“I’ve declared war — that’s what I’ve done. I’ve declared war!”
In the early 20th century, a half-aboriginal Australian (Tommy Lewis) tries to adapt to white culture, but finds himself unable to cope with rampant, debilitating racism.
Fred Schepisi’s second film — a follow-up to his semi-autobiographical debut feature, The Devil’s Playground (1976) — was this adaptation of Thomas Keneally’s novel about the tragedy of systemic racism. Much like the New Zealand film UTU (1983), Blacksmith attempts to explain why relentlessly downtrodden individuals may turn to violence as a final means of expression: when all else is taken away from Jimmie (he’s unable to feed his own family), he must choose between abject resignation (other aborigines have descended into alcoholism) or rebellion. Blacksmith isn’t an easy film to watch, but it bears viewing by anyone genuinely interested in Australian history.
Redeeming Qualities and Moments:
- Tommy Lewis in the title role
- A no-holds-barred look at race relations and prejudice in early-20th century Australia
- A powerful portrayal of a man attempting to straddle two radically different cultures
- A disturbingly realistic glimpse at aboriginal shantytowns
Yes, simply for its historical importance. It’s listed as a cult movie in the back of Peary’s book, but I find it hard to believe that anyone could stomach this harsh film more than once.
(Listed in 1001 Movies You Must See Before You Die)