NED KELLY Dir: Gregor Jordan. Starring Heath Ledger, Orlando Bloom, Rachel Griffiths, Geoffrey Rush, Naomi Watts Ned Kelly is a curious film. The acting, directing and story are all relatively fine, but the end of the film left me feeling a little empty, and a little confused. Ned, the icon of our country, seemed kind of boring. Based on Robert Drewe’s book “Our Sunshine”, Ned Kelly paints the titular blaggard as a victim of circumstance; a good boy lead astray by the uncaring authorities. After the police force Ned into an act of violence, he and his gang hit the roads of rural Victoria, stealing what they can and charming townsfolk. But as Ned’s Robin Hood reputation precedes him, he can’t help conforming to it, and a tragic confrontation results. So what’s the problem? Now, I have no trouble accepting the brutality of the Victorian police – their aim has never been good - but part of the Kelly myth’s integral appeal lies in its amorality. What precious little Australians know about Ned doesn’t include robbing the rich to feed the poor. Director, Gregor Jordan (Two Hands) has used a liberal historical licence - which is fine for dealing with the legend - but steeped in realism, it’s impossible to swallow.  And that’s a shame, because his direction has enough quality to sustain a heavier plot. Atmospheric landscapes; tea-stained Drysdales soaked in mud, fill up the screen with dark portent, but it’s all too predictable.
	Heath Ledger, with all the facial expressions of Pinnochio, isn’t quite the man for this job. A bare-boned script doesn’t leave him a lot to work with, but his performance is as nearly monochromatic as the colour scheme. He switches from brooding to angry and back again with an ease that would make Rocky jealous, and unfortunately, the rest of the cast don’t fare any better. Jordan seems so enamoured of his hero that he neglects every other character, and the Kelly Gang seem more of a fan club than a team, interchangeable and hopelessly sycophantic. As a man, Ned seems simplistic, and somewhat crudely drawn. As a legend, Gregor’s drastic rewriting has served no purpose. Choosing to use this fantastical story with all the window dressings of reality was a mistake. It’s impossible to believe in this noble, pure-as-driven-snow Ned as a person, and as a symbol he never gets a shot. Immaculate, but kind of cold, Ned Kelly never lets us see behind the eye slits. C+ Patrick Garson. Click here to discuss Ned Kelly on the film forum.
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