I’m going to start this review with the clear indication that I knew nothing of the plot of “Nitram” before watching this film. I had seen possibly 15 seconds of a trailer, and certainly not enough to piece together that this film was a bio-drama revolving around an individual responsible for one of the most tragic events in modern Australian history. I certainly know about the real world incident that happened at Port Arthur in 1996, as it is something that is unfortunately discussed fairly often here in the states every time a mass shooting occurs in our country. So, with all that being said, I am struggling to limit this review to the film itself, and not the larger discussion on the morality of dramatizing tragic events in real world history.
“Nitram” presents the story of Martin Bryant. From a very young age, Martin was known for playing recklessly without the worry of consequence or physical harm to himself. “Nitram,” Martin’s name spelled backwards, was the nickname he acquired in school that he didn’t seem to care much for. The film, however, doesn’t focus on Martin’s childhood, but focuses on his life in his later twenties. Martin, though an adult on paper, is clearly socially impaired and shows signs of being mentally disabled. The film showcases his parents, who seem to be barely holding on as they reach their wits’ end after caring for their son for all these years.
Martin, who wishes to be more independent and allowed to make decisions for himself, finds solace in the company of a reclusive wealthy heiress named Helen. Helen, a former actor, takes kindly to Martin’s lack of social skills, and enables him to leave his parents’ home and move in with her. Helen’s money allows Martin to live more freely, but his reckless nature leads to unfortunate consequences. Without spoiling the film, one thing leads to another, and tragedy after tragedy after tragedy throws this mentally fragile person and his family into more and more turmoil.
For the majority of the film, I simply witnessed the tragic story of a broken family struggling to nurture a disabled young man. Caleb Landry Jones, who I recognized from small roles in the X-men films, “Three Billboards Outside Ebbing, Missouri,” and “Get Out,” gave an astounding performance. Between his character's overall demeanor, the brokenness in his eyes, and his clear frustration with his limitations, Jones gave his all to this role. Judy Davil, Essie David, and Anthony LaPaglia all provide heart wrenching performances as well. The weight of this film was hard to bear at multiple points as you are forced to witness a struggling family trying to cope with unrelenting constant obstacles.
As I am not an Australian citizen, though I know of the Port Arthur Massacre, I did not connect the dots that would have informed me where this film was heading. I am sure that every single Australian knew exactly where the film was heading, from the opening frame. When the plot finally reached the event, I suddenly realized what I was watching. While I don’t have as much of a personal connection to this event, I certainly understand why many in Australia were not incredibly supportive of a biopic of a mass shooter.
In 2020, a film called “Run Hide Fight” was quietly released in America. The fictional story revolved around a school shooting, where a young girl decides to fight back against the shooters with the fanfare of Bruce Willis’ “Diehard.” The film was met with much criticism, as many found it to be in poor taste. While that was a fictional film, I honestly don’t think I would personally be up for watching a bio-drama on the Columbine shooters, the Aurora theater shooter, the Las Vegas shooter, the Sandy Hook shooter, the Orlando Pulse shooter, the Virginia Tech shooter, the Sutherland Springs Church shooter, the Parkland shooter, or any of the countless other Mass Shooter incidents in America’s recent history.
Rorshach Rating: (and an explanation for it)
Every single one of those incidents were followed by weeks of heated debates on gun control in America, and within those conversations, Australia’s Port Arthur Massacre was always mentioned. So, while I knew of the event, I didn’t know the name of the shooter, and my ignorance or obliviousness kept me from realizing what film I was watching. I’ll admit that part of me feels a bit betrayed. I was completely enthralled by the performances of this film. I absolutely felt for each character, and their struggles, and yearned for some type of peace to envelope them. While the film doesn’t glorify or sensationalize the mass shooting, I can’t help but feel torn on my reaction to the film’s overall existence. I can certainly understand why many protested the making of and boycotted the release of this film.
In one of my favorite films of all time, “We Need To Talk About Kevin,” the talented Tilda Swinton desperately searches for answers as to why her son became a mass-killer. That film, while fiction, likely was inspired by accounts and observations of family members of real-world mass-shooters who have to live with the horrors of the actions of their family members. “Nitram” covers, beat-for-beat, much of that same territory in agonizing fashion. On the performances alone, I would rate this film 5 out of 5 stars, but I am troubled by the moral quandary as to the necessity of the film in general.
Mental Health Moment: The entire film is a mental health tragedy. While the protagonist clearly suffers from mental disabilities, his actions affect the mental wellness of his family, and in turn, their actions have repercussions on him as well. Raising and caring for a mentally disabled person can be an overwhelming, unfathomable task. Heck, raising and caring for any person, no matter their health, can be overwhelming. As always, I would encourage you to reach out to a hotline, to a trusted friend, to medical professionals in times of need. Many of us may have been raised to deal with our problems internally and quietly, but there are plenty of people willing to listen and help you find solutions so that you don’t have to tackle life’s obstacles on your own.
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Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. We do not own nor claim any rights.
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