The Legend of Molly Johnson

Name: The Legend of Molly Johnson
Genre: Drama
Released: August 19, 2022
Duration: 109 min
Rating: 60
Cast: Benedict Hardie, Harry Greenwood, Jessica De Gouw, Leah Purcell, Nicholas Hope

2022

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Mixed or average reviews based on 18 Critic Reviews

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USER SCORE

Mixed or average reviews based on 6 Ratings

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5.3

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5.3	User Score Mixed or average reviews based on 6 Ratings

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The Legend Of Molly Johnson (US Trailer 1)

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Movie Details & Credits

Samuel Goldwyn Films | Release Date: August 19, 2022 | Not Rated

Starring: Benedict Hardie, Harry Greenwood, Jessica De Gouw, Leah Purcell, Nicholas Hope, Rob Collins, Sam Reid, Sean Lynch, Tammy McIntosh, Victoria Haralabidou

Summary: In 1893 on an isolated property, a heavily pregnant woman named Molly Johnson (Leah Purcell) and her children struggle to survive the harsh Australian landscape; her husband is gone, droving sheep in the high country. Molly then finds herself confronted by a shackled Aboriginal fugitive named Yadaka (Rob Collins). As an unlikely bond beginsIn 1893 on an isolated property, a heavily pregnant woman named Molly Johnson (Leah Purcell) and her children struggle to survive the harsh Australian landscape; her husband is gone, droving sheep in the high country. Molly then finds herself confronted by a shackled Aboriginal fugitive named Yadaka (Rob Collins). As an unlikely bond begins to form between them, secrets unravel about her true identity. Meanwhile, realizing Molly’s husband is missing, new town lawman Nate Clintoff becomes suspicious and sends his constable to investigate. The deadly encounter between Molly, Yadaka and the constable results in a tragic chain of events with Molly becoming a symbol of feminism and anti-racism.… Expand

Director: Leah Purcell

Genre(s): Drama

Rating: Not Rated

Runtime: 109 min

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Critic Reviews

Joe Leydon

May 12, 2021

An exceptionally compelling Outback Western. Read full review

Stephen A. Russell

May 5, 2022

Rewriting the narrative through an anti-colonial, Black and feminist lens, Purcell bestowed a First Nations background and the moniker Molly Johnson on Lawson’s unnamed protagonist. Delving deeper into Molly’s troubles in the novel of the same name, this film marks her third spin at the material. It’s still riveting. Read full review

Natalia Keogan

Aug 17, 2022

As a piece of revisionist mythmaking, the film employs a staunchly feminist, Aboriginal liberationist lens, one perfectly molded for Purcell’s specific gaze. Read full review

The Guardian Debbie Zhou

Nov 9, 2021

It’s Purcell’s powerhouse performance that lends the film its punchier, gritty edge. Read full review

Donald Clarke

May 13, 2022

Unfortunately, the longer the film goes on the more blankly didactic it becomes. Read full review

IndieWire Kate Erbland

Mar 21, 2021

Purcell, as star, stays resolute to the last, but as filmmaker, her sharp ideas are dulled into something that barely leaves a mark. Read full review

Matthew Anderson

Mar 21, 2021

The metaphors of colonial history, the subjugation of women and Aboriginal peoples, vicious social ills and a nation’s hidden guilty past are all alluded to. But their treatment in The Legend of Molly Johnson are not developed to the extent needed to leave the lasting gut punch, and change of consciousness, this admirable project could have achieved. Read full review

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User Reviews

alanpotter17

Jun 5, 2023

É sempre bom ver um western subvertendo os personagens típicos dessas produções, de "Brokeback Mountain" a "Ataque dos cães", é delicioso perceber que há espaço para boas histórias com personagens dissidentes. Molly, então, acaba sendo um personagem que reforça o lado bom para quebrarÉ sempre bom ver um western subvertendo os personagens típicos dessas produções, de "Brokeback Mountain" a "Ataque dos cães", é delicioso perceber que há espaço para boas histórias com personagens dissidentes. Molly, então, acaba sendo um personagem que reforça o lado bom para quebrar esteriótipos.
Ainda que sua figura reforça certos padrões, como o apego à feminilidade, à obediência ao marido, ao instinto maternal pelos filhos, ela o faz com certo grau de independência e força, que fica impossível não perceber o limiar entre a mulher condescendente e a mulher aguerrida que está sendo.
Confesso que esperava um pouco mais do roteiro, que basicamente se concentra na pequena casa dela, que entra em contato até mesmo com um negro fugitivo (em uma brecha para se discutir a escravidão do século XIX), mas o filme, por uma razão que não sei bem definir, não consegue engrenar.
Claro que a presença de Leah Purcell, que dirige e atua, salta a tela, e é uma grata surpresa ver um trabalho com alma e tecnicamente satisfatório.
Ainda assim é tudo muito quadrado e tradicional, lembra de longe "três anúncios para um crime" mas feito de forma conservadora. Acredito que temos em Leah uma cineasta promissora, o que se pode falar desta obra é que está longe de ser ruim, mas também precisaria de um gás e um tempero para tornar-se mais marcante.… Expand

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KenR

May 9, 2023

The Drovers Wife – The Legend of Molly Johnson (forget Henry Lawson you won’t find him here)

This recent Australian movie looked like it could be the one we were waiting for to put Aussie films back on the international quality trail. Striking cinematography by Mark Wareham in and aroundThe Drovers Wife – The Legend of Molly Johnson (forget Henry Lawson you won’t find him here)

This recent Australian movie looked like it could be the one we were waiting for to put Aussie films back on the international quality trail. Striking cinematography by Mark Wareham in and around the Snowy Mountains offers mesmerizing vistas, all captured within high-grade camerawork. Good central performances including a stand out by young Malachi Dower-Roberts as Molly’s young son. Multi-talented musician/composer Salliana Seven Campbell’s score is interesting but often intrudes on proceedings, if it’s not the tempo it’s the sound mix.

Leah Purcell works hard in the lead role of Molly Johnson, and her story is often important but she fails to keep the project on target as writer and director. Too many situations don’t hold too close scrutiny with some bordering on being outlandish - seems we are still trying to copycat Italian Westerns. It’s a pity indigenous filmmakers feel the need to drive a wedge through all attempts at integration by pushing the political ‘them against us’ narrative and doing so with evermore over-the-top violence and emotional manipulation. Here, she overloads her story with the grossest whites (like almost everyone) while the blacks are only shown as gentle peace lovers. This is never always the case and comes across as biased hypocrisy, leaving a disappointing aftertaste. A well-balanced film will involve both sides of the political situation without continually looking back to the past for fault and victim blaming. We will never move forward while this continual hatred is pushed in every augment for equality. Leah has been given the opportunity for a career within this modern nation’s industry but seems only capable of spewing back hatred. We see enough of this from politicians like Senator Lidia Thorp without it also permeating our entertainment. Disappointing.… Expand

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