Summary
A swagman’s cracked kettle whistles across the burnt-orange horizon of the Never-Never, summoning ghosts of dispossession; George Corti’s wanderer, half-Christ half-coyote, trudges through gum-scented mirages with a billy of stolen tea and a memory stitched from Clara Stevenson’s missionary spittle and James Martin’s squatter brutality. The film unspools like a fever-dream ballad: a coppery creek turns crimson when troopers fire, a bible page becomes rolling paper, a child’s marbles double as the stars that guide the fugitive to a gibber where rope and regret swing in tandem. Lottie Lyell’s bush-girl appears as both Fury and Mercy—her petticoat of moths dissolves into moonlight while she whispers the land’s true, unpronounceable name. Each celluloid frame is scratched with ochre dust so that the very screen seems to cough; narrative dissolves into song, then into silence, then into the caw of a crow that might be the swagman’s own conscience flapping loose. By the time the final frame burns white-hot, history has been inverted: the hanged man keeps walking, the creek flows upward, and the audience discovers it has been roped into the myth like a brand on rawhide.
