THE SURFER, Australia/Ireland, 2024. Starring Nicolas Cage, Julian McMahon, Finn Little, Miranda Tapsell, Justin Wozniak, Rahel Romahn. Directed by Lorcan Finnegan. 104 minutes. Rated MA (Strong coarse language, drug use and suicide scenes).
Endurance is key. Cage plays ‘The Surfer’, an Australian, brought up on the West Australian coast, spending time in the US (hence the accent). He returns to buy his father’s home, bringing his teenage son with him to revive his memories and hand on tradition. So far, so good. However, the locals are aggressive, not letting anyone to surf unless they live in the area. So begins a series of insults, humiliations, vicious attacks and cruel behaviour with ‘The Surfer’ as victim.
As we watch, the word endurance comes to mind. Our endurance as we sit watching this cumulative impact of brutality and its effect on The Surfer. Watching it is tough going.
Realistically, audiences were probably anticipating that The Surfer and his son would leave after the first confrontation. But, no. He remains, becoming more and more obstinate and obdurate, the physical and psychological onslaught beginning to take its toll but rendering him more stubborn. He should have got in his car and driven away, but . . .
The portrayal of the clique of surfers certainly raises a key issue of contemporary society. That is, the place of men, a critique of patriarchal ways and the response of male assertion and aggression. The sequences with the group dramatise some of aspects of the Andrew Tate and followers’ idea of what it is to be male. Here the group is presented as something of a cult, led by a local, who bullied The Surfer at school. Scally is played as smugly assured by McMahon. There is also an older man, somewhat deranged, who hovers, talks with The Surfer, has a grievance of his own with Scally, and also has a gun . . .
Now and again there is a sympathetic character or two helping The Surfer, notably a photographer (Tapsell). But, there are a lot of unpleasant characters, especially the local police officer, the proprietor of a drinks van, who certainly alienate the audience as well.
So, how do we endure this experience? Initially a certain empathy with The Surfer but then our dismay and exasperation, sharing what he suffers, and at times this is considerable, but exasperated as he stays on – and, trying to deal with his final confrontation with Scally, the psychological consequences, the confrontation with the mad old man, and the return of his son.
This is an Australian/Irish co-production. The writer, Thomas Martin, and the director, Finnegan, both Irish, have their interpretation of an Australian coastal community, seemingly relishing some portraits of the Ugly Australian. Some commentators have noted that they are particularly fond of Australian films from the 1970s, especially, small-budget thrillers, often with horror touches, nicknamed Ozploitation. No flattery for Australia or Australians here.
This is a Cage film. Over the past decade and more he has made several films each year, often strange and wild characters, all kinds of genres from westerns to horror. He has built up a huge number of fans who want to see his films, no matter what. But, for many wanting to see an Australian film with Cage, this will be something of a bewilderment.
Madman
Released 15 May