Molokai - The Story of Father Damien (Rental)

Not being a good Catholic (or any other kind of Catholic for that matter), I was not familiar with the Belgian priest Father Damien and his life-long devotion to caring for the lepers that lived (and still live) on the Hawaiian island of Molokai. Talk to many Catholics, however, and they are likely to be quite familiar with his name. Here then is a chance for all of us to learn a little something about what it means to do good for your fellow man (and woman – sorry grrls...)

Born in 1840, Damien followed his sister into a life dedicated to spreading the good word, eventually volunteering for a short stint on Molokai, caring for and preaching to roughly 1000 men, women and children ‘imprisoned’ on the island by the Hawaiian government.

Surmising these people need someone in their corner, he decides that this is his calling and makes Molokai his home. He pressures both the church and the government for more funds and resources for the patients, with varying levels of success. Damien’s life becomes one long struggle for funds and resources, but one from which he never flinches.

Ignoring all the medical and clerical advice not to touch, and especially not to eat, with these people, he ultimately becomes the only light of hope that most of these folk will ever know. Sadly, his own health and ability to fight suffers over the years after he contracts the disease himself. Unable to stop fighting for the people who have come to love, respect and rely on him, he places his life in the hands of his God in the hope that he might be able to continue his mission. At a time when Hanson’s Disease (leprosy) knew no cure, it was never going to be easy.

The story of the making of this film is almost as interesting as the story itself. Filmed in Molokai for reasons of authenticity, the director, Paul Cox, was sacked three times, and the financial backers recut their own version of the film. That version stank, apparently, and it was only a protracted and costly Belgian High Court battle that won Cox back the butchered negatives which allowed this version of the film to be released three years after it was finished. Unable to get back all of the film, some of the finer moments have been destroyed forever, but watching without this knowledge did not prove a problem.

The ensemble and international cast features David Wenham, Sam Neill, Peter O’Toole, Derek Jacobi, Leo McKern, Tom Wilkinson, Alice Krige, Kris Kristofferson, Aden Young, Chris Haywood and Kate Ceberano. It’s a wonder that Paul Cox managed to get a film out of the whole experience as the logistics of shooting in this remote and beautiful location must have been hell, even without the interference from the backers.

There are no real action pieces in the film, but plenty of drama and more than a few touching moments. There are some great exchanges between the top-notch cast, some excellent dialogue, and some very subtle evilness and nastiness from those that should know better. It is not a ‘preachy’ type film, nor will it make anyone rush out and join the priesthood, but it might just get a few to think about just what it is we should be valuing in the 21st century.

Interestingly, many of the film's extras are actual patients still living on the island, who are shown here for the first time. With leprosy no longer the big killer it was, the island’s population is now only about 60. It will be interesting to see what happens when the last one dies. The youngest patient is well into his/her 50s, and with patients no longer exiled there, I fear we won’t have long to wait to find out

This is another fine looking transfer, such that we have come to expect of modern films. It is in an aspect ratio of 2.35:1 and is anamorphically enhanced. It is a very sharp and well-defined image, with solid colours and no trace of grain or noise. Colours and skin tones are accurate and natural, and the scenic location is quite breathtaking at times. Hawaiian sunsets must be quite a sight.

Black levels are very good and there are no problems with shadow detail. There is quite a lot of makeup on many of the cast, and the clarity of the picture makes it quite effective.

There is a smooth layer change placed at 97:59, between scenes.

While a 5.1 mix would have been sensational in capturing the noisy and windy Molokai, we are offered just a Dolby Digital 2.0 stereo job which is serviceable, but quite unremarkable. There are no problems with audio-synch and the variety of accents should not present problems either. You may want to give the volume control a nudge though, as it has been mastered a bit lower than is normal.

As said, a 5.1 mix would have been quite impressive in helping convey the harshness of the living conditions on Molokai with its ceaseless wind and heavy rains. There is therefore nothing to be heard from the rears, centre speaker or subwoofer. There is no real separation or panning in the left and right front speakers, but as there are no big explosive scenes or car chases, this is not as big a disappointment as it could have been.

Hey folks, I am happy to tell you that we have been blessed with roughly an hour of extra stuff here that is mostly quite interesting, mainly from David Wenham.

David Wenham Interview: At just under 20 minutes, Wenham is filmed answering question at the film’s Melbourne premiere in 2002. The questions are asked off-screen by respected Australian film critic Laurie Zion, are well thought out and provoke interesting answers. The questions are a little hard to hear at times and there is a tape glitch and some audio crackle towards the end, but these are not overly troublesome.

David Wenham Q&A: Of a similar length to the interview, Wenham answers questions from the audience at the same premiere. They can be played as one, or individually selected. The questions appear as text, so there are largely no audio problems.

Making-of Featurette: This 38-minute featurette spends the first two thirds of its time slapping the backs of all those involved and features the cast professing love for everything from their fellow actors, to the director, to the guy that scrubs the portaloos. Just once, I’d like to hear an actor say he thinks the director is a horse’s arse and that the fellow cast members are all talentless tossers! The last third of the featurette is much better, so go straight to that I say.

Trailer: The usual affair really, running 1:30 and highlighting the locale, the cast and the basic story. Ho-hum.

Director’s Vision: Sadly, this is merely six screens of text that doesn’t dig the dirt that a face to face interview probably would have. Damn!

Biographies: Considering the name cast, none of the bios are more than two screens and are very brief comsidering they also include selected filmographies.

Propaganda: Offering up four more trailers for other Madman releases of The Tracker, The Cat’s Meow (read the review here), The Navigators, and Nine Queens. All are in various aspect ratios and are of varying quality, though all are, or appear to be, interesting films.

Like most films based on real events and real people, a few liberties have been taken with the truth in the name of art. This applies here too, though minimally I would suggest. The film is hardly a rollercoaster ride, and is more like an old steam train as it gently rolls on down the track. Those who like a good story that is well acted and well made will enjoy this. Those looking for thrills and spills in a cassock had best look elsewhere. Hallelujah!