The Sundowners

In 1920’s Australia, the head (Robert Mitchum) of a family of sheep drovers finds his future uncertain when his wife (Deborah Kerr) announces her desire to abandon their roaming lifestyle.

The Sundowners is a surprisingly compelling look at a lifestyle and culture that’s long gone.

At its heart, the story is about the end of an era. Robert Mitchum and Deborah Kerr play a married couple of nomads, who, along with their son played quite well by Michael Anderson Jr., wander from town to town, herding sheep for money. Mitchum’s character is content with this life, proud of having nothing to tie him down, and no long-term worries.

Along the way, they meet another vagabond, played by the immensely charming Peter Ustinov, who sees a kindred soul in Mitchum’s character. The conflict comes when Kerr and Anderson Jr.’s characters want to settle down and buy a farm, but this is just a metaphor for the inevitable end of their lifestyle, as the pioneer days give way to the 20s and the modern age.

The film’s strength is that the story grows organically. You come to know these characters and feel enmeshed in their world. The lazy plot never intrudes on this immersion, but only serves to highlight the change on the horizon. Where so many Hollywood films opt for neat, definitive endings, the somewhat ambiguous nature of The Sundowners ending is a welcome surprise.

Topping off the refreshing script and great performances, is some truly magnificent cinematography by Jack Hildyard. Hildyard’s photography of the sprawling hills and vast, open country is invaluable in helping the audience understand the lure of the drover lifestyle.

Granted, the lazy plot may be a bit too lazy, as the 133-minut running time is a bit excessive, but it’s a minor knock on what’s otherwise an enchanting movie.