Samson and Delilah - beyond the dust, flies, hopeless poverty and isolation - is a romance, with youthful optimism at its core.
Samson and Delilah live in a remote indigenous community - Samson with his brothers who tirelessly play the same songs over and over, studiously ignoring Samson's obvious (if not talentless) interest in music. Delilah lives with her ill grandmother, who paints traditional art-work for sale in Alice Springs by the white middle-man who also owns the local store that serves the community of what seems to be no more than 15 people. Delilah's self-contained independence captures Samson's interest, and it's not long before Samson, his foam mattress and clapped out old wheelchair appear in Delilah's world to the cackling glee of Delilah's grandmother. Things begin to unravel when Delilah is blamed by her aunts for the death of Delilah's grandmother, receiving a severe bashing which shocks Samson - even through the cloud of his constant petrol high. We as viewers know of Delilah's unreserved concern for her grandmother, however the injustice of the bashing is just the tip of the iceberg when it comes to the unfairness of the lives Samson and Delilah find themselves living. Fleeing to Alice Springs, things get much worse, until an accident, miracle survival and trip out of Alice provides the final moments of optimisim in the film.
For a white person comfortably sitting in a plush cinema in inner Brisbane,
Samson and Delilah is confronting, uncomfortable viewing. We know from the
Bringing Them Home reports that comparatively, Samson and Delilah's conditions aren't nearly as bad as those faced by other indigenous Australians in what we take for granted as a developed country. It is perhaps the off-handed manner in which Samson and Delilah accept their lives which is so discomfiting - this life of petrol-sniffing, poverty, fear in the eyes of white people when dealing with the obviously homeless and unclean Samson and Delilah is treated as normal by the lead characters. The chirpy country music that sets the backdrop for the film reminds us that these are humans living, breathing, appreciating music in the same way as you or I.
Director Warwick Thornton's treatment of the blossoming romance between Samson and Delilah is incredibly sweet, with the two young leads - both untrained actors - conveying the message of respect, concern and care of young love with a gentle humour that is truly touching. This feat is more amazing given the limited dialogue throughout the film. We understand Samson's reluctance to speak much later in the film, and again, it is another avoidable heartbreak of poverty that jolts the audience once more.
The tension of the silence and the vast landscape is broken in part by Gonzo, a homeless man Samson and Delilah camp with under a bridge in Alice Springs. Like all stories about addiction, however, the sadness is never far away. The final scenes provide a sense of optimism for the young lovers, however sadness - and a simmering outrage - permeate as you leave the cinema.
Margaret and David gave this film 5 stars, it won Camera d'Or at Cannes last week for Best First Feature, and David Stratton has gone so far as to say that if you care about your country, you will see this film. I wholeheartedly agree - while this film is difficult to watch, it is essential viewing for all Australians, if only to bring humanity and dignity to this rarely discussed issue of remote indigenous communities. I am irritated beyond belief that only one cinema in Brisbane is currently showing this film, however hopefully the win at Cannes will push the film into more cinemas in the coming weeks.
Compelling, must-see viewing. Five stars.
