Jesse (Ashley Zukerman) attempts to break into an encrypted document
The Code is an Australian serial narrative in 6 x 60 mins episodes. It combines a mystery with a conspiracy/political thriller/investigative journalism story. The setting is in the Australian Capital Territory (ACT) of Canberra and a small town in the bush where a young Aboriginal couple are involved in a car crash. Who caused the crash and how did the couple’s car end up dumped in a quarry with the girl dead and the boy subsequently hospitalised?
The different aspects of what is a familiar genre narrative involve a pair of computer hackers, one of whom is on the autistic spectrum and the other who is the daughter of Iranian refugees. Hacking and decrypting are central to the narrative and several of the data exchanges are represented on screen as text and numerical data ‘floating’ over the image. Jesse (Ashley Zukerman) and Hani (Adele Perovic) have both been previously warned about their activities by government agencies and Jesse struggles to keep a job and keep away from hacking. He is effectively ‘looked after’ by his elder brother Ned (Dan Spielman), a journalist now working for an internet news site. The main interest for me was the interrelationships between Jesse, Ned and Hani when Ned stumbles across a connection between the car crash in the bush and various machinations in the Australian Prime Minister’s Office – focused on the Deputy Prime Minister who is also Foreign Affairs Minister (and played by David Wenham, the major Hollywood actor in the cast). Ned’s ‘inside source’ is his ex, Sophie, the Head of Communications in the PM’s office.
Aaron Pedersen and Lucy Lawless – underused in the narrative?
Out in the bush the crash attracts the attention of the local schoolteacher Alex (Lucy Lawless aka Xena: Warrior Princess) and her ex, Tim the local police sergeant (Aaron Pedersen – see Mystery Road). This narrative strand proved a disappointment for me since I thought it wasn’t properly exploited by the writer, the experienced Shelley Birse. Two of the best-known actors in the production were under-used, as was the location.
Overall, however, I thought the serial was well-directed and nicely shot. The Australian Parliament building in ACT was used imaginatively and its design was worked into the credit sequence which also drew on the idea of data exchanges which are being monitored and intercepted. There have been plenty of Australian TV shows on UK TV in the past, but this one made by Playmaker and first shown on the Australian public service channel ABC1 in September seems to mark a change. Playmaker is run by former executives from Fox Australia and my reading of some of the coverage of The Code is that whereas previously Australian productions have been pale imitations of Hollywood imports, this one appears to draw directly on the recent surge of Nordic Noir productions that have had such a major impact in global television trading. As well as the UK, the serial has been sold to the US and to DR in Denmark. The Killing is certainly one of the touchstones for The Code and House of Cards might be another one.
Like many other viewers I was confused by the closing scenes of The Code. If I read the final scene correctly, there was an open ending and something very worrying might be about to happen. Probably I misunderstood, but I’d certainly watch a follow-up. The relationship between Jesse and Ned and then between Jesse and Hani worked very well for me. Putting aside the fantastical conventions of the genre (MacBooks that operate three or four times faster than mine!) I thought the portrayal of Jesse and his struggles with conforming to ‘ordinary’ social interactions was believable and moving rather than just another plot point.
This is the ABC Trailer:
In the UK, the serial should still be on iPlayer and a DVD is out soon from Arrow. The show’s Wikipedia page has details of distribution in other territories.
Willem Dafoe is the hunter in a Tasmanian wilderness (photo: Matt Nettheim)
The Hunter is the kind of film that will enthrall many audiences and infuriate others. It’s an intelligent and well-crafted exercise in combining elements from several different genre repertoires and presenting them via great cinematography of relatively unusual landscapes. The performances are very good and there is an engaging sense of suspense. The film’s resolution will provide many audiences with the basis for arguments in the pub, although the script in the end is the weak point as it rushes to its conclusion with several narrative threads dangling. But this shouldn’t detract from the pleasure of watching the film in the cinema (and not waiting for it on DVD).
‘The hunter’ is a professional and at first we think he is a typical Hollywood/European hitman as he receives a commission – but quickly we realise that we have the wrong genre and instead we are plunged into a Deliverance-type story, set in an isolated part of Tasmania. ‘Martin David’ (Willem Dafoe) is given the task of finding the last surviving specimen of the supposedly extinct Tasmanian tiger in order to kill it and retrieve blood samples and organs which a typically mysterious corporation (‘Redleaf’) intends to use to develop new biotechnology products. The tiger’s last sighting was in a mountain region where a dispute about logging on the lower slopes between local loggers and a group of ‘eco warriors’ means that the hunter is less than welcome in the bar of the nearest town. However, unlike the hapless townies in John Boorman’s Deliverance, the hunter is highly capable of looking after himself and at times in the wilderness he resembles the John Rambo character in the first film of that series. However, The Hunter has another genre repertoire to explore. Martin’s cover story is that he is a university researcher and he has rented a room in a house in the forest owned by Lucy (Frances O’Connor) and her two small children ‘Sass’ and ‘Bike’. Lucy’s partner was a local scientist who disappeared on a trip into the wilderness. When he arrives, Martin finds Lucy crashed out on sleeping pills and he is greeted by the assertive Sass and her brother who refuses to speak but who has a remarkably expressive face. The narrative will allow plenty of time to explore the relationship between Martin and these children – and their mother when she eventually emerges.
So, self-reliant, professional hunter seeks prey but also has to deal with a grieving family and a hostile local community. On top of this, we may be in an eco ‘conspiracy thriller’ concerning Redleaf. It’s a fascinating mix and director Daniel Nettheim, cinematographer Robert Humphreys and composers Andrew Lancaster, Michael Lira and Matteo Zingales generally succeed in presenting a compelling narrative. It’s unfortunate that they never solve the central problem associated with a narrative built around two very different generic modes – the hunter in the wilderness and the family melodrama in the boarding house. It’s not that the two narrative strands aren’t connected – Martin builds a relationship with the mute boy that clearly has a relevance for his task in the wilderness. Rather it is the problem of frequent moves between the locations so that the mountain range where an extinct animal might have been spotted seems only a few miles down the road by car. The script by Alice Addison appears to have been developed from a previous adaptation of a novel by Julia Leigh, who last year saw her own film, Sleeping Beauty in competition at Cannes. I haven’t read the novel but some of the comments on The Hunter suggest that it doesn’t succeed in presenting the full complexity of the original story. I can only guess budget considerations and the possible uncommercial length of a ‘faithful adaptation’ gave rise to the compression of the film narrative in its final quarter. I can’t explain more without giving away the plot twists. My advice is to sit back and enjoy the film for what it is – an engaging twist on familiar genre narratives with great performances (Dafoe is perfectly cast) – but don’t try to second guess the plotting.