Dir. John Curran
The thing about doing something extraordinary is it’s going to sound utterly unreasonable at first. Back in 1977, when Robyn Davidson, a young, callow Aussie woman with a penchant for animals and getting away from clutter, decided to solo hike from deep in the Australia desert all the way to the coast — a distance of some 1700 miles — with only the company of a group of camels to carry her gear and her trusty black Labrador to accompany her, it was seen as the kind of brainless lark a young person decides upon without regarding any of the consequences. But Robyn Davidson was no ordinary explorer.
As played by Mia Wasikowska, she’s sturdy, stubborn, and above all other things, undeterred by anyone else’s expectation of her limitations. Holing up in a deserted shack on the edge of the desert town she intends to embark from, she learns about working with camels and training them for many long months with local camel trainers, and when a group of friends come by for a night of revelry during her preparations, she’s lucky enough to meet Rick Smolan (Adam Driver, whom has now released a mind-boggling five films in 2014 alone — the man must not sleep), a photographer for National Geographic, as it happens, whom he puts her in contact with to sponsor the story.
And so it is, some weeks later, with camels in tow, and a National Geographic grant to fund her, Davidson bids adieu to the remaining members of her family — her mother, we are eventually told, hung herself when Robyn was still quite young — and starts off on what will come to be a nine-month journey.
With Rick popping in every few weeks to shoot her expedition for the magazine, Robyn makes her way across sacred aboriginal land with the aid of a kindly village elder (Roly Mintuma), endures a tragic loss, becomes completely sun-drenched and loses her bearings, and eventually encounters numerous tourists on buses and squadrons of journalists after her quest grows into both national and international news.
She also seems to encounter a steady stream of truly decent and caring people, in fact, as the film would have it, with Robyn’s strong desire to keep planning to a bare minimum and rely instead upon the kindness of strangers, she essentially does exactly that and seems to suffer absolutely no negative repercussions for her lack of forethought. She’s constantly getting bailed out, if not by the affable Smolan — whom, after one romantic evening encounter, becomes besotted by her — then by the few kindly people, both Aboriginal and non-native, she meets along the way. Naturally, she suffers a fair amount as well, but considering the circumstances, not nearly as much as she could have.
In fact, but for the slow pace and gritty naturalism of the film — there is much in the way of realistically harsh animal treatment and countless shots of the Outback itself, ineffable and pitiless — it could make a fine Disney treatment whose theme would revolve around one young woman overcoming terrific odds and the indomitable human spirit.
Which naturally leads to the film’s central issue: It doesn’t really have terribly much to say, either about Robyn, the Outback, or the human spirit. Curran dutifully follows her trail, documenting many of the incidents listed in her book of the same name, but as the film neither adds dramatic swirls, nor insightful meditation — its quite happy to leave the taciturn Robyn as a young, sun-blanched cypher; whatever she’s getting out of the experience remains either on the surface or largely unexplored — it doesn’t actually have all that much to do. Lip service is placed on giving us a psychological context for Robyn’s trajectory (the death of her mother and subsequent loss of her childhood dog, as her father had to move her away to live with an aunt), but it still doesn’t give us terribly much with which to work.
Given the lack of dramatic arc, Curran and DP Mandy Walker resort to countless artful shots of the landscape under Robyn’s feet and all around her. It’s a fair argument; it so happens that this part of the Aussie Outback is wondrous and varied, from scrub desert to large red cliffs, to the pure sandy white of the dunes leading up to the Indian Ocean, but with much less else to offer beyond its limited premise, the film never rises much beyond a simple travelogue, true to its roots as a National Geographic article, but with the sinking sense that you’d probably be better off just reading the original.