David O'ConnellBalibo
September 1st 2009 05:47
Designed to raise the ire of the humanitarian in us all whilst drawing attention to a forgotten historical footnote, Robert Connolly’s emotionally-charged Balibo is another important document in a rejuvenating year for local filmmaking. The story of a hardened, stubborn newsman’s determination to follow in the footsteps of five missing TV journalists, presumed dead, in East Timor in 1975, the film also shines an illuminating light on their endeavor to bring news of an imminent invasion to the outside world.
A fragile country on the brink of a ruthless takeover by one nation, Indonesia, after being relinquished by another, Portugal, Timor was a dangerous place to be, and the wider story of this impoverished nation, denied its independence, is of equal importance. A framing story puts the still-felt ramifications in context, with the haunted Juliana (Bea Viegas) recalling the definitive moments of her childhood.
Despite initially heaping scorn upon the bait offered by impassioned Timorese official Jose Ramos-Horta (Oscar Isaac), experienced newsman Roger East (Anthony LaPaglia) is stirred from the restless immobility of his life. The glimmer of an alluring story transforms into genuine intrigue and he finds himself lured into the great unknown of Timor against his better judgment.
Though it’s a vitally important and artful retelling of a tragic era, Balibo isn’t without minor flaws. The biggest issue I had was with the fragmentary nature of the flashbacks covering the last days of the five journalists. As East sniffs out their route, Connolly intercuts grittily-shot, momentary flashbacks almost as if he’s right on the trail. But they're brief and episodic, the screenplay by Connolly and veteran playwright David Williamson never allowing a detailed composite to form.
We see the Balibo Five as decent men, driven by a desire to perform their duties and fulfill a burning social conscience but the characterisations are sketchy ones. True, this eliminates any opportunity for sentimental excesses to creep into the writing, but it's still slightly irritating that the actors are denied room to flesh out these men, their travels reduced to isolated moments dotted along a map of perilous progress.
Only Damon Gameau as Channel 7 reporter Greg Shackleton leaves any real imprint behind, though the others are almost unanimously strong in support. (Nathan Philips, when he opens his mouth, does stand out as being miscast, playing against type of numerous past roles as a crude, yobbish dimwit.)
LaPaglia is the film’s savior and dominant figure, breathing miraculous life into this grizzled, emotionally scarred warrior, though he's nearly matched by the intense Isaac as a charismatic advocate for his country's plight. East’s best days may be behind him but despite enormous reservations, he senses the underlying implications of the journalists’ fate from the outset. He also realises that apathetic political forces will most likely ensure the truth is buried if his bulldog demeanor deserts him.
Balibo resonates with the horror of war and the barbarism of the Indonesian militia as they cut a swath through innocent, indefensible bodies. This is a powerful film of both human and political dimensions that deserves to be seen by the world; a soul-stirring trek into one man’s heart of darkness as he slowly whittles away at a terrible truth, concealed in the deepest corners of a defiled, overrun nation.
A fragile country on the brink of a ruthless takeover by one nation, Indonesia, after being relinquished by another, Portugal, Timor was a dangerous place to be, and the wider story of this impoverished nation, denied its independence, is of equal importance. A framing story puts the still-felt ramifications in context, with the haunted Juliana (Bea Viegas) recalling the definitive moments of her childhood.
Despite initially heaping scorn upon the bait offered by impassioned Timorese official Jose Ramos-Horta (Oscar Isaac), experienced newsman Roger East (Anthony LaPaglia) is stirred from the restless immobility of his life. The glimmer of an alluring story transforms into genuine intrigue and he finds himself lured into the great unknown of Timor against his better judgment.
Though it’s a vitally important and artful retelling of a tragic era, Balibo isn’t without minor flaws. The biggest issue I had was with the fragmentary nature of the flashbacks covering the last days of the five journalists. As East sniffs out their route, Connolly intercuts grittily-shot, momentary flashbacks almost as if he’s right on the trail. But they're brief and episodic, the screenplay by Connolly and veteran playwright David Williamson never allowing a detailed composite to form.
Anthony LaPaglia is in searing form as Roger East
We see the Balibo Five as decent men, driven by a desire to perform their duties and fulfill a burning social conscience but the characterisations are sketchy ones. True, this eliminates any opportunity for sentimental excesses to creep into the writing, but it's still slightly irritating that the actors are denied room to flesh out these men, their travels reduced to isolated moments dotted along a map of perilous progress.
Only Damon Gameau as Channel 7 reporter Greg Shackleton leaves any real imprint behind, though the others are almost unanimously strong in support. (Nathan Philips, when he opens his mouth, does stand out as being miscast, playing against type of numerous past roles as a crude, yobbish dimwit.)
LaPaglia is the film’s savior and dominant figure, breathing miraculous life into this grizzled, emotionally scarred warrior, though he's nearly matched by the intense Isaac as a charismatic advocate for his country's plight. East’s best days may be behind him but despite enormous reservations, he senses the underlying implications of the journalists’ fate from the outset. He also realises that apathetic political forces will most likely ensure the truth is buried if his bulldog demeanor deserts him.
Balibo resonates with the horror of war and the barbarism of the Indonesian militia as they cut a swath through innocent, indefensible bodies. This is a powerful film of both human and political dimensions that deserves to be seen by the world; a soul-stirring trek into one man’s heart of darkness as he slowly whittles away at a terrible truth, concealed in the deepest corners of a defiled, overrun nation.
Oscar Isaac as Jose Ramos-Horta
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Comment by Matt Shea
20/20 Filmsight
Comment by David O'Connell
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Comment by Matt Shea
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Comment by David O'Connell
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Comment by Janet Collins
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Comment by Jason King
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Nice review - I do love LaPaglia.
Comment by David O'Connell
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Comment by Matt Shea
20/20 Filmsight
Very well done for the most part. Some quibbles here and there but you're review really nailed it methinks.
Comment by David O'Connell
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Comment by Geniel56
Thanks to anyone who can help me.
Comment by David O'Connell
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Comment by Geniel56