The Proposition (2005) User Reviews

A very bloody Western too hard to swallow

[Nazi_Fighter_David · 8/10 · 25 November 2007]

Set on an arid desert and sun-baked continent, during the late 1800's British settlement days, Pearce stars as Charlie Burns, one of three brothers that make up the notorious criminal Arthur Burns…

At the opening credits Charlie and his younger brother the 14-year-old Mikey are captured after a bloody shoot out with regional Captain Stanley in the aftermath of a brutal rape and murder… The decent captain is after their eldest brother Arthur described as 'the beast,' and is prepared to do just about anything to get him...

Thus Stanley lays out Charlie an unholy bargain: While Mikey stays in his custody, in jail, Charlie must find, kill or return Arthur or his teenaged brother will be hung on Christmas Day… He has nine days to do so…

Charlie eventually finds his brother but is left with one choice… He must decide if he can live with his decision to either kill Arthur or let Mikey be executed…

John Hillcoat's characters not only strike us with their emotions of grief and pain, or their passion of hate but they are presented in their real states that sway down hopelessness, denial, pity and firm belief…

Pearce combines a touch of kindness to Charlie's character, but it's a touch that keeps out of the way any love… It's, in essence, only enough to add a decisive influence on his personality that makes him unpredictable…

Danny Huston is magnificent as Arthur Burns… His deeply intelligence and totally brutal character is captured in a very good sense…

Richard Wilson, Mikey is given little to do beyond being frightened and horrorized…

Winstone is amazing in the role of the army officer who wants to civilize the place… We feel how his nerves are about to break… He imprisons his wife Martha for safety and protection caring at the same time about her delicate sensibilities…

Emily Watson is absolutely stunning as the fragile woman whose gentleness captures convincingly the character of Emily, the innocent wife who cares about her husband, her house and her perfect "garden" but her way of life is so far away from the reality of her surroundings…

John Hurt gives an interesting performance as the deranged bounty hunter…

"The Proposition" is too violent, too dirty, too bloody, and too barbaric to be forgotten so easily

Strange And Violent Western Set In The Outback

[Theo Robertson · 7/10 · 10 July 2013]

Captain Stanley captures two notorious outlaw brothers Charlie and Mickey Burns . He makes a proposal to Charlie . If Charlie goes and kills the leader of their gang Arthur Burns and brings his body back they will be given an amnesty . If not Mickey will be hung on Christmas day which is nine days away

You always know what you're going to get with a film by Australian director John Hillcoat namely strong memorable drama that's best viewed with a ready supply of anti-depressants . You also know what you're not going to get , laughs , mirth and a strong narrative drive . Certainly both GHOSTS OF THE CIVIL DEAD and THE ROAD suffered slightly from a lack of a strong narrative drive and in this British produced pseudo Western set in 19th Century Australia there's also a sign of this flaw from the director

The premise is one that grabs you and leads you to ask what you would do in that situation but as soon as Charlie leaves town on his quest the story meanders slightly as we're shown lots of panoramas of the Australian outback with a vague mystical air which will remind you of Australian cinema of the 1970s where the landscapes were the stars of the movie . One also gets the feeling in the first third that you're might be watching an Aussie version of APOCALYPSE NOW where a man with a mission involving extreme prejudice finds his target building an empire amongst the natives

This doesn't happen thankfully and after a slightly unfocused first 40 minutes the story gets back on track with characterisation coming to the fore . THE PROPOSITION is much more character driven than the premise promises . There is a slight cop out in that Mickey is the poor unintelligent younger brother who has merely tagged along with the gang through family peer pressure and while Arthur isn't portrayed by Danny Huston as a stock psychotic villain with staring eyes and manic laugh his actions do more than enough to convince the audience that this rabid criminal dog needs to be put out of his misery . The characterisation between the good younger brother and the violent bad older brother could been written and developed as a bit more grey but there again it might have made it more difficult to cheer on Charlie the middle brother played by Guy Pearce

The cast are excellent and special mention goes to Ray Winstone who is a national institution in Britain and watching him here you're aware of how underrated he is and gives a depth to Captain Stanley a man tormented by trying to uphold the law without giving in to rough justice from the locals . It's perhaps difficult to believe a rough working class bloke would be married to Emily Watson's rather middle class Martha but Watson does manage to project an innocence that seems out of place but that's undoubtedly the point . One character that did puzzle me was Jellon Lamb . John Hurt of course steals the show every scene he appears in but is there any point to the character except to spout Darwin ? it's a slightly confused and unnecessary character

And THE PROPOSITION is a slightly confused film that stops it from attaining true classic status . It's a bleak nihilistic character study from John Hillcoat and contains all the strengths and weaknesses from the director's prior and future work . That said it's much better than most of the films the UK Film Council insist on wasting their money on from the same period

Visceral, poetic study of blood-ties

[dearlove-james · 8/10 · 18 October 2005]

This movie is a visceral, violent study of blood-ties exploring ethnic and family bonds, feuds, loyalty and betrayal. You can literally smell the reeking sweat, blood and dust of the colonial Outback coming off the screen.

