Mabo
The wide-angled photographic images of the mountainous land and the vastness of the sea capture the beauty of the landscape as well as the “Land is Me” attitude of the Murray Islanders. Accordingly, land is not just a territorial piece of physical land but a place of cultural and spiritual origin and pride.
Perkins also depicts Eddie’s relationship with his own son from a cultural perspective of continuity and inter-generational strength and knowledge. Just as Eddie’s father presumes that Eddie will be the custodian of Indigenous cultural values and spiritual knowledge, so too is Eddie intent to pass this knowledge on to his own son. The totemic story of the octopus reflects Perkins’ view that “ownership” of the land is much more than physical possession. As a custodian of Meriam law, Benny tells Eddie that “everything here” on Murray Island is “yours” and that the land passes “from father to son”. Benny speaks in the Meriam language with subtitles to emphasise cultural difference and the Murray Islanders’ prior connection to the land.
Perkins juxtaposes archival documentary-style footage of Eddie’s and Bonita’s experiences to depict the social, political and historical context of Eddie’s struggle for justice and equal rights. The contrasting attitudes initially held by Eddie and Bonita reflect the different responses of the First Australians. Bonita’s cooperative attitude, “We can’t afford to be troublemakers”, is typical of those who reluctantly endure persecution because they have become accustomed to defeat and hardship. Perkins suggests that Bonita’s attitude reflects years of ingrained racism, persecution and a conditioned sense of inferiority.
Perkins uses archival footage to depict, as authentically as possible, Eddie Mabo’s participation in a variety of marches for justice such as the May Day march, which also reflect the increasing awareness of discrimination in the community. Proudly, he raises the banner, “Equal pay irrespective of colour.” As well as this the black-and-white video footage of the cinema-goers highlights the extent of the discrimination in the 1950s and 1960s Australia during Eddie’s formative years. The cinema-goers are asked “Are Aboriginal people allowed to enter the cinema?” A young girl replies, “Yes, they go through that door there and sit in a different section”. The camera zooms in on the cinema door handle which dominates the frame; it becomes a stark symbol of exclusion and discrimination. This shows the extent to which Australians have been conditioned to accept the unofficial colour segregation rules and how White Australians intuitively perpetuate the ingrained stereotypes of the aborigines.
Perkins often utilizes symbolism. Symbolically and romantically, Bonita often refers to the first moment she saw Eddie, framed by the door, and silhouetted by the burning sun in the background. The camera zooms in on Bonita’s back profile, as she hangs up streamers during their cousin’s wedding. Slowly and dramatically she turns to focus on Eddie and their conversational banter about their names reinforces their intuitive love. This scene reinforces family ties but also the sun reflects Eddie’s leadership and iconic status. As Bonita says, “it was the moment I fell in love with you. I knew you were going to make history”.
Throughout, Bonita staunchly supports Eddie’s fight even though it often causes a great deal of hardship, such as the time she must, humiliated, beg the neighbour to look after the children. She has to do several jobs and Eddie, unbeknown to her, has spent most of the night in the lockup. Not only is she worried, but a lonely scene, poignantly captured by cinematographer Andrew Commiss, captures Bonita, heavily pregnant, riding her bike home at 2 am. A silhouette image ominously depicts her courage and struggle as she finds herself increasingly the breadwinner who binds the family together.
Watch the scene below and answer the following questions to develop your understanding of cinematic techniques:
1. Comment on the music used. What is it's significance? What does it evoke from the audience and how?
2. Consider the camera shots used. Pick 3 types of shots used and analyse each one.
3. What type of camera movement is used and how does it affect the scene?
4. How is Eddie characterised in this scene?
The opening scene strategically positions father and son as fisherman on their beach of their beloved Murray Island which highlights the intense connection with the land and the sea. Haunting indigenous music underpins their deeply personal bond. It is also symbolic of inter-generational ties and of the family links that are “active” and “unbroken” and that will form the basis of Koiki Mabo’s land rights claim.
The black-and-white video clips relating to Joh Bjelke Peterson’s scaremongering campaign depict the powerful opposition that seeks to sideline and ridicule Eddie’s fight; viewers are able to recognise in a more objective sense the degree to which the politicians and officials intimidate Eddie. Bjelke Peterson is brutally frank, “it’s a clever snide way of getting something for nothing.” Another time, he suggests they are greedily seeking the royalties from the uranium mines and “getting away with murder”. Right from the opening scene, which shows media coverage of the controversy, Perkins also suggests that the media is complicit in the powerful attempt to oppress the aborigines’ rights.
