Struggle without End. Director Mike Jonathan (Cinematographer, The Volcano: Rescue from Whakaari) recreates the historic battle of Ōrākau Pā, Aotearoa,1864. Where local Maori tribes unite in a last stand against Colonial forces’ ongoing confiscation of land, desecration and general campaign of violent disrespect. Ka Whawhai Tonu is predictably grim in its presentation of Maori strength and spirit against the overwhelming war machine. However, being a by the numbers retelling of history, the film lacks both impact and message.
Writer Tim Worrall (We Are Still Here) creates a narrative focused on youngsters Haki (Paku Fernandez) and Kōpū (Hinerangi Harawira-Nicholas). Both trapped in dire circumstances they can’t escape while sharing a personal disconnection from their people. Haki, feeling dejected as the half cast son of a white soldier (Jason Flemyng). Kōpū, clairvoyant and reluctant medium for tribal god of war Tūmatauenga. An spiritual honour which Kōpū’s mother Tūrama (Miriama Smith) exploits for position at the table. Amongst prejudice, secrets and war, who will survive and what will be left of them?
Ka Whawhai Tonu falls down somewhat with stark pacing issues and an ensemble cast portraying bit characters, stealing energy from the main protagonists. The first half of the film snoozes, plodding without meaningful engagement. Taking an unreasonable amount of time to set high stakes through verbose dialogue heavy exchanges, with little scene progression and uninspiring cinematography choices. Temuera Morrison (Once Were Warriors, Star Wars Episode II) offering an impassioned portrayal of Rewi Maniapoto isn’t enough to solve this cinema sin. Nor the combined energy of Miriama Smith (Love and Monsters), Cliff Curtis (Once Were Warriors, Sunshine) and the unexpected but welcome Jason Flemyng (Deep Rising, Layer Cake).
The battle itself, featuring scenes broken up across a few days, is just as plodding. There’s a lot of attitude on display, watching a haka or two is never boring, but again there’s a lot of repetitive dialogue that doesn’t push the scene, or a point. The film had a decent budget, approximately 7.6 million with over half of that funded by the New Zealand film commission. Yet, the scale and energy of the battle doesn’t match. Ka Whawhai Tonu suffers the effects of trying to be too authentic. The resulting film is just not cinematic. The setting and costumes are superb though.
It isn’t until the third act of this attempted epic that flow is achieved, resulting in an engaging cross country pursuit and redemption arc, with a frenetic lake side one on one combat sequence thrown in for good measure. While enjoyable, it’s a shame the action from the first two thirds of the movie doesn’t match.
Ka Whawhai Tonu should be better, but it’s definitely not the worst film of 2024. It’s a middling effort with a lot of vested interest from cast and crew, who’re direct descendants of characters in the film. That’s enough of a reason to give it a go. Your mileage may vary.
In Aussie cinemas from 1st August, Ka Whawhai Tonu rates about 6/10 Patu upside the head, even if it lacks the punch.