Nick Cave's script is shot through with his signature dark poetry; it translates wonderfully onto the screen. Guy Pearce, Ray Winston and Danny Huston put in powerful performances. Emily Watson is also superb but somehow this film seems to be more about men than women and so her performance feels a little isolated from the rest of the movie.

The film is a strangely skewed morality tale crossed with a tale of the absurd. There is something so absurd about Captain Stanley's English breakfast and standard roses in the hot, fly-blown wastelands of the movie, and off course there is something so absurd about how violent humans beings are to each other. Despite all the violence though, some of which is stomach-turning, this movie has some moments of great tenderness and elegy.

The narrative may be weak but there is much to make up for it in this hauntingly beautiful and bleak film

[bob the moo · 19 March 2006]

Australia is a country in the throws of settlement by the English and lawlessness is rife. As the bloody clearing of aborigines continues, one gang's attack on a white family causes outrage. The pressure is on Captain Stanley to bring in the Burns gang, led by the sadistic and heartless Arthur. When Stanley's men capture the two younger brothers he strikes a deal with Charlie, the elder of the two. In nine days time, on Christmas Day, young Mike will hang unless Charlie has returned with his brother – dead or alive.

The plot summary and the advertising seemed to offer some form of thriller but in reality the film delivers something altogether more interesting and memorable. Set in the Australia outback where settlements are being born and laws being established, the film charts the moral complexities of the good and bad in the story while painting a beautifully bleak backdrop of open space and bloody, pointless violence. It is not an easy film to watch and certainly not one to expect to come out of laughing or feeling good about things. Nor is it a film to go into expecting a traditional plot because it is this area where the film is at its weakest because it is not a "this happened, this happened then that happened" sort of story. This is not to say it is boring but it does require patience for the casual viewer. Personally I found most scenes to be interesting but most admit that the narrative kind of hangs around rather than moving forward firmly in one direction.

The substance is more in the characters than in the narrative and on this level it was engaging. Although the posters and summary will tell you this is about the Burns brothers, it is as much if not more about Stanley and his wife. It is he would has the duality of trying to defeat violence by encouraging it while also heaving under the burden of trying to take this job entirely on his own shoulders while protecting his wife from knowing anything about the real world out in the desert. It is an interesting thread and for my money it was the thrust of the story – the issue of what Charlie will do is actually part of Stanley's story rather than the other way around. With this as the story the film is much better because it does paint a convincing tale around this. The Burns brothers thread is still interesting but less is done with it – with Arthur himself being very little more than an enigmatic plot device.

Style wise the film is fantastic as it delivers a bleakly convincing picture of the birth of Australia. The landscape is beautifully filmed and, although Cave could have done more as writer, his contribution to the soundtrack is as welcome as it is well used. The sudden moments of violence are uncomfortable and difficult to watch. They are delivered in visceral moments of gore that are bereft of any touches that would glamorise the death; here it is horrible and full of flies. Of course you are right to note that a hauntingly stylish delivery should not be taken as a replacement for substance but I think it has just about enough of the latter and an abundance of the former to carry the film as a whole.

The cast are mixed but nobody really turns in a bad performance. Winstone dominates the film with easily the best performance and the most interesting character. His Captain Stanley wears every decision and Winstone allows us to see the effect this country has had on his soul. Watson is also good, simple at first but touched by the violence that her husband cannot defend her from. Pearce is an astute and subtle actor who keeps the audience with his thread even though it is less interesting; however Huston is not used as well as he deserved. He gives a memorable performance but his character is never more than an action waiting to happen. Wilson is convincingly young and his flogging is difficult to stomach, while Hurt turns up in a nice cameo as a bounty hunter. As much as the performances though, the film is about atmosphere, and Hillcoat has done a great job in producing a desolate film that is as beautiful as it is disheartening.

An imperfect film due to the lack of a strong narrative, this is still a memorable affair for many reasons. It looks great, has a great use of music and produces a haunting desolation in the country and the characters. Not a fun night out by any means but for what it is, it is well worth seeing.

A slow burner

[tonyjackie · 6/10 · 16 November 2006]

This was one of those films that I was really looking forward to seeing and maybe I built up my hopes a bit too much as I ended up feeling disappointed.

It is a slowly paced film aside from the very frantic opening and I was willing it to get a move on.The story centres around three brothers.One is held captive while another is told he must kill his elder brother in order to save the youngest.Eventually the elder brother is found and he is a psychotic rapist and murderer.Will his brother kill him or not?I won't spoil the plot by saying,but the outcome was kind of what I expected.

The acting is fine with no duff performances,but I felt that several scenes between the captain and his wife(Ray Winstone and Emily Watson)slowed the film down and didn't fit into the context of the movie.This was especially relevant in the scene where she is sat in a bath tub talking about a baby.It just didn't seem to suit the situation to me and felt a bit forced,as though the movie was trying to change direction by showing a softer side.

This is a movie that is most definitely a slow burner,but one that ultimately didn't quite hit the mark.

Fine Australian drama

[slickstu-2 · 9/10 · 8 October 2005]

Following the rape and murder of a colonial family, outlaw brothers Charlie and Mikey burns are captured by ruthless local lawman, Captain Stanley. Rather than imprison both fugitives, Stanley presents Charlie with a proposition (though it's really a demand) that Charlie kill his older brother, and gang leader, Arthur or else Mikey will meet his demise at the end of a hangman's noose. It is a proposition which will have karmic repercussions for all involved.

