The Rover

The Rover (2014)

Directed by David Michod

103 minutes

After the successful Animal Kingdom (David Michod 2010), which landed fellow Australian Jackie Weaver nominated for an Oscar nomination and American roles since, director David Michod has intertwined Australian and American actors in his new western thriller The Rover. Filmed in South Australia’s Southern Flinders Rangers, the bleached cinematography conjures the essence of a dry environment and like the delights of the ozpolitation genre Wake in Fright (Ted Kotcheff 1971), the heat is a cause of aggravation to the film’s characters.

 The Rover is set in a futuristic post apocalyptic world. Eric (Guy Pearce) is the main protagonist and a very grizzled reminiscence of Clint Eastwood. He goes on the hunt to get his car back which was stolen by a trio after a fight breaks loose and a car collision. Now, as their car is stuck, they take the next available ride. Eric reacts by taking the trio’s car and gets the engine going. After Eric’s very persistent tailgating, he catches up with them, they fight and the gang escapes. Opening with this scenario, puts us in the deep end as we try to connect who’s who.  It is revealed one of the gang members Henry (Scoot McNairy) has a bullet injury and was in a fight with his brother Rey (Robert Patterson), presumed dead.  What we don’t know is why Eric is so insistent on getting his car back.

The narrative continues its fast pace when Eric drives through the town to gather information on his car. Eric’s lack of manners and threatening dialogue doesn’t gain him extra leads, he is ordered to buy something from a general store and asked politely what his name is, and he doesn’t seem to understand small talk.  Enlightenment however comes when Eric meets injured Rey. Eric kidnaps Rey and has his wounds healed to obtain a level of coherence regarding Henry’s whereabouts. Rey’s injury is treated by Dorothy (Susan Prior), a practising doctor, who, like most of the town asks questions armed. Dorothy is kind spirited and contrasts the town’s scavenging, she doesn’t charge and treats abandon dogs. But there a price Dorothy pays for in getting involved with Eric and Rey.

The rest of the journey comes as no surprise. Eric uses Rey to find his brother and take back his car and the film climaxes like a perfect western should.

The Rover is atmospheric, yet simple. We witness some oddities, animal cruelty and violence at times turning the western genre into horror.  The discipline and no ‘fuss’ structure is used effectively to serve the purpose of the narrative and illustrate an environment where every man is out for themselves. In much the same way dialogue is used sparingly.  Eric has lost meaning to humanity and gets straight to the point. However the film is nicely contrasted through Rey’s persona. Rey is a yokel but colourful person who finds it hard to communicate but likes to resolves his fears by talking and telling stories. This is demonstrated precisely through Pearce and Pattison who are contrasts but add subtlety. Their journey works as an awkward buddy relationship.

Although The Rover inevitable has a predictable outcome, the films challenges linearity through the fractured characters personalities that could change at even given time. Scene by scene we learn, and are withheld subtext to fill in the blanks. However, we understand clearly that Eric and Rey have their differences and it compliments their pathways.

 The Rover is most effective in inhibiting a bleak and primitive world that is minimal and explored beautifully. Equally it is can be a journey to embody melon collie and redemption.