The Hunter excels with stellar film style


Upon hearing the title of Daniel Nettheim’s film The Hunter, one would be forgiven in thinking it depicts the struggle of man vs. nature.

On the contrary, this is a postwar piece: Man has already won. All that’s left is determining how the human race reacts to the small, untamed corners of the globe left to us, and whether we learn anything about ourselves when we venture into them.

On the prowl · Willem Dafoe (left) and Sam Neill (right) star in survivor film The Hunter, a story about a man living in a post-war society who goes in search of the thought-to-be-extinct, extremely valuable Tasmanian tiger. - Photo courtesy of Magnolia Pictures

Willem Dafoe plays Martin, the titular hunter hired by a vaguely defined yet presumably powerful corporation to venture out into the forests of Tasmania in search of the scarcest resource the land mass might have to offer: the Tasmanian tiger believed extinct since the 1930s yet still the subject of unsubstantiated and persistent sightings by locals. It seems that there just might be one left after all, and if that’s true, then the animal’s DNA is hugely valuable.

And of course, the environmentalists in the area would go berserk if they knew the truth of Martin’s mission. In light of this, during his search, Martin masquerades as a scientist and takes up residence with a family that just so happens to be desperately seeking a father figure in the wake of the previous head-of-household’s disappearance.

It quickly becomes apparent that, though entirely in his element while on the hunt, Martin isn’t the domestic type. His compassionate side is calloused over, and because the same can be said for Lucy (Frances O’Connor), who still laments her vanished husband, the gap the two would need to bridge to acknowledge any sort of feelings they might have for each other is staggeringly vast.

Her children manage to rope Martin in as well, and though their sibling dynamic isn’t anything that hasn’t been seen before (stoic young boy who is free-spirited, a slightly older girl), that doesn’t make Morgana Davies’ performance any less adorable.

The picturesque home life this mercenary is able to gradually ease into might compel audiences to let their guards down, but it’s worth remembering the reason Martin is there in the first place — to find something worth a great deal to powerful men. The danger surrounding him, though frequently out of sight, is still a constant presence that merits more than a little consideration.

This film is a slow burn, but the pacing is necessary and very deliberate. Real hunting, after all, is mostly about patience: move slowly, absorb the surroundings, keep your eyes and ears open and appreciate what you take in at the end of the day.

Here especially, there’s plenty to appeal to the senses. Everything was shot on location in Tasmania and the cinematography gives the island its due: The wild twilit forests have a sense of the unexplored about them, and it’s easy to believe that if there’s any place on Earth a creature thought extinct for decades might turn up again, it would be here.

The sound design is also impeccable, with one scene in particular making an operatic flourish that takes other films to task for not utilizing the true power of surround sound. The aural touches aren’t just for show. Rather, they underscore the fact that Martin relies on what he hears as much as what he sees to track his prey.

Naturally, every successful hunt ends in a tension-shattering explosion of action when the quarry is found.

Whether or not the Tasmanian tiger is truly out there for Martin to discover, the slow build-up pays off as the film heads toward a final 25 or so minutes that’s driven by as much momentum as the actual takedown of prey.

There’s also an appropriately cathartic conclusion that might seem unsatisfying or trite to some, but it has a simple beauty that anyone invested in the characters will be able to appreciate.

To put things into perspective, there exists a scant three or so minutes of grainy, black and white video of Tasmanian tigers in captivity online. Officially called thylacines, the animals bring to mind striped jackals with the hind legs of a kangaroo.

The footage is definitely worth a look, and the animals have a certain litheness to their movements: a palpable and compelling liveliness a bit unlike anything else you’re likely to see. In their natural habitat, these tigers were at the top of the food chain before arriving settlers drove them to extinction. The idea that they might still be out there somewhere inspires people to this day.

If they are, let’s hope very sincerely that no one finds them: They’re safest in our dreams. Beautiful, honest and confident, The Hunter brilliantly conveys this sense — and is genuinely a dream worth seeing.

1 reply
  1. Col Bailey
    Col Bailey says:

    My search for the Tasmanian tiger spanning 45 years has taken me to most parts of Tasmania, including much of he areas shown in this film, which I instantly recognised. The film crew weren’t aware of just how close they really came to intruding into real ‘tiger territory’. I know for a fact that this animal still exists, having seen it in the flesh, but to tell where would be to betray one of nature’s truly great survivors. The thylacine is best left alone until such time as the relevant authorities are prepared to implement a secure and comprehensive semi-captive breeding environment. Then and only then will I disclose where to locate this elusive marsupial, which for the sake of survival, must be rescued before it is too late to save it. This animal’s future survival prospects are grim indeed as foresty enterprises and tourism constantly push back the perimeters, and soon there will be nowhere left to hide. Despite a pathetically weak plot, ‘The Hunter’ does go some way to awakening the world to the plight of this magnificent survivor, as well as the majesty of the Tasmanian bush.

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