Warwick Thornton is a master maker of images. The first frames of The New Boy – a sweep of dusty ground; a flash of a small boy on a policeman’s back, strangling him; a pre-war telegraph pole, all …
– a sweep of dusty ground; a flash of a small boy on a policeman’s back, strangling him; a pre-war telegraph pole, all drenched in the searing white midday light of the desert – create a collage of inland Australia, a world of open spaces. The boy is duly pulled off of the policeman, put in a sack and delivered in the dark to a mission; a nun opens the door to receive the delivery.
From white folks’ point of view, the New Boy is simply feral. George , the mission’s laconic Aboriginal handyman, says darkly that he knows what that boy is. We never really do. We just see a small, slight, elfin lad who sleeps on the ground and can catch snakes in his hands. He can also hit his fellows with a strength that seems superhuman, can calm another boy’s fever with his breath and has a strange ability to generate a darting light with a snap of his fingers.
George isn’t going to betray her. “I’m on a good wicket here,” he tells the New Boy, sharing a smidgeon of his private stash of marmalade. “Don’t stuff it up for me.” Neither will Sister Mum, who cooks, scolds and loves the boys who have no mother – or no acknowledged mother – of their own. A photograph of her own children sits by her bed, where she can weep over it in private. Mailman, always an actor of tremendous warmth, is heart-breaking here.
In this crucible, Thornton plays out the conflict of two spiritualities as well as two ways of life, embodied in this sliver of a boy. This is not just a film about a boy with magical fingers. Nor is it a film for people who cringe at the mention of religion or who regard faith in a god as risible; the film is not a declaration of belief, but it does take belief seriously. With few words, Thornton layers complex metaphysical ideas that can never be resolved.
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