* * * 1/2
Releasing across Australia on New Year’s Day.
Robert Connelly’s The Dry, based on Jane Harper’s novel, is a very professionally constructed example of a very trope-y genre. A Big City Cop is called back home to their small town because of a tragic event, and in doing so, must face dark secrets from their past. Sound familiar? Of course it does. There have been at least sixty TV series made in Europe over the past ten years – over forty of them in the Nordic nations – that hew to that exact formula. It’s become such a cliché that there was even an entire parody series, Fallet, made in Sweden in 2017, that hit every tired beat again and again, exposing the genre’s self-cannibalisation ruthlessly.
But Australia is not Norway, and it’s the milieu that gives The Dry what freshness it has. Eric Bana’s Aaron Falk is a Federal Police Officer living in Melbourne whose (fictional) hometown, Kiewerra, hasn’t seen rain in a year. It is the parched, incessantly dusty drought-stricken crisis that gives the film its striking and foreboding atmosphere, and separates it from all those similar stories set in snow and sleet rather than dirt and desert.
The plotting is tight and, of course, the town is full of dodgy dirtbags played by good actors with interesting faces. Bana’s Falk is quite a cipher at the centre, but that’s part of the genre, too: the cop is inherently the least interesting character. It’s all plot plot plot, red herrings and ominous music, until the Big Reveal(s) in the third act. For me, those concluding sequences were not as satisfying – nor as well constructed – as the investigation that came before, and had a nasty bite that seemed tonally distinct from the rest of the film. But I suspect fans of the genre will find this very solid film way more than acceptable. I have no doubt that there was talk of turning the novel into a series; that it’s all done and dusted (sorry) in two hours rather than stretched out to ten is commendable.