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Charlie's Country © ATOM 2014 A STUDY GUIDE BY MARGUERITE O’HARA http://www.metromagazine.com.au ISBN: 978-1-74295-476-9 http://www.theeducationshop.com.au The film runs for 108 minutes. Overview One of two Australian films selected for screening at the 2014 Cannes Film Festival, Charlie’s Country (2013) is the third collaboration between writer/ director Rolf de Heer and actor David Gulpilil. The earlier films were The Tracker (2002) and Ten Canoes (2006). At the 2014 Cannes Film Festival David Gulpilil was awarded Best Actor in the Un Certain Regard category for his role in Charlie’s Country. The film follows Charlie (David Gulpilil), an Indigenous man, as he struggles to live on and in his country. Director Rolf de Heer describes the film as: Watch a preview at <http://media. … a story of a man of David’s indeterminate age living in a remote theage.com.au/entertainment/ community under the intervention and grappling with the changes trailers/trailer-charlies-country -5444345.html?gclid=CLz14oOKh that are happening, not knowing how he’s meant to live his life in b8CFVJvvAod8kMAOw>. Australia these days and deciding to go bush and live the old way. The film explores whether it is possible for Indigenous Australians 2014 © ATOM SCREEN EDUCATION like Charlie to maintain their traditional way of life within their country today, to live well on their terms. Through one man’s story, it illustrates the difficulties faced by people whose traditional way of living is in many ways at odds with that of the dominant white society. 2 Curriculum STRUCTURE OF THIS GUIDE white laws often make little sense to Indigenous Australians. A lack of Guidelines 1. Part 1 includes background purpose and meaning in life (what do information about the film, I do now?) has left many Aboriginal the cast and crew, and places Charlie’s Country is a film that all and Torres Strait Islander Australians where the film was shot. Australians should see. For school unable to find peace and a sense of students it would be best suited to 2. Part 2 provides a listing of the control over their lives. senior students (Years 10–12) of: scenes with accompanying quotes from the film and Successive government initiatives • English suggested areas for discussion. to ‘close the gap’ in health, educa- • Australian History tion, employment and housing have 3. Part 3 offers information about • Humanities The Federal Government made little impact in many of these • Civics and Citizenship Intervention into Northern areas. Indigenous Australians have • Indigenous Studies Territory Indigenous lower life-expectancy, are more often • Film and Media Studies communities. imprisoned and have fewer opportuni- • Geography ties to access education, training and • The guide can also be used across employment programs. other subject areas in the National and society. Many aspects of how Curriculum as an excellent way of the original inhabitants lived on and - Why is this so? incorporating Indigenous perspec- managed the land have a great deal - Why are things generally not im- tives and understandings. to teach the rest of the world about proving for the first nation people sustainability and living in harmony of Australia? This guide is designed to help stu- with the land. Colonisation also - To what extent should govern- dents understand some of the dimen- brought diseases, fatty foods, alcohol ments intervene in Indigenous sions of Charlie’s life through close and tobacco. While misuse of drugs affairs? viewing and discussion of how his and alcohol in particular are damaging - Should laws and restrictions spe- life and dilemmas are presented. For to people of whatever ethnic origin, cifically target particular races and students of film studies, this is a finely their effect on native peoples all over communities? acted and constructed story of one the world has been disastrous for their man’s experiences that also speaks health and well-being, particularly for While this film is the story of Charlie’s of the lives of many Indigenous those living in remote settlements. struggles to live well, it is also the Australians today. story of many Indigenous Australians, Rolf de Heer’s films The Tracker, Ten particularly those living in more remote Later in the guide there is a sec- Canoes and Charlie’s Country ex- areas who suffer similar indignities tion about the Northern Territory plore and present different aspects and difficulties to Charlie. It makes the Intervention. Students may be encour- of how Indigenous Australians have politics and the statistics personal, aged after watching this film to further lived in this country and interacted encouraging us to empathise with the research and explore some of the with white people. The third of these difficulties faced by many Indigenous issues surrounding the Intervention. films – Charlie’s