Relentless and brilliant - an outstanding western!

The Proposition is an artistic tale of disloyalty, honour, rituals of violence and familial bonds. Not only does this gritty film accomplish a new standard for the western genre (previously shaped by Sergio Leone's spaghetti westerns and other such films as Unforgiven and The Wild Bunch), but it additionally inaugurates a new era of Australian filmmaking. The Proposition is a peculiar film that can best be described as a beautiful nightmare mixed with an absorbing character examination and some unconventional underlying messages. Nick Cave, the famous Aussie rocker, wrote the screenplay as well as assisting in the creation of the powerful and evocative musical score, with John Hillcoat at the helm. In a nutshell: this is one of those westerns you will either love or loathe. It is a strange, unsettling film that is both gratuitous and relentless - exactly the tone of the period in which it is set. Some people criticised the strong explicit violence; however I find it necessary to underline the strong moralistic message that stimulates the film's proceedings.

The title of The Proposition refers to a significant facet of the film's plot: a facet that virtually fuels the film for its duration. The typical plot for a western has been transplanted into the harsh sands of rural outback Australia. Mikey (Wilson), Charlie (Pearce) and Arthur Burns (Huston) are three brothers who are prime suspects in raping a pregnant woman and subsequently murdering an entire family. A British lawman known as Captain Stanley (Winstone) is hired by the local Australian authorities to track down the three brothers. At the beginning of the film, Charlie and Mikey Burns lose in a shoot-out to the authorities and are arrested by Captain Stanley. But the supposed mastermind of the brothers, Arthur, is on the loose. Stanley strikes an impossible proposition with Charlie. Basically, Stanley will agree to pardon both Charlie and Mikey if Charlie agrees to venture out into the desert and hunt down his brother Arthur. If Charlie does not return by Christmas Day then young Mikey will be hung by the neck. Either way, one of his brothers will be killed on Christmas Day. Charlie is faced with the gruelling decision of choosing which brother he must sacrifice to save the other.

The plot is straightforward and easy to follow, but at the same time it's also highly effective and embodies tremendous emotional depth. This praiseworthy emotional depth can be attributed to the potent screenplay penned by Nick Cave, the powerful performances, astonishing direction and the captivating cinematography that accurately encapsulates the unsympathetic rural outback. Using beautiful cinematography, the filmmakers present a commendable portrayal of the landscape of the Australian desert. This aforementioned landscape is a character equally as vital as any of the damaged souls wandering through it. The outback is laudably photographed by Hillcoat and cinematographer Benoit Delhomme: it's beautiful yet hostile, recognisable yet alien and ultimately indifferent to humankind. The sands of this desolate area are spectacular to witness. Scorched and sun-blasted - this is the kind of location where awful, violent things are bound to transpire.

The Proposition returns the western genre to its roots by resurrecting classic trademarks. One of these admirable qualities is the equivocations while establishing the heroes from the villains. The three Burns brothers are portrayed as evil, but on the contrary the film explores this facet to be marginally untrue. Charlie in particular is on the road to redemption and this film depicts the change of mindset. This inner journey is a deeply explored, leading to an remarkably potent final shot. The authorities of the genre are stereotypically depicted as the heroes of the film. The Proposition blurs that convention and presents us with a diverse slate of characters. For the most part, the authority figures are shown as brainless and inept, but above all are even more heartless than the outlaws they are currently hunting.

The transformation of locations is another innovative feature in this particular film. Filmmakers have endlessly portrayed the period in different American locations, so when the creative team shifted the focus to Australia they were already breaking new ground. There are many stirring and memorable things about this brutal Australian western, but personally the flies created the most potent effect. Possibly this is for the reason that they're absolutely everywhere; the majority of the film's scenes feature the omnipresent buzzing of hundreds of hungry flies. Whether indoors or outdoors, moving or standing still, it matters not - they're there and you cannot avoid them. Some scenes even highlight the fact that inhabitants of the outback have learned to eat food even if infested with the entire fly population. Their presence is inescapable in the blistering outback wasteland in which The Proposition is set, and that impression of suffocating inevitability is raw, visceral and uncompromising: ultimately an admirable component imperative for the film's success.

Each character of the film is played to absolute perfection. This is an Australian film with British financing, hence a rare instance when an Aussie film contains a cast filled by international stars. Guy Pearce is fierce and haunting in the lead role. We've all seen him in films such as Memento and Factory Girl, and he's tremendously suitable as a typical gunslinger. His character undergoes a subtle moralistic internal journey that leads to an unexpectedly, unforgettably brutal climax. Surrounding Pearce we have a number of fantastic international stars filling the supporting cast. Ray Winstone plays a principal character that is explored powerfully. His character of Captain Stanley does not succumb to the expected hateful authority figure. Stanley is a rational man trying to do the right thing and yet realising that he's hopelessly overwhelmed. Gazing out at the despondency of the desert, Stanley has no idea what will materialise and his uncertainty is where the central plot is constructed. The Proposition sees Stanley trapped in a hell that is partly his own doing and partly circumstance. He asserts his control early and makes his goal clear: he wants to civilise the country. However it doesn't take long before things slip from his grasp. This is especially palpable when he's upbraided by his superior: the commanding Eden Fletcher (Wenham) who's furious that Stanley allowed a prisoner to go free. Stanley becomes reduced to a dumbstruck child, unable to do much more than weep for the destruction of his pride and all he thought was right. Part of Stanley's downfall can be attributed to his desire to civilise the outback and his willingness to strike deals with devils to do so. Although actor Guy Pearce is the lead, I see the story as being more about Winstone's character of Stanley. While Pearce's Charlie confronts his inner demons to achieve a moral awakening, Stanley is also undergoing a spiritual journey as he comes to terms with the destruction of his merits. Danny Huston brilliantly portrays the murderous rage of Arthur Burns and creates a career-best performance. Also in the cast there's a superb John Hurt as a quirky bounty hunter, a unique David Wenham as the aforementioned authority figure, and Emily Watson as Winstone's bride.

Overall, The Proposition is one of the best Australian productions I have seen for years! This is an intense, riveting, wholly gratifying and poignant addition to the western genre that has remained dormant for years. Not since Jim Jarmusch's 1995 film Dead Man have I been this impressed with the genre. Before that, Clint Eastwood's Unforgiven. Every generation has its definitive western and, until persuaded otherwise, The Proposition stands as this generation's definitive western. There may be a shortage on action, but it doesn't matter through my eyes. This is a beautifully filmed movie that is both powerful and challenging. The film's climax is particularly haunting. The final shot shows two characters sitting motionless in front of an achingly gorgeous sunset as one asks the other, "What're you gonna do now?" The answer goes unspoken, however it rings clear anyway: sit here and wait for the flies to come take them just like everyone else.

9.25/10