The Convert

In his latest movie “The Convert,” director and co-writer Lee Tamahori returns home to New Zealand for a look at a fraught chapter in the country’s history. Bringing his action movie bonafides from the James Bond entry “Die Another Day” and “xXx: State of the Union” back to the big screen, Tamahori hews together intense dramatic moments over battlefields and tense conversations as two factions of indigenous Māori wrestle for control while British colonists set up one of their first claims on the nation. Our main character enters in these most turbulent times advocating for peace and finds few listeners. This is not an uncommon chapter in history, but the way Tamahori and his cast and crew approach the topic is fascinating, even if a little conflicted at times. 

In 1830, Thomas Munro (Guy Pearce) landed ashore in New Zealand. He’s a troubled man who after years in the military wants to get away from England as much as possible and finds passage to the other side of the world as a lay preacher. However, our adventurer does not find peace. Instead he find a community in tumult as two Māori chiefs, Maianui (Antonio Te Maioha) and Akatarewa (Lawrence Makoare), fight among themselves for control of the region, traders like Kedgley (Dean O’Gorman) supply muskets and bullets to both combatants, and the British colonists in the town of Epworth ostracize anyone not British and Protestant, going so far as to withhold medical supplies from a wounded Māori woman, Rangimai (Tioreore Ngatai-Melbourne), who Thomas rescued from an ambush. As tensions mount, Thomas finds allies with Rangimai and a widow named Charlotte (Jacqueline McKenzie) even as war seems all but inevitable. 

Thomas feels like something of a Trojan Horse character, an outsider to interest audiences beyond New Zealand in its history and a perfect excuse for constantly translating different languages and customs. But something feels like it’s missing from his character, even if he has the most screen time to share his past war stories and beliefs. Guy Pearce brings him to life with the most solemn of performances, quietly restraining his emotions – and violence – until the very end, but his story wasn’t the most compelling. The real heart of the movie belongs to Rangimai, a woman tormented by the violence of the men around her yet more than willing to take her own revenge for the murder of her husband. In a star-making turn, Ngatai-Melbourne rises to the occasion with her bold performance, singing funeral songs for the dead, taking up arms against her enemies yet also share rare scenes of tenderness with Charlotte and Thomas. The character is secretive yet earnest, understands the political games at play and is a willing participant in its events. She’s eager to learn from her British neighbors even as they reject her and her people because she understands that to know them is itself an advantage.

Tamahori and co-writer Shane Danielsen may have taken some historical liberties in loosely basing their script on true events, creating composite characters or writing in new figures, but if the goal of “The Convert” was to give a sense of New Zealand when most of its residents called it by its Māori name, Aotearoa, then it is successful. Cinematographer Gin Loane frames Tamahori and Danielsen story with the gorgeous natural landscape around them, sometimes shooting in stark contrast to show off the dark sandy earth, inky rivers, and cloudy skies. In other moments, the camera is reveling in the crashing white waves, formidable rocky cliffs, and luscious green forests, occasionally moving in to focus on a bird or plant, grounding its story with a sense of place like no other. Thomas is seeing this part of the world for the first time, and the camera is mirroring his curiosity. Likewise, the visual style is also used to heighten the narrative’s more dramatic scenes, like when Rangimai greets her father the chief after the murder of her husband. The reunion happens near the coastline, where the soil is dark and the skies appear stormy, a harbinger for the battle forecast ahead.