Directed by Brisbanite John Hillcoate from a script by Aussie indie icon Nick Cave, this film has some of the most gorgeous photography of the Australian outback ever committed to film, showcasing it's unique desolate beauty in it's dust, flies and exquisite sunsets.

Hillcoate assembles a very fine ensemble cast, most notably Ray Winstone as Captain Stanley and Guy Pearce as Charlie Burns - two actors performing at the top of their game. Danny Huston is effective as Arthur Burns, a man whose serene exterior belies his vicious temperament. Other performers include Emily Watson and John Hurt, as well as fine Australian talent David Wenham, Leah Purcell, Tommy Lewis and quintessential movie aborigine David Gulpilil. All performances are excellent.

Despite it's high violence quotient, the film has an admirable lack of moralistic tone. There are no obvious good guys and bad guys, all the characters are shades of grey possessing both positive and negative attributes, although some characters may lean one way or the other. In particular, Captain Stanley has a good heart though history may judge his methods of justice with contempt, and Charlie Burns has a fierce sense of loyalty and honour but his associated family ties have led him to commit horrific crimes. Even Captain Stanley's wife, Martha, in all her Victorian innocence and naivety, has a dark side to her soul; an attribute which will further propel all towards their destinies.

It's strong subtext of white colonialists' condescending treatment of the aboriginal population puts this film in fine company with other Australian indigenous-themed films such as Fred Schepisi's The Chant Of Jimmy Blacksmith, Nicholas Roeg's Walkabout, Rolf de Heer's The Tracker and Phillip Noyce's Rabbit Proof Fence. The Proposition is the best of these. This is a big call, I know, but the fact is that none of those other very fine Australian films possess the tension which so completely permeates Hillcoates' picture. This film represents a major achievement for both Hillcoate and Cave and is the best Australian film to leave these shores since Ray Lawrence's Lantana.

8.5 out of 10.

Slick. :cool:

Great modern day western

[The_Void · 7/10 · 11 August 2007]

The Western seems to have gone out of fashion in recent years, which is a shame - so it's a good job that there are people like John Hillcoat out there who are willing to deliver films like this. The Proposition is a real old school western - gritty, violent and fleshed out by sophisticated and interesting characters. Director John Hillcoat succeeds in capturing the style of the classic westerns, and the fact that this film was written by Nick Cave means that it will be no surprise that there's a trippy, hallucinogenic feel to it also. The plot focuses on an impossible situation. After capturing Charlie and Mike; two of the notorious Burns brothers, Capt. Stanley decides not to hang them both - but to give the elder of the brothers, Charlie, a proposal. He and his brother will be given a full pardon if he can bring the eldest and most notorious of the Burns brothers, Arthur, to justice in nine days. Otherwise the youngest brother, Mike, gets the hangman's noose.

One of the main reasons why The Proposition is so good is down to the fact that it's so well put together and everyone involved in the film is at their best. Guy Pearce very much looks the part in the lead role and holds the film together well. He gets great support from the likes of Ray Winstone, Danny Huston and Emily Watson. The fact that the film is brought to life by such a talented bunch of people really does it a lot of favours, as each actor ensures that the story gets across in a way that is always interesting. Many of the best westerns are violent and gritty, and this one is no different. While there aren't a great deal of gunfights and fistfights, the ones that do feature really make an impact. The film feels very realistic throughout, and this ensures that what happens is always credible and believable. It all boils down to a shocking and fittingly ambiguous climax that will generate as much thought from the audience as the film that precedes it. Overall, The Proposition is easily one of the best westerns made in recent years, and it's a damn good film in its own right too!

Aussie Western makes Tombstone look like Paradise.

[johnmbale · 9/10 · 8 October 2005]

Nick Cave's essay in the true and tried Western format, shows how a harsh land (Colonial Australia) brutalizes the men who try and conquer it. Yet this tale has passages of lyricism that counterpoint the sudden moments of savagery. It is a very gritty often grisly picture of 19th Century Australia, warts and all, right down to swarms of blowflies. Perhaps the sadistic violence gets a bit over the top especially towards the end, but thanks to a fine cast, crisp direction, and the scorched cinematography it generally works. A standout performance in a minor role by John Hurt rather steals the show, while Ray Winstone and Emily Watson are particularly sensitive together. One suspects the harsh conditions are somewhat overstated for dramatic purposes, though the story is supposedly based on fact. Tombstone Territory never looked as unpleasant as this. It is certainly one of the most interesting period dramas made in Australia.

Better than Once Apon a Time in The West.

