Colin Thiele’s Storm Boy is not only a classic of Australian children’s literature, but the 1976 film adaption is that very rare thing – an iconic local film that has survived through the generations to remain a firm favourite.
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So, it was with much excitement that the new, $14 million reinterpretation of the classic tale of a lonely boy and his pet pelican, Mr Percival, hit local screens.
Taking my godson to see the film on the weekend, I was disappointed to see it has been saddled with a ham fisted and wholly unnecessary contemporary framing plot, featuring a grownup Storm Boy, played by Geoffrey Rush, who recalls the events of his childhood in the Coorong as he deals with deeply unsubtle corporate shenanigans.
It’s hard to know why this material has been inserted into the narrative – except perhaps to satisfy a desire for politicised messaging, and ticking off the box of including a previously totally absent strong female character, in the form of woke teen firebrand Madeleine (Morgana Davies).
The original story, of course, was far more intimate in scope, and dealt with the emotionally complex relationship between Storm Boy (played well here by Finn Little) and his tormented father, Hideaway Tom (this time portrayed in far friendlier style by Jai Courtney). Living alone in the wilderness as they eke a living from fishing, the pair are confronted with a slowly encroaching outside world.
We witness the boy’s emotional growth through his relationship with three rescued baby pelicans, and his coming out of isolation as he forms a bond with local indigenous man Fingerbone Bill (Trevor Jamieson) and raises the birds to maturity.
We learn about love, responsibility, the impacts of environmental destruction, and ultimately, death – before the world calls, and Storm Boy is ready to take further steps towards manhood, as he heads off to school.
The original tale expertly weaved these themes into a story that naturally inspired a love and reverence for nature, and respect for indigenous culture.
Much of the power of this core story is unnecessarily muted in the new version, as we switch backwards and forwards to the tedious contemporary content.
These aren’t just adult film-snob concerns – the young children in the cinema I attended became notably restless and alienated as the story flashed forward to material they either didn’t understand or couldn’t relate to. Eyes returned to the screen and shuffling stopped as Storm Boy bonded with Mr Percival, whose inevitable fate still packs a punch.
There were enough good moments to make this a satisfying family film, however, and it should encourage a new generation of kids to read Thiele’s much-loved book.
It’s always a risk messing with iconic stories. While this film should prove a success, it won’t be another classic.
And in an industry crying out for another major hit that touches the hearts of a new generation, that’s a real shame.
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