Brace Yourself for "The Nightingale"

I went into Jennifer Kent's "The Nightingale" fully warned for what I was getting myself into. This is a brutal movie, full of murder, rape, destruction, and trauma, and it's a movie that ensures the viewer appreciates the full horror of each hideous instance of violence. As a narrative it fits the general pattern of a revenge movie, but it's a revenge that is never meant to be enjoyed.

In 19th century Tasmania, Clare (Aisling Franciosi) is an Irish convict, working for British army Lieutenant Hawkins (Sam Claflin) as a servant. Clare has been allowed to marry Aidan (Michael Sheasby), who she's had a baby girl with, but Hawkins denies her the freedom she's due. The situation escalates into rape and murder, and Clare is set on a path to hunt down Hawkins as he journeys through the wilderness, along with his men, Sergeant Ruse (Damon Herriman) and Private Jago (Harry Greenwood). Clare only has Billy (Baykali Ganambarr), a Tasmanian Aborigine, as a guide, who she slowly becomes friends with.

I admire the way that "The Nightingale" handles violence, rarely lingering on it, often keeping the worst moments offscreen entirely, and yet capturing the full, awful impact of it in a way that few films manage. The focus is on the pain, on the victims and their emotional states. Women screaming and children crying recur over and over again, creating links between different crimes and characters. The film starts out as the story of Clare, but quickly expands to include other victims of Hawkins and his ilk. Chief among these are the "blacks," the various tribes of Aborigines who the British are engaged in bloody warfare with.

It's easy to read the film as symbolic of larger conflicts, with Hawkins standing in for the British colonialists, Billy for the subjugated Aborigines, and Clare for the forgotten women and children who suffered on all sides. However, I found the film so compelling because the characters are so alive and so specific. The performances are strong, with Franciosi distinguishing herself in particular. Clare's rage and righteousness put her on the path to violent revenge, but she's ill suited for it. She constantly looks exhausted and unwell, and in the wilderness she's entirely dependent on Billy's help. Clare puts on a brave, tough front, but that only gets her so far. Her arc is all about realizing her limitations, and shifting her priorities from mindless hatred to survival and justice.

The one hopeful, truly touching element of the film, that made it worth sitting through all the darkness and degradation, is Clare and Billy's friendship. Clare starts out in the role of hostile boss and oppressor, mimicking the soldiers, but circumstances force her to keep reevaluating the relationship. As for Billy, Ganambarr is a great presence, charismatic and appealing. His behavior is never remotely subservient and he's barely even deferential to Clare in their interactions, calling her out for her failings and constantly professing his hatred of the British. It's very satisfying to watch the pair connect and have certain realizations about each other.

On the other side of the coin, Sam Claflin, is an absolute monster as Hawkins. I like that he's playing against type, his leading man looks and charm just making his actions all the more heinous. There's a fascinating subplot where he plays his men against each other and ropes a convict boy named Eddie (Charlie Shotwell) into his power games. It's such a cruel display of his manipulative and exploitative nature, and crushing to see the situation play out. Each of the men embody different vices - cowardice, greed, and resentment, but the one uniting them is lack of empathy. The worst of their actions are born not out of any particular malevolence, but either thoughtless lashing out or careless dehumanization of those around them.

And in the end, for all its horrors, "The Nightingale" is a beautiful film. Kent has the story play out over great expanses of Tasmania's forests, mountains, and beaches. We glimpse its wildlife, and the culture and customs of its native inhabitants. Early moments with Clare's family are tranquil and lovely. The loss and destruction wouldn't have nearly the impact that it does if it weren't made abundantly clear what was being destroyed by the actions of the British. I can't speak to the historical accuracy or sensitivity of the portrayals of any of the groups depicted here, but Kent clearly has great consideration for her subjects. I look forward to whatever she does next.

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