Rylan’ Score 4.5/5
Some things just want to be left alone. Be it land, beaches, widows or birds.
The 1963 novel about a South Australian boy who rescues and befriends pelicans has been re-imagined by director Shawn Seet. Geoffrey Rush stars as Mike Kingley, who describes growing up alone to his granddaughter Madeline (Morgana Davies), a budding environmental activist. The film weaves between present day and Mike’s childhood.
One day, child Mike, played by newcomer Finn Little, hears shots fired by local hunters over an uninhabited beach in South Australia. He finds three orphaned baby pelicans in a nest nearby and returns them to his home where his father, Tom, a widow, (Jai Courtney) and Fingerbone Bill (Trevor Jamieson) help raise them. Bill warns Mike of an Aboriginal Elder legend in which a storm descends every time a pelican is killed.
The film has been developed to suit its 2019 audience and there is a true sense of political timing, which seems to link up with the protesting of the Adani coal mine as well as pollution of beaches.
There’s always an internal question you ask when you see a poster for this type of film: do I want to put myself through this, knowing tragedy could be lying in wait? Interestingly, Madeline also faces this dilemma as she listens to Mike’s story; “They’re going to die aren’t they? I know they are.” Thankfully, Mike consistently evades these questions, allowing you to experience the journey. All I will say is this – there’s a beautiful payoff.
I felt the exact same hatred for the hunters in the film as I did watching Ralph Fiennes portrayal of Amon Goth in Schindlers List. They arrive just when you don’t want them to and you feel helpless hearing the sounds of the gunshots over the shore. You’ll want to jump into the screen and tell them to F-off!
The cast’s performances are powerful with a special mention for Finn Little’s portrayal of Mike. He brings an innocence to the role that will connect with your own inner child. Jai Courtney should also be commended for avoiding the clichéd trope of toxic masculinity, instead, supporting his son whilst navigating his own grief and forming a unique, and at times comical, relationship with the pelicans.
I’m sure Storm Boy will have the same global success as Red Dog. We are only days in to 2019, but it’s hard to see another Australian film topping it this year. Bring your Kleenex.
Rylan Dawson, On The Screen