[krakxz · 7/10 · 8 October 2005]

I just got back from seeing this picture at probably my favorite film theater but I arrived a bit late and missed the first 10 minutes with the gunfight they said was really quite brilliant. So perhaps my view on this picture alters from the masses but I still give thumbs up and say that this film is an AFI asset. This film was not boring like the westerns of old and even thought Sergio's films were cinematic gold, I feel they grow tedious with a secondary watching, but this film had action told a simple tale and sets and scenery right to the smallest detail. The acting was great, the dialogue never clunky and morals we're clear though not in the beginning. It gave the right impression of this barren land where the flies are small demons and heat sucks out your soul and all your feelings. Where the sun turns from enemy to an artist's impression of the beauty we all know we could be achieving. This film is violent but not for no reason, it shocks you and scares you into believing what the morals and ethics are hidden within this exciting western set in Australia with bushrangers and trackers and knives and gun wheelin'. Truly a great film that I was glad to be watching showing the world that Australia can do it and maybe they'll give somebody who had a part in it an Oscar or award, but I wouldn't count on it.

Like Cain & Abel (with an extra brother...)

[katie-brough-1 · 10/10 · 1 August 2005]

A real treat of a Western - gritty, bloody, unjust & riddled with flies. An apocalyptic glimpse of some hard family lessons from Nick Cave. Brilliant performances all round thanks to Ray Winstone, Emily Watson & Guy Pearce in particular. Visually stunning due to the location (anyone with the ability to remove a lens cap or activate a camera would capture something beautiful in that wonderful country Australia! But these scenes just envelope you and burn into your brain - in a good way). Tempting to add more to this scant comment box but it might just take something away from your viewing pleasure. And that would be a travesty because this is definitely a film to go in "fresh" to.

violent, art western from Down Under

[Buddy-51 · 7/10 · 1 April 2007]

"The Proposition" is a grim, atmospheric western set not on the American frontier but rather in the Australian outback of the 1880's.

Captain Stanley (Ray Winstone) is a police officer sent from England to impose law and order on the largely uncivilized populace inhabiting that newly settled region of the world (his jurisdiction includes aborigine natives as well as the recently arrived whites). Those orders set Stanley in direct opposition to the Burns Gang, a notorious band of thieves and cutthroats comprised of three Irish brothers who are suspected in the rape and murder of one of the most prominent and influential families in the territory. After Stanley captures two of the men, he imprisons one - the weak, sniveling Mikey - and frees the other, Charlie (Guy Pearce), threatening to hang Mikey if Charlie fails to hunt down and kill the third brother, Arthur, purported to be the vile ringleader of the group. Thus is sent into motion a brutal, violent tale of revenge and justice that soaks the exquisite Australian landscape in generous helpings of blood and gore.

"The Proposition" is not for the faint of heart or weak of stomach, as it literally rubs our noses in the violence it is portraying. In vivid, unflinching detail, the movie captures the inhumanity and bloodshed perpetrated by the characters on one another throughout the course of the story. Stanley is an unlikely central figure for the tale, since even though he begins as a hardnosed, unyielding stickler for law and order, he turns out, in the long run, to be one of the most reasoned and restrained players in the drama. In fact, he faces intense opposition from the townsfolk for being too lenient with his prisoners and too slow in exacting justice for the horrible crimes committed. Stanley, who is also deeply devoted to his loving wife, stands as a kind of transitional figure linking the barbarous past with the hopefully more "civilized" future of this continent uniquely tucked away in its own little corner of the world.

The second major character is Charlie, who has to decide between betraying his older brother by killing him in cold blood or letting his younger brother swing at the end of a rope if he doesn't. Unfortunately, Charlie is not nearly as fully developed a character as Stanley is, nor is his moral dilemma as clearly developed or dramatized either. We don't get the sense that we know much about Charlie even after we have spent quite a bit of time with him which is a shame since his thought processes and actions are pivotal to understanding the outcome of the story. Perhaps more successful is the portrayal of Stanley's wife, Martha (Emily Watson), who is torn between her innate compassion for humanity and her desire to have her dear friend's death avenged by the public execution of the men responsible for the heinous crime.

What distinguishes "The Proposition" from so many other westerns is its deliberate moral ambiguity, its recognition that people don't always fit into nicely wrapped packages of good and evil, and that fairness and justice are not always the clear-cut commodities we've been taught to believe they are from literature and movies. And all this is done against a stark natural landscape that stands as a mute, indifferent witness to the insanity of the humans' actions.

Pearce, Watson and, especially, Winstone deliver remarkably restrained, understated performances as the three main characters caught up in the drama. After all, with all the blood and carnage up there on the screen, the last thing the film needs is a bunch of over-emoting actors adding to the excess of it all.

"The Proposition" is clearly not for everyone, but die-hard Western aficionados would be remiss in not seeing it.

Leone meets Tarkovsky meets Patrick White meets Mad Max

[acquatically7 · 9/10 · 8 September 2005]

Just superb - wonderful, austere direction that gets the best from a great cast and some extraordinary landscapes. A tight, disciplined script from Nick Cave that's testament to how his writing continues to reach new levels - not to mention his collaboration with Warren Ellis on the beautifully uneasy score.

There's a fantastic blend of European and Australian sensibilities here that makes this the least clichéd film to come out of this country for 20-odd years - and if it doesn't do well, it'll be because an increasingly soft and gutless nation is afraid to venture out of their frappuccino and mortgage comfort zone.

This is powerful, worthy art.

Gritty, blood drenched western

[ODDBear · 7/10 · 18 September 2006]

A philosophical western courtesy of Nick Cave certainly revives the gritty western genre to an extent and is a welcome addition in a movie era where westerns continually disappoint.

