The Proposition (2005)
by Steve Habrat
For many years, it has been said that the western is a dead genre. It may not be as popular as it once was, but every so often, the genre rides back from the sweaty cinema graveyard and sternly reminds us all that it is alive and well. Take John Hillcoat’s 2005 Australian western The Proposition, a clammy, existential stargazer of a picture that appeals to both aging fans of the genre and the wine-sipping art house crowd. There is an echo of Leone here and maybe a faint whistle of Peckinpah there but gently rolled into the center of The Proposition is an apocalyptic rumble that refuses to quit. There are many layers to The Proposition, from a story about the complex relationship between a trio of outlaw brothers to the idea of taming the unruly Australian outback through violent force. Don’t be fooled by the film’s sensitive side as The Proposition can turn on you in an instant, almost like a whiskey-drenched outlaw who has just been disrespected in the local saloon. Yet the real shock comes in the way the film warns us that in a place this wicked and gray, even the most innocent soul isn’t immune to the horrors that can blow in from the plains.
The Proposition takes us into the unforgiving Australian outback of the 1880s, where a savage gang led by the Burns brothers roams about causing mayhem. It is rumored that the Burns brothers gang is responsible for the horrific massacre of the prominent Hopkins family, who appear to have been beloved by the local community. After two of the Burns brothers, simpleton Mikey (Played by Richard Wilson) and clever Charlie (Played by Guy Pearce), are apprehended by lawman Captain Stanley (Played by Ray Winstone), Captain Stanley cons Charlie into riding into the outback and finding their eldest brother Arthur (Played by Danny Huston), who is said to be the deadliest of the Burns brothers gang. Captain Stanley warns Charlie that he has nine days to find and kill Arthur and if he doesn’t, Mikey will be executed. Charlie reluctantly accepts and rides out into territory that is savagely defended by Aboriginal tribes that kill any white man that dares set foot on their land without an army. With the clock ticking, Captain Stanley soon finds himself fending off protests from the community and his fragile wife, Martha (Played by Emily Watson), who was very close with the Hopkins family. As the protests turn violent and his job slowly slips out of his hands, Arthur learns of the plot to bring him down and he sets out to find Captain Stanley and innocent wife.
Set to a gulping bass line and whispery chants from Nick Cave and Warren Ellis, The Proposition hints that a storm of fury is gathering on the horizon, just waiting for the right moment to rain down on the dusty town. The whispers in the score ask “when”, “why”, and “who” as all three of the brothers gaze up at the fiery sun and the twinkling stars. The build up to this storm doesn’t hesitate to linger on the beautiful Australian outback even though we know that this untouched land is slowly being gutted by senseless bloodshed. Nick Cave’s screenplay may use a different location for this squinty showdown but he doesn’t mind drawing from the good old western tradition of waiting around for death to come riding into town on a rusted horse. The outlaws pass the time chatting about love and starring out at the landscape while the military men grunt about the sexual acts they would like to perform on Martha while the Captain is away. We do have to wonder who the real savages are in The Proposition and that question is easily answered as the film moves into its second act. The outlaws use violence to protect their freedom while the Aboriginal tribes are using violence to protect what is rightfully theirs. The military uses senseless slaughter and overkill to send a message, all while flies gather on their sweaty backs. Yet Cave and Hillcoat don’t ever squander an opportunity to show us how senseless all this violence really is. It is written in the reactions of those who pound a drum for it.
With the weighty script in place and an atmospheric score pondering about how this will end, Hillcoat and Cave give their actors plenty of room to really develop their characters. Pearce is a marvel as he silently rides through the rocky terrain, sipping from a bottle of liquor and touring the smoldering ruins of the Hopkins’ home, ruins that now lie empty as their spirits cry out in agony. He is eerily similar to Eastwood’s Man with No Name, but I’d dare you to find me a modern day gunslinger that doesn’t draw from that legendary cowboy. Huston is a slow burner of a baddie, a sadistic killer who only shows his true colors when he is prodded with a hot poker. You will fear for the fool who dares anger this slumbering beast. Winstone’s collapsing Captain Stanley is desperately trying to provide a safe place for both his wife and himself to call home. It is emotionally draining to see the dim light of hope die in his eyes as things go from bad to worse. Watson brings her fragile gaze to Martha, who only wishes to have a cozy Christmas with her loving husband. You can see the naïve gears in her head turn as she silently tries to comprehend the violence in these outlaws. When this delicate soul is smashed in the final moments of the film, it shatters into tiny pieces that will never be able to be put back together. David Wenham rides into town as Captain Stanley’s boss, Eden Fletcher, who dishes out one hundred lashes to poor Mikey, leaving him a sobbing, bloody heap. Also present is David Gulpillil as Jacko, an Aboriginal tracker who tries desperately to understand the viscous nature of the white man and John Hurt as Jellon Lamb, a sloshed old bounty hunter searching for Arthur.
The Proposition boils down to a bond between brothers, and what they will end up doing for one another. Despite their shocking actions, they stand by, loyal even as they hold a gun to each other’s head. When the bullets fly across the screen, The Proposition remains ever thoughtful of the situation in front of it. Yet any good western boils down to how affecting the story truly is and I must say that The Proposition is one that sticks to your ribs long after the last gunfighter falls to the ground and a defiled woman shrieks in horror. With an ending as black as night, The Proposition is certainly not a Hallmark western, one where the sheriff walks away triumphant and the outlaw is led away with cuffs around his wrists. Oh no, it is far from it but that doesn’t even begin to spoil the ending of the film. In fact, it seems clear to me that all that time the western has spent out in cinema’s forgotten graveyard has only toughened the genre up and caused it to be a bit more philosophical than it already was before it pulls the trigger.
The Proposition is available on Blu-ray and DVD.
Posted on September 8, 2012, in REViEW and tagged 2005, art house cinema, danny huston, david gulpillil, david wenham, emily watson, guy pearce, john hillcoat, john hurt, nick cave, richard wilson, thriller, warren ellis, westerns. Bookmark the permalink. 2 Comments.