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‘Samson & Delilah’, the Cannes-selected breakthrough feature of writer/director Warwick Thornton, follows the gradual partnership of two indigenous teenagers who live in a small impoverished rural community outside Alice Springs. It is a film of slow and menacing beauty, phlegmatically unravelled with painfully authentic performances delivered in front of vast and vacuous backdrops soaked up like a sponge by Thornton’s wide  and searching lens.

It is a stunning achievement and one of the least sentimental boy-meets-girl films you will ever see, period. The first shot is a harbinger of things to come – a long and steady take depicting Samson’s (Rowan McNamara) morning ritual of waking up, reaching for his trusty tin and taking a long, deep whiff of petrol. On this uneasy note the film’s harsh but seductive mood begins.

In opening scenes romantic chemistry between 15-year-old Samson and 16-year-old Delilah (Marissa Gibson) consists largely of the characters throwing rocks at each other, but give it time and a close affinity between themselves and the audience develops. Samson lives near a trio of reticent musicians who endlessly rehearse a handful of simple riffs, more out of routine than pleasure, and Delilah cares for her elderly grandmother - a wizened, giggly old gal who spots romance well before it blossoms. Our protagonists seem drawn to each  other organically, their partnership presented as a natural progression born more of necessity than desire. Eventually they will leave their isolated community and venture to the big smoke, and this is when the film

really takes off, the second half carrying a heaviness built on top of the commonplace details illustrated in the first.

Beautiful, heartbreaking and technically proficient, ‘Samson & Delilah’ is the cinematic event many Australians have waited decades to see: an extraordinarily powerful picture that frames the debate about Aboriginal living standards in an intensely personal context, without loading up on cheap shocks or political didacticism.

The title characters build enormous screen presence despite very little dialogue and few moments of overt emotion; they are stolid personalities the audience come to understand over time. Rowan McNamara and Marissa Gibson appear naturalistic and effortless and their acting unconsciously nuanced. Together they create the kind of painfully real performances that has critics, for a good reason, choking themselves on superlatives. In addition the handful of ensemble cast are a memorable bunch: Delilah’s Grandma and a friendly hobo who goes by the name of Gonzo bring a little humour and light to the story, though some audiences will inevitably describe it as too much of a downer.

1

The unraveling of the movie Samson and Delilah is best described by which of the following

a. The unraveling occurs in a sentimental mode.

b. The unraveling is stoic in its treatment.

c. The unraveling goes against the expectations of the audience.

d. The unraveling is meant to cause pain to the audience.

2

Which according to the author is not a remarkable aspect of the movie ‘Samson and Delilah’?

a. Portraying love as an organic progression rather than a desire.

b. Clearly highlighting the fact that Aboriginal living standards need to be improved.

c. Portraying Aboriginal living standards in a personal context.

d. Portraying love between two characters without much display of overt emotion.

3 

Which of the following can be inferred from the passage ?

a. Real characters are those characters which are portrayed without resorting to overt emotions.

b. The film got due credit for creating a realistic feel which also touched many viewers.

c. The audience does not want to see what is painfully real and feels let down.

d. The critics lauded the film because they felt choked with emotion and pain.

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CAT 2020  PREP  online   

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