It's a realistic, blood drenched look at an uncivilized Australian era where an idealistic lawman convinces an outlaw to kill his brother who's an even more human stain. All this escalates and much blood and violence ensues before it concludes with everyone involved either dead or emotionally scarred for life.

Deliberately paced and filled with jarring images of violence and dread, The Proposition is not easily forgotten and it makes an impact. The script is well written by Cave, takes no shortcuts and doesn't sugarcoat the violent era it's portraying. I wouldn't say I enjoyed the film very much, didn't always get the philosophical mumbling but in the end the film makes you think and you won't forget it for a while.

Gritty History

[wmjaho · 5/10 · 22 January 2006]

The best part about The Proposition is that it is a glimpse of Australian history that few of us know anything about. Screenwriter Nick Caves, who is primarily a composer, tells the fascinating the story of rival factions striving for control of the Australian outback in the 19th century. While we are never given dates, but director John Hillcoat said in the Sundance Q&A that it roughly represents the second generation of imports, or children of the first convicts. The battle for supremacy is between the Irish and the British, with the aborigines tragically caught in-between.

The Burns gang is Irish, led by the educated, perceptive and slightly psychopathic elder brother Arthur (Danny Huston). Brother Charlie (Guy Pearce) no longer rides with the gang, apparently sickened by their wanton cruelty. The movie starts with British soldiers ambushing Charlie and his apparently retarded and hyper-sensitive brother Mike (Richard Burns). They are seeking justice for the rape and killing of a local white family by Arthur and his gang. British Captain Stanley (Ray Winstone) captures Charlie and Mike and gives Charlie a proposition—find your brother Arthur and kill him or your beloved brother Mike will be hanged on Christmas Day.

This is a gritty western that boldly strives for realism, complete with obscene and graphic violence, yellow teeth and nasty flies. (According to the cast at Sundance, the realism was intensified by filming entirely on location, sometimes in 130 degree temperatures with the flies as constant companions. "Everyone swallowed flies," said Hilcoat.) It deglamorizes the period in much the same way that Eastwood's Unforgiven did in 1992.

Guy Pearce puts in a solid performance as the strong silent type made up of sinewy strength and moral fiber. Winstone is also terrific as the ethically conflicted British captain, who vows to civilize the land, but recognizes that savagery is not the solution. John Hurt turns in a fine little performance that's a lot of fun. But I was most impressed with Danny Huston (John Huston's son, Anjelica's brother and former husband to Virginia Madsen (Sideways). His character is rich and multi-dimensional and Huston plays it magnetically: educated and intelligent, lover of Australian sunsets, sensitive Irish patriot, leader of the family and sadistic executor of frontier justice. Even after stomping people to death and beheading others I still couldn't help feeling for the character.

(I spoke to Huston after the performance and asked him if it wasn't unsettling being caked in blood and gore and playing such a ruthless character. He said it was a lot of fun. OK, so he goes to a different school than Daniel Day-Lewis. Anyway, I thought he carried the movie.) It would be hard for me to recommend this as entertainment. It was very slow-moving at times, relying on cinematography and landscape to keep your attention. And the blood and guts were way too much—I found myself closing my eyes in parts. But it does provide a rare glimpse of a part of history that Australians still grapple with to this day.

A Very Overrated Film

[samkan · 16 October 2006]

After reading a dozen or more of the comments in this section, I must side with the naysayers. The first half-hour of the film offered some promise of character development, plot twists, suspense, surprise, etc. Absolutely NONE of these things occurred. Winstone's local sheriff is introduced as a supreme bogeyman then promptly becomes a confused husband for the rest of the film. Pearse runs the gamut of emotions from A to B, barely. The townsfolk, few in numbers probably to save money, are almost comical in their zombie state; stumbling around drunk only stopping to rant and/or stare. The actor playing the youngest Burn brother does little but squeal in terror. The older Burns is the devil incarnate, though we have not a clue why.

We never learn one of the most intriguing plot facts, such as why the three Burns brothers raped and killed a settler family. This pulls at a viewer because both characterizations of the younger two brothers - what little is provided - suggests that the two could not be guilty of such atrocity. John Hurt's bounty hunter is almost comic relief, serving no real purpose. Finally, the mayor, or local bigwig, seems to represent someone or something totally alien from the climate and all the other characters in the film. Ironically, this split between the bigwig's interests and the rest of what you see in the movie is the closest thing to contrast in the whole thing - the rest of things simply represent banality, boredom, evil and debauchery.

For a real laugh watch Guy Pearse's interview in the extra's. Mr. Pearse redefines in-articulation and deftly manages to say less than nothing in five minutes of speaking.

"I want you to kill your brother."

