Like many indigenous peoples, New Zealand’s Maori don’t receive a lot of attention internationally. Toa Frasier looked to change that with his 2014 film The Dead Lands, which had it’s world premiere at the 2014 Toronto International Film Festival. And even though it wasn’t nominated, The Dead Lands was also on the list of entries for Best Foreign Language Film at the 87th Academy Awards. Calling to mind Mel Gibson’s Apocalypto, The Dead Lands swaps out the Maya for Maori pre-colonial tribal warfare. But does Frasier do more with the film than that?
While observing a peacekeeping mission between two clans, sixteen-year-old Hongi (James Rolleston), the son of tribal chieftain Tane (George Henare), witnesses a deliberate desecration of ancestral remains by Wirepa (Te Kohe Tuhaka). After confronting Wirepa, Hongi is accused of trying to renew hostilities. Later that night, Hongi’s people are massacred by Wirepa and his group. Left for dead, Hongi survives and must now avenge his people in order to bring peace and honour to the dead. Outnumbered and no warrior himself, Hongi travels to the forbidden Dead Lands in search of The Warrior (Lawrence Makoare) for help in his quest.
Probably one of the first things that will grab viewers is the downright gorgeous cinematography by Leon Narbey. Fans of Peter Jackson’s work on the Lord Of The Rings films know just how beautiful New Zealand can be, and with The Dead Lands, it’s again on display. Even during the more tense moments of Hongi’s quest, the New Zealand landscape never ceases to amaze. Of course, the other component of this film is it’s action. Being that this is the first film to feature the Maori martial art of Mau rakau, it instantly sets it apart from other action fare. And while it’s not a constant balls-to-the-wall barrage, the rapid-fire cutting of the almost in-your-face fight sequences more than make up for it with a frenetic energy that delivers on a visceral level. Plus, who doesn’t love the Maori haka dances? The wide-eyed gazes and the bulging tongues of the combatants is always a sight to see.
To go along with the action, the quality of the acting is definitely up there. The performances, however, take a backseat to the Maori language, which is a major component to the acting, if not the film itself. Not only is the language a key portion of their warrior culture (there’s that haka dance again), it also immediately lends authenticity and credibility to the film. With that aside, Makoare is a standout as The Warrior. Perpetually an imposing screen presence, Makoare also exhibits an intimate range as well, waxing philosophy on his past with Hongi. Even as he’s casually slicing up a corpse for dinner. As for Hongi, Rolleston puts in a great “coming-of-age” performance as Hongi grows and matures into a warrior. Tuhaka is also great as the film’s antagonist, sporting good looks with an arrogant pride that has you wanting him to meet his fate in the worst way possible.
As far as flaws go (even though it really isn’t a flaw), the film defies the typical action film mould, opting to have more of a deeper story than something you’d normally expect. As such, those looking for a pure action film that doesn’t involve the maturing of a man who has been thrust into the role of avenger will find the quieter moments frustrating. Also, the film’s ending does lend itself to an anti-war message, though it lacks a certain resonance after the majority of the film was focused on cracking skulls and revenge.
Still, The Dead Lands provides not only some great action and introduction of the Maori to many international filmgoers, but also shines a light on the Maori pre-colonial history, even if this is a fictionalized account. The stunning New Zealand landscape is on display once again, and the reliance on Maori language and Mau rakau certainly makes the film stand out even more. Action film aficionados looking for more fare outside the often-tiring conformities of Hollywood should definitely check this one out.