinking.) And indeed, I thought while watching the first 45 minutes that it was a wonder that the left wing world of movie critics didn't feel a bit insulted on behalf of aborigines for their being painted in such a hopeless light.

But, when the kids hit town, all of this is righted when the story threads go on to include white people engaging in aboriginal economic exploitation, rape and battery, and callous disregard even by the church. (Although by the end there seemed to some partial acknowledgement that the church helps some aborigines, occasionally.)

Ah, I thought, this is why it was OK for white movie critics to like it after all.

That and the fact that by the end of the film the suggested answer to the social isolation, boredom and poverty of our heroes was to move to a place where they were even more isolated, poor, and (at least for Samson) bored. But giving Samson a bath and putting a clean shirt on him was meant to make us feel they had a future. Presumably, the idea was that the girl would make a living by her painting.

Of course, David Strattan saw this as an wildly optimistic finish. Probably because of the dubious idea that they were now connecting more with their land and everything would naturally then be much better. Not very likely, in my books. It also seems odd that a film which seemingly carries the message (with apologies to Sartre) "Hell is other aborigines" is cast as optimistic.

4. Big, big spoiler warning: I have a confession to make. Things were going so badly for this pair when they were in town that I was expecting some disaster: perhaps spontaneous human combustion by Samson after sniffing so much petrol, or the bridge collapsing on them. So when Delilah suddenly got hit by a car, in a pretty convincing looking fashion too, I might add, I laughed. (A laugh at both my foresight and surprise, I suppose.) Good thing I didn't do that in a cinema.