Described on the DVD box as “The Classic
Australian Miniseries”, The Last Outlaw, is yet another Kelly creation of Ian
Jones, and yet another self-proclaimed “True Story”. Produced to celebrate the
centenary of Ned Kelly’s death, this four part made-for-TV mini-series was said
at the time, 1980, to be "the most ambitious and costly series yet mounted by
Australian television” Much was made at the time of the effort that was
expended in making everything about the series as historically accurate as
possible. It won awards.
I have at last found the time to watch it.
The four episodes last an hour and a half each, and in this Post I will review
the first episode, which covers five years of the life of Ned Kelly, from 1869
to 1874.
The first thing one notices is that it has
a very 80’s TV kind of look to it. It may well have been cutting edge when
produced but its now very dated – for example the action is awfully drawn out
and slow, something I doubt would be acceptable to modern TV audiences. The
scenes are often quite theatrical, such as those around the Kelly kitchen table, where the
camera observes from one end of the table where one chair conveniently remains
unoccupied so the view of the others isn’t obscured – its as if the screenplay
was designed for a stage Play.
In any event, apart from Harry Power, the
characters in Part One are terribly wooden. Harry Power however is colourfully
played, and is the only one who seems to have real personality. However his exploits are portrayed as a sort of game, and are accompanied by jolly music which wrongly makes highway robbery seem to be something jovial when of course for the victims they're frightening and traumatic. By contrast
John Jarratt portrays Ned Kelly as a pale and naïve, too-well behaved dullard,
devoted to his mother in a supine and sentimental way who has almost nothing to
say for himself. Wild Wright on the other hand is an unbelievable caricature of
a ruffian, and the fight between him and Ned Kelly drags on and on with tedious
repetition of the fake punches, the aghast spectators and close ups of bloody
faces with fake blood on them, and Ned and Wild alternately dragging themselves up out of the dust to then floor the other.
In so far as historical accuracy is
concerned, I got the impression that the costumes and street scenes and the
external appearance of the Kelly houses were indeed true to the original.
However, as poverty stricken selectors I thought the Kellys were all much too
clean and too well dressed, and the interior shots of their bark hut made it
look very middle class, not at all squalid as it was actually described as, at the time by Nicolson. More importantly though, its very apparent right from
the beginning that in the telling of the story, what is told is very much the
view of Ian Jones, a man who is an avowed Kelly Sympathiser. Thus, Kelly is
portrayed as mild mannered and polite, almost devoid of personality or passion
– an overdone saccharine kind of Saint. In keeping with that image Ned is shown
meekly, almost reluctantly holding the reins of horses while Power robs people
on the highway, and then when they are shot at, Ned cowers in a kind of mute
catatonia. Jones sets out as true what we now
know as the myth that Ned was in innocent possession of the horse borrowed by
Wild Wright, and later, the naïve Ned Kelly is talked into becoming a horse
thief by George King, a possibility it would seem that had never once entered the pure mind of Ned himself. Shame on George for corrupting the saintly Ned!!
However, in addition to the sins of
commission, there are even greater sins of omission in this episode, things the
average viewer would not realize were missing, and as a result, anyone other
than a Kellyphile would unknowingly derive a highly skewed and inaccurate
understanding of Ned Kellys life story. Significantly, Ian Jones begins the
story AFTER Neds lucky acquittal on a charge of assaulting a Chinaman in 1869, and he only mentions the
McCormick incident in passing even though it resulted in Ned serving time for assault and indecent
behavior. The prior history of growing
up in an atmosphere of resentment and suspicion of the English and of
authority, of Reds decline into alcoholism, of multiple episodes of family
violence and trouble with the law – all this is ignored, yet these were all hugely
influential in shaping the life and attitudes and behaviors of the growing Ned
Kelly, and knowledge of them crucial to a proper understanding of his story. The
decision to commence the story telling after these significant negative events
in Ned Kellys young life can only be seen as a deliberately chosen tactic designed to bolster the
myth of Ned Kellys innocence and render
less explicable the Police interest in the Kellys, and make it look more like sinister
and unjustified persecution. This is unforgiveable dishonesty in my opinion,
deliberate myth-making disguised and presented as historical re-enactment by
Ian Jones who inserted at the beginning of the Epsiode “All Characters events
names dates and places in this series are drawn directly from fact.” Indeed,
but the ones that are drawn are only the ones that suit Mr Jones. The facts that don’t support Ian Jones version of the truth are conveniently ignored. But who in the general population would know?
Actually my first thought after watching
this first episode was to remember what Mark Twain called the Book of Mormon :
“Chloroform in Print” I was amazed to
watch the incredible richness and complexity of the life and times and
personality of Ned Kelly reduced to this
boring and sanctimonious misrepresentation. Quite apart from being seriously misinformed
about the real Ned Kelly, I think modern
audiences would find this episode quite dull: “Chloroform in film” .