[classicsoncall · 7/10 · 16 August 2007]

Here's an Australian Western steeped deeply in marinara and done in the tradition of the sleaziest of the spaghetti genre. It's a gritty, violent, and truth be told, fly infested film that sears your viewing pleasure in a visceral display of blood and guts that will leave you as squeamish as it's victims. It even throws in a little Darwinian Theory for those in a scientific mood, while vast expanses of dusty, yellow desert landscapes play havoc with your vision throughout. It's not the easiest of films to watch, and while the real villains of the piece, David Wenham's Fletcher, John Hurt's Lamb, Danny Huston's Arthur, get their due, so does just about everyone else, innocent or otherwise. The ending in fact could have gone either way, and I was fully expecting Guy Pearce's Charlie Burns to blow his brains out in response to his brother's question - "What are you going to do now"? Had he put Arthur out of his misery, that would have been the way to go, an alternate ending perhaps even more powerful than the real one. I give it marks for stepping outside the traditional Western box, but weak stomachs be advised, there's no Butch and Sundance dialog here to ease the way.

A Different Kind Of 'Western'

[ccthemovieman-1 · 9/10 · 26 January 2007]

Wow, what a brutal "western." I put "western" in quotes because most people think of the western half of the United States as being the locale for western movies. This movie was made and set in Australia but the time frame is similar: around 1880. What's "brutal" about the story is the violence, bloodshed and language - but only in spots. The language is odd in that the vocabulary of most of the people is above-average, but be warned there are a number of f-words. I question whether that word was around in the 19th century, but it's prevalent in this film. Actually, the violent scenes will be more offensive to viewers than the profanity. Like the profanity, however, the violence only comes in spurts. Most of the film has much calmer moments, surprisingly low-key.

One thing that is there throughout the 104 minutes is the excellent cinematography. This is a pretty film, nicely shot with some beautiful scenery and colors, stylish at times, too. To me, this was the best part of the movie. It's indeed a visual treat. Benoit Delholmme deservedly won several international awards for his camera-work in here.

The story is uniquely presented, different enough that it kept me very involved wondering what was coming next. For those expecting a brainless revenge story or shoot 'em up western, they will be disappointed. There is a lot of thought to this film, and it varies scene- to-scene from classy to crude.

Guy Pearce, Ray Winstone and Emily Watson are three actors I am familiar with, and I enjoyed all three of their performances. This is not a well-known movie here in the States, but if you like tough westerns and something a bit different, check it out.

Evil walks this land - but to what end?

[drawoh · 6/10 · 27 January 2007]

This film features beautiful cinematography, an exotic locale, and an outstanding cast, including John Hurt, Danny Huston, Guy Pearce, Emily Watson, David Wenham, and Ray Winstone. Its grim depiction of the Australian frontier in the 1880's features a character who might best be described as Manichaean: Evil, incarnate, and among us.

Various precedents for this premise come to mind. When, in Mozart's opera Don Giovanni, society has no answer for unbridled evil, The Stone Guest intervenes and drags the villain down to Hell. In Peter Greenaway's film The Cook, the Thief, His Wife, & Her Lover, a post-Enlightenment world has no supernatural foil for the villain, who marauds unopposed by any civil authority. At the outset of The Proposition we understand that Arthur Burns (Huston) and those in his thrall, are capable of the most outrageous atrocities and care nothing about human society. Who in this world can withstand such a creature? We are shown at every turn how Burns and his clan seem to be as natural to this harsh, unforgiving environment as desert scorpions. In contrast to their very nature are Martha Stanley (Watson) and Eden Fletcher (Wenham), who choose to pretend their rose bushes and fine saddle horses are no more incongruous here than if they were back in England. It is their unexamined assumption that British justice can also be transplanted to the Outback that places Captain Stanley – Martha's devoted husband and Fletcher's dutiful enforcer – at the center of this story.

The Proposition is really the project of Nick Cave, a songwriter who created both its screenplay and its musical score. Both are adequate for the telling of this engaging story, but what of its archetypal monster? The Judge in Cormac McCarthy's novel Blood Meridian, seems to be more than a man and more like a force of nature. Whether man or phenomenon, there seems to be some terrible, obscure, operative principle behind him. The fact that we are unable to imagine what that principle may be is what makes him so terrifying.

There doesn't appear to be any such principle behind Arthur Burns. Languishing in squalor in his desert lair, he pursues no agenda, beyond eating rancid meat and swatting at flies. Yet he knows poetry, appreciates a well-sung song, and never fails to admire a beautiful sunset. The evil which Burns embodies and perpetrates in his godforsaken corner of the world is, to be sure, terrible enough. But it stands little chance of withstanding civilization's encroachment, whether Captain Stanley can foresee that day or not.

Which brings us to the film's title. Stanley charges Charlie Burns (Pearce) with the task of bringing his big brother's career to an end. Charlie must choose between barbarism and humanity, but why does he choose as he does? I am not convinced Cave has created a character who knows.

An Aussie Heart of Darkness

[LunarPoise · 8/10 · 10 February 2010]

An inspired Hillcoat-Cave collaboration that will repulse and attract audiences in equal measure, The Proposition is a lyrical, enigmatic but brutal examination of the human condition set in early settler Australia. Hillcoat's stark framing and unflinching portrayal of violence is perfectly blended with Cave's multi-dimensional characters, and atmospheric soundtrack.

Captain Stanley goes after the murderous Burns brothers by setting them against each other. His proposition is that middle brother Charlie kill older brother Arthur, in order to save younger brother Mike from the noose. It is expedient justice but also astute psychology on Stanley's part; Charlie seems less than reluctant to take on the task of dispensing with his charismatic but psychotic older sibling.