Country – is set in the Australians today. It also offers a present. In telling the story of Charlie, picture of the beauty, possibilities and One of the cross-curriculum priorities of it illustrates how the introduction of personal challenges in many remote the National Curriculum is to incor- alcohol, tobacco, other drugs and junk communities. Gulpilil’s performance porate Aboriginal perspectives and food has created massive health is- is both moving and at times joyously understandings across all study areas. sues for many Indigenous Australians. comic. This should not mean simply looking At the same time we see how many at Indigenous history and culture as something from the past as part of the History curriculum, but rather as a living culture that has a long and rich history. Most Australians acknowledge that many aspects of Indigenous culture have been disrupted and in some 2014 © ATOM SCREEN EDUCATION cases destroyed since white settlers colonised Indigenous peoples’ tradi- tional lands and effectively destroyed many aspects of their traditional way of life. However, Aboriginal and Torres Strait Islander people survived and continue to enrich Australian culture 3 PART 1 Background Information » ROLF DE HEER group of ten men in their bark canoes » DAVID GULPILIL, on the Arafura swamp. The photo was OAM, AS CHARLIE Charlie’s Country is the third film taken by anthropologist Dr Donald Australian director Rolf de Heer Thomson who worked in central and has made about the lives and sto- north-east Arnhem Land seventy years When, as a seventeen-year-old, David ries of Indigenous Australians, both earlier during the mid-1930s. Gulpilil lit up the cinema screen in prior to and since white settlement Nicholas Roeg’s 1971 film Walkabout, in Australia. The first of these films, De Heer has made a number of other he did more than play a role. The per- The Tracker (2002), also starred David films and documentaries, including formance was so strong, so imbued Gulpilil in the title role. It is set in 1922. 12 Canoes (2009) – a background with a new type of graceful natural- on the history, culture, environment ism, that it redefined perceptions of De Heer made Ten Canoes in 2005 and social structure of the people Aboriginality, especially in the field of with co-director Peter Djigirr; it is of Ramingining – and The Balanda screen acting. a love story set in the time of the and the Bark Canoes (2006), a film ancestors about forbidden love. The about the making of Ten Canoes, Over the next decade, David be- story was filmed in the country around also made with the Yolngu people of came the iconic Aboriginal actor of Ramingining in Arnhem Land and is Ramingining. Visit the Vertigo website his generation, paving the way in narrated by David Gulpilil. It is the first to see other films made by de Heer: the resurgence of the Australian film feature film shot in an Aboriginal lan- <http://www.vertigoproductions.com. industry for more parts to be written guage; most of the dialogue is spoken au/all_films.php>. for Aboriginal people and for more in Ganalbingu, a Yolngu language, Aboriginal stories to be told. His although the narration most charismatic, engaging and unforget- commonly heard is in English table performances in films like Storm and, as with any ‘foreign lan- Boy (Henri Safran, 1976), The Last 2014 © ATOM SCREEN EDUCATION guage film’, there are subtitles Wave (Peter Weir, 1977) and Crocodile where necessary. Dundee (Peter Faiman, 1986) helped bring Aboriginality into the mainstream The title Ten Canoes was in- of the screen arts. spired by a photograph shown to director Rolf de Heer by David In his later work, including Rabbit- Gulpilil. The picture was of a Proof Fence (Phillip Noyce, 2002), 4 The Tracker, Australia (Baz Luhrmann, 2008) and Satellite Boy (Catriona McKenzie, 2012), David has brought tremendous dignity to the depiction of what it is to be Aboriginal. Through his performances he has brought an incalculable amount of self-esteem to his community. David is not just a screen actor, www.vertigoproductions.com.au>; fol- however. He was a peerless dancer, low the links to Charlie’s Country and for a time perhaps the most renowned click on ‘Press Kit’). traditional dancer in Australia. He has written the text for two volumes of children’s stories based on his peo- » THE STORY OF ple’s beliefs. He has performed a one- MAKING CHARLIE’S man autobiographical show to great COUNTRY BY ROLF acclaim on the stages of the Adelaide mixing it with the best of them, so Festival of Arts and Sydney’s Belvoir DE HEER much so that David and hell-raising, Street Theatre. And he paints, in his substance-abusing American actor own distinct but traditionally evolved My friend David Gulpilil is a troubled Dennis Hopper, of Easy Rider fame, style, paintings that convey his rever- soul.
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