My Name Is Gulpilil reviews a sublime, human and elegant journey through the life of an indigenous actor in cinema | Movie

PPeople in the entertainment industry sometimes talk about performers who have an elusive quality that isn’t necessarily apparent in real life, but who ushered in a shimmering existence on stage or on screen.

No one in the world has ever had it as much as the great Yolu actor David Gulpilil, a titanic force in Australian cinema and now the subject of stunning, sad director Molly Reynolds, but in its own way a marveling documentary, which gets the job done. intimidating. to do justice to the life and career of this extraordinary artist.

Reynolds understands that Gulpilil is not just a great actor but a portal to a different way of thinking, a different way of being, even a different state of consciousness. If you think that sounds like hyperbole, you haven’t seen a David Gulpilil movie.

Many are sampled in My Name Is Gulpilil, which oscillates between the present and the past, drawing on depictions from the actors’ rich work to illustrate different parts of his life and character. his story, this time, not someone else. The moments of his films (so well integrated by the editor Tania M. Nehme) are like personal imprints, snapshots of a life imprinted on celluloid.

The film takes place in the spirit of a living wake, celebrating its subject matter while contemplating the inevitable. A shot of Buuelian captures the actor from above, lying with his eyes closed in a coffin with a red liner, his body covered in old film reels. They come out of it, as if they were a natural part of man himself.

In a sense, of course, they are. Gulpilil has been on our screens for a full half century, his career beginning with a breakthrough in Nicolas Roegs’ great 1971 film Walkabout. At the time, Gulpilil was a teenage boy with a cheeky glint in his eyes. now, in her sixties with lung cancer, her wit and humor are still apparent, but those eyes have faded.

Living in Murray Bridge, South Australia, with his caregiver Mary, who he says will be with me until I leave, we see Gulpilil taking pills, including pain and anxiety management, and take an inhaler. Along the way, he philosophizes about the differences in attitudes towards medicine in white and indigenous cultures, the former involving his determination to win in order to conquer or conquer disease. But Gulpilil has no illusions about his own situation, declaring that he is returning home on a one-way ticket.

He presents the film as my story of my story, involving a double layer: his life and his life in the cinema. There have been other non-fiction productions about or involving the actor, including Bill Leimbachs ’48-minute documentary Walkabout to Hollywood, from 1980, which contains interesting footage revealing Gulpilils’ intellect and personality as than artist (much younger). And another done by Reynolds’ excellent Another Country 2015, an essay-like analysis by Gulpilils, then Ramingining’s hometown in the Northern Territory, who uses the location as a case study to explore the incompatible aspects of cultures. white and native Australians.

But My Name Is Gulpilil is on another level: so sublimely made, so human, so elegant in construction. It is, among other things, a reflection on mortality and a recognition of the cinematographic medium as a form of mausoleum, fossilizing (although the great director Andrei Tarkovsky preferred to call it sculpture) moments in time, and here, bring them back, for a story of a story.

Several moments show Gulpilil walking towards the camera or walking away. Sometimes it does this in the same plan. These moments always crystallize a subtextual message of looking forward and back. The director does so without closing her eyes to the shortcomings of her subjects; in one scene, Gulpilil stands alone in a hallway of a hospital or medical center, as we hear audio clips of news bulletins reporting controversies and criminal charges he has faced for years like sinister memories tumbling around his psyche.

Seeing current Gulpilil on a boat conjures up movie memories that position him near water, geographically and spiritually. Among them, the creature presents Dark Age, about chasing a fang in a dream, Peter Weirs’ end times drama The Last Wave, The Last Moments of Goldstone, which features Gulpilil as a kind of whispered memory. in the mind of Aaron Pedersen, and those sublime coastal scenes from the original Storm Boy.

Elsewhere in the documentary, in a personal reflection of the man himself, we learn that Gulpilil means Kingfisher. And so, all of those waterside scenes in retrospect acquire an almost cosmic sense of purpose, as if the positioning of the great actor near streams, rivers, oceans were predetermined. Thoughtful and deeply moving, this is an unforgettable film.

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