Stanley's mantra is that he will civilize this land, but his failing is in choosing the wrong target. His treacherous sergeant, feeble superior, and uptight wife together conspire through ignorance and fear to undo the Captain's intent. When Mike is flogged beyond reason and physical endurance, the Captain's moral argument is won, but perhaps at the price of all their lives, as the Burns brothers come seeking vengeance.

Pearce adds impressively to his CV, in an understated but powerful performance as the brooding middle brother. Stanley is not exactly a good guy, but as much on the side of good as it is possible to be in this God-forsaken landscape. It has taken a while to get used to Winstone in such roles, starting with Sexy beast, but he is wearing them with aplomb now. Danny Huston is a pleasant surprise as the educated but deranged Arthur, while John Hurt revels in playing against type. Emily Watson, never less than excellent, embodies the prim Victorian. My own first impression of Australia was flies, flies, flies, and Hillcoat captures this. The question is not why there are so many flies in this film, but why they are curiously absent from other Australian films. They are both a metaphor for the squalor and decay that infest existence, and an acutely observed detail of the arena.

Before the British, other Europeans famously arrived in Australia but considered the landscape uninhabitable. Threaded through The Proposition is the suggestion that they were right.

The broader reference is the existence of our dark side, embodied in Arthur, a Kurtz-like figure, a god-like presence in an inhospitable landscape, facing an assassin dispatched from a 'civilization' that does not like what he reminds them of. The film references Conrad's infamous tale but anchors it in this universal tale of white men's ill-fated attempts to conquer a land where they do not belong. The aborigines tolerate them, or despair of them. "Strange, you whities" says Jacko, while house servant Tobey shows his role as subservient ends at the garden gate, where he leaves his boots and returns to his barefoot roots. Two Bob simply abandons his white mates at the end. Like the land, their attitudes to these invaders range from indifferent to hostile.

The Proposition is less poetic violence than violent poetry. Too much to take in here in one viewing, in time to come this might just match Walkabout as the masterpiece of Australia-set cinema.

Gritty Australian Western

[filmbantha · 7/10 · 13 March 2010]

As a keen music fan i was very intrigued by the proposition of watching a film scripted by Nick Cave. A quick glance down the cast list heightened my expectations with many of the actors/actresses having appeared in some of my favourite films; Guy Pearce - Memento, Emily Watson - Angela's Ashes, Ray Winstone - Sexy Beast and John Hurt - Alien.

Centering around three criminal brothers and the lawman out to end their reign of terror, The proposition is an unsettling thriller set in the Australian outback. In a cruel twist of fate, Charlie Burns, played by Guy Pearce, is told that his younger brother will go free if he takes the life of his older brother. The premise of the story is where the films strength lies, and as the captivating tale unfolds it quickly becomes apparent that the characters lack the necessary depth for the audience to empathise with them. That's not to say that all of the performances are lacklustre, John Hurt is exceptional as an aged bounty hunter, and Ray Winstone puts in a powerful performance as Captain Stanley, however, i was more captivated by the stunning scenery and superb cinematography than most of the acting. As well as the breathtaking visuals, the haunting soundtrack was perfectly suited to the film's gritty edge, showcasing another of Nick Cave's many talents.

Given time, the characters could have been developed into so much more but with the film running at just over 100 minutes, we are not given a chance to fully appreciate the motivation behind their actions. Despite not having mainstream appeal, this film is still very enthralling, and will certainly please film fans who have an appetite for revenge thrillers.

7/10

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Why is everyone so focused on the gore & blood?

[grumpel7 · 9/10 · 27 September 2005]

I don't enjoy violence in movies, especially if it's unnecessary. But this movie was justified in its use. Calling this movie very violent or bloody is misunderstanding the movie - it's taking the focus away from what matters in the movie: the landscape, the directing, the music, the characters as they are being acted out the story as it's unfolding. The violence connects you with the feelings and thoughts of the characters and conveys the the mood of the era - I came away feeling as if I had experienced living in "wild" Queensland. The story is simple but it's very well executed. And needless to say, I've learned from every single Guy Pearce movie I've seen. Ray Winstone was incredible, Emily Watson very effective, and John Hurt was a pleasurable bonus.

The ending is poetic and beautifully done.

Heart of Darkness in Australia

[Wuchakk · 7/10 · 26 September 2011]

2005's "The Proposition" is a Western that takes place in Australia, and it's far from a typical Western.

THE PLOT: Captain Stanley (Ray Winstone) is the new lawman of the territory and he's determined to civilize this brutal wasteland. In his way is a band of outlaws comprised of three brothers and a few others, but two of the brothers want out after the leader, Arthur Burns (Danny Huston), savagely murders a family in one of his raids. The two brothers are apprehended by Capt. Stanley, who offers a proposition to the older of the two, Charlie Burns (Guy Pearce): Find and assassinate the leader and both will go free. Charlie agrees to the assignment to save his little brother, not to mention he believes Arthur crossed the line when he killed the innocent family, which included a wife with child. Plus Charlie seeks redemption.

As far as filmmaking, cinematography, actors, locations, soundtrack & editing go this is a top-of-the-line film with a surreal, haunting edge. As my title blurb suggests, there are similarities to "Heart of Darkness" and the original "Apocalypse Now," although it fails to achieve the greatness of the latter.

The story plays out in a realistic manner with long stretches of drama and bleak landscapes interspersed with flashes of extreme violence. Ray Winstone and Guy Pearce are great as the two main protagonists. Capt. Stanley understandably wants to rid the land of the brute outlaws, whereas Charlie seeks redemption for himself and his little brother. Danny Huston as Arthur Burns is captivating as the focal point and villain. Yet he's not a villain in the clichéd sense and he's not one-dimensional. He loves the beauty of God's creation, he loves the art of language and he's a mystic of sorts, but he clearly crossed the line at some point in his outlaw endeavors and now must be wiped off the face of the planet. Will Charlie do it?

My only criticism is that the film seems too short. It needed more time for details and character development. As it is, we sort of have to guess the details, which isn't necessarily a bad thing. I just wish the film would have gone the route of "Apocalypse Now" and given us more definition and development. Another minor criticism is that I wished they picked someone other than Emily Watson to play Capt. Stanley's wife. Not that she does a bad job in the role; it's just a matter of taste.

The runtime is 104 minutes.

FINAL WORD: "The Proposition" is one of those films that gets better with repeat viewings, as long as you like the approach of films like "Apocalypse Now," albeit way shorter (too short). I would love to see a Director's Cut that adds about 20-45 minutes.

GRADE: B+

One of the 5 best I've ever watched!

[diane-34 · 10/10 · 2 November 2005]

Everyone connected with this film should be extremely proud of the movie they created. I will mention specifically: Delhomme for his extraordinary cinematography; Eden for her beautifully stark Set Decoration; Hillcoat for impeccable direction and especially John Hurt in a small but tremendously evocative early role.

A staggeringly moving and uncompromising examination of contemporary emotions set against our early settlement history. The first thing I noticed about this film was the look of Guy Pearce's character's hair-dirty and stringy-something that Hollywood with it's pretensions and million-dollar babies would never allow. But these people looked bad, acted bad and I'm sure-smelt bad. In short, they were real people and they acted as real people in those monstrously uncompromising times would have acted.

My friend said after viewing the film, that he didn't believe early Australia had the same frontier gun culture that is so often displayed in American films of the same genre. I too do not believe that our early settlement revolved around the gun mania of American settlement but I was not bothered by the gun culture shown in The Proposition. I kept looking for bits that did not play right and I could not find any-the film played real to me from beginning to end. Although extremely violent in those parts where violence was called for, this violence did not seem out of place or overdone. I have tried to know something of our early settlement history and what I saw fitted into that mental picture well. The unimaginable violence we displayed to the Aboriginal people was masked and not really a part of what occurred in this film so if some of that violence was shown towards white settlers then it seemed to blend in this film.

An extraordinary film and I hope against hope that it will be eminently successful and therefore lead to the creation of other films based upon our early settlement history.

Chillingly Cold and Brutal

[lediscipledessocrates · 7/10 · 22 March 2010]

A dark western . Characterised by fierce and unrelenting themes of cold blooded violence and remorseless brutalities. Gory , bloody and shockingly fiendish.

The story is pretty straightforward and like all good westerns this one too deals with the theme of " What is Evil and What is Good?"

Contains many scenes involving graphic violence which add to the dark nature of the movie.

Ray Winstone steals the show with a spectacular performance as the guilt stricken yet resolute lawman . Guy Pearce's role is important for the script though receives considerably less screen presence than some of the others.

With good locations and cinematography the movie does hold the viewer's attention for it's entire length .

A very serious western , mind you. The story is simple , the themes complex and the hues dark .

Yawn, nothing new here

[tresdodge · 1/10 · 19 July 2006]

Australia at the end of the nineteenth century a barren and hostile place where people have little respect for human life. Captain Stanley (Ray Winstone) captures two well know crooks and rapists the Burns brothers Charlie and Arthur (Guy Pearce and Richard Wilson) after a shootout. The two men have a third brother who is part of the gang who Captain Stanley also wants to capture. Therefore, he lays a proposition onto the table that if Charlie kills his brother he will let Arthur go on his return. Charlie accepts and begins to seek out his brother, but will he return with the proof that he has fulfilled his part to the proposal?

I expected far more from this, it had been built up a great deal in advertising and had got favorable reviews so I had high expectations. Unfortunately this was a slow and dull picture that brought nothing new to the Western genre, it was a million miles away from matching the excellence of Sergio Leone Westerns. The film plodded along, coming to a very predictable end without satisfying at all. The acting was fine although John Hurt's fine acting skills were wasted on a stupid part and Pearce was 'safe' as ever in his role. The cinematography was good and shots of landscapes were nice to look at but thats not why I go to see a film. I wanted a unique story, diverse and idiosyncratic characters, a good score and something to remember that stays locked in your mind for a couple of days after. This was certainly not it, a boring conventional film that was a waste of time, I wish I had re-watched a decent Western like the 'Good the Bad and the Ugly' instead.