New Zealand-born director Lee Tamahori has a proven track record for character-driven action films (The Edge, Once Were Warriors)—he even made a Bond movie (Die Another Day). With The Convert, he returns to his homeland to make this 19th-century historical piece about Thomas Munro (Guy Pearce), a British preacher who arrives in the island nation in 1830 only to find himself in the middle of a bloody tribal dispute between two Māori tribes that has been going on for decades. The ruling British government doesn’t necessarily want to see peace between the tribes because war keeps things unstable and makes it easier for them to stay in control.
Munro literally arrives on a white horse, which sets the tone for the role he gives himself in squashing this war. His intentions are good, but his understanding of the nuances of both tribes’ mindsets is misguided. Shortly after arriving, he trades his horse for the life of a Māori princess, Rangimai (Tioreore Ngatai-Melbourne, Hunt for the Wilderpeople), from a particularly bloodthirsty chief Akatārewa (Lawrence Makoare). It turns out, she is the daughter of Maianui (Antonio Te Maioha), the chief of the opposing tribe, who allows Munro to stay to build a school and place of worship. But the lay preacher decides to also attempt to negotiate peace, and that’s where things go astray.
The Convert deals with issues of colonization, the introduction of firearms into a battlefield once dominated by sharp instruments only, and the sway that the British military and government had on power struggles such as the one at the center of this film. One of the more interesting characters in the film is the British Charlotte, who was sent to the region when her husband was put in prison, taking it upon herself to learn the native language. The film’s only attempt at a love story is between her and Munro, but it wisley never grows to dominate the plot.
Pearce’s blend of empathy, steely-eyed determination, and a hint that he’s keeping a secret about his past make him the ideal actor to play Munro, even if the character tends to display a few too many white-savior characteristics. The Convert is a beautiful-looking work that never shies away from the blood-drenched brutality of war, and just how messy things can get with weapons made of sharpened stone. Ngatai-Melbourne’s performance gave me strong Amber Midthunder (Prey) vibes, and that’s about the highest compliment I could give her. She’s the daughter of a warrior, and that makes her a warrior as well, and she wears it convincingly. Adding to that, Tamahori’s attention to period and cultural detail is exceptional and pulls no punches in criticizing the British. It’s a terrific film that will likely be difficult to find at a theater near you, but I hope that doesn’t stop you from seeking it out.
The film is now playing in theaters and available on demand.
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