River Queen

Would that director Vincent Ward's embattled "River Queen" might have emerged unscathed from its troubled, headline-making production. This longtime dream project for the acclaimed helmer finally reaches the screen as a waterlogged would-be epic, lacking the emotion, narrative invention and visual brilliance that mark Ward's best films.

Would that director Vincent Ward’s embattled “River Queen” might have emerged unscathed from its troubled, headline-making production. This longtime dream project for the acclaimed Kiwi helmer — and his first pic since “What Dreams May Come” in 1998 — finally reaches the screen as a waterlogged would-be epic, lacking the emotion, narrative invention and visual brilliance that mark Ward’s best films (including “The Navigator” and “Map of the Human Heart”). Having driven most of its Toronto industry screening audience into a deep slumber or early exit, “River” looks to be cast out to sea by most theatrical buyers.

The time is 1854 and, as an opening text informs, New Zealand’s indigenous Maori population is engaged in a last-ditch effort to stave off European colonization. Clashes have erupted between the natives and the settlers, while some Maori have taken to siding with the Europeans. At an Irish garrison located on the banks of a rural river, Sarah (Samantha Morton), the daughter of the resident surgeon (Stephen Rea), has an affair with Tommy Boy, the son of a powerful Maori tribal leader. She becomes pregnant, but by the time the baby, called Boy, is born, Tommy Boy has died, leaving Sarah to turn the garrison into a makeshift home front.

Six years later, Boy is kidnapped by his paternal grandfather, who believes the child should be raised according to Maori tradition. Sarah’s father and sister set off for presumably safer shores, while Sarah stays behind, resolved to find her missing son.

Another seven years pass as Sarah travels upriver and down, searching for Boy, until she is finally confronted by the warrior Wiremu (“Whale Rider” star Cliff Curtis), who promises to lead Sarah to her son if she will use her renowned healing powers to help ailing rebel chief Te Kai Po (Temuera Morrison). Both parties hold up their ends of the bargain, but when Sarah is finally reunited with the now-teenage Boy (David Rawiri Pene), she finds her son torn between his two opposing cultures.

Drawing heavily on the cowboys-and-Indians theme of classical Hollywood Westerns, with particular echoes of “The Searchers” and Don Siegel’s “Flaming Star,” “River Queen” clearly fancies itself as a sweeping, multigenerational chronicle of frontier Kiwi life (complete with the running time to prove it). Sadly, the pic’s widely reported production woes, which included the prolonged illness of Morton and the eventual firing of Ward — cinematographer Alun Bollinger (“Heavenly Creatures”) is said to have completed principal photography, with Ward then returning for post — are all too evident in the finished product.

Choppy, decades-spanning narrative moves forward in fits and starts, with gratuitous amounts of voiceover narration (by Morton) employed in an evident (but unsuccessful) bid to smooth things over. As for Morton herself, she commits to the role with end-of-her-tether intensity, but can only do so much to overcome character motivations that range from the murky to the completely incomprehensible, as when Sarah, having become a de facto member of Te Kai Po’s tribe, suddenly returns to the garrison and to the very soldier (Kiefer Sutherland, doing an atrocious Long John Silver accent) whose romantic advances she has heretofore rebuffed.

At his strongest, Ward can be a ravishing stylist who, like Terrence Malick, creates images of an overwhelmingly sensual, nearly metaphysical beauty. But despite its lush setting, “River Queen” looks and feels decidedly more conventional, and the elaborate period re-creations often ring false — the sets and costumes seem somehow too new and too clean.

Strangest of all, for a movie that Ward labored years to make, is how distant and impersonal the pic feels. It’s as though Ward doesn’t really care all that much about what comes of Sarah and Boy. In turn, neither does the audience.

River Queen

New Zealand-U.K.

  • Production: A Silverscreen Films and the Film Consortium presentation in association with Endgame Entertainment, New Zealand Film Production Fund, the Film Consortium and U.K. Film Council, Capital Pictures and Wayward Films. (International sales: Celsius Entertainment/the Works, London.) Produced by Don Reynolds, Chris Auty. Executive producers, Geoff Dixon, Neil Peplow, James D. Stern, Eric Watson, Mark Hotchin. Co-producers, Tainui Stephens, Richard Fletcher. Directed by Vincent Ward. Screenplay, Ward, Toa Fraser; story, Ward; additional material, Shane Connaughton.
  • Crew: Camera (Soho Images color, Panavision widescreen), Alun Bollinger; editor, Ewa J. Lind; music, Karl Jenkins; production designer, Rick Kofoed; art director, Shayne Radford; costume designer, Barbara Darragh; sound (Dolby Digital), Richard Flynn, Graham Morris; supervising sound editor, Peter Baldock; visual effects supervisor, George Port; visual effects, PRPVFX; assistant director, Chris Webb; second unit director, Paul Grinder; second unit camera, Neil Cervin; casting, Diana Rowan (New Zealand), Celestia Fox (U.K.). Reviewed at Toronto Film Festival (Contemporary World Cinema), Sept. 13, 2005. Running time: 113 MIN. (English, Maori dialogue)
  • With: Sarah - Samantha Morton Doyle - Kiefer Sutherland Wiremu - Cliff Curtis Te Kai Po - Temuera Morrison Baine - Anton Lesser Boy - David Rawiri Pene Francis - Stephen Rea
  • Music By: