Oranges and Sunshine

Director: Jim Loach
Cast: Emily Watson, Richard Dillane, David Wenham and Hugo Weaving
DVD release: 5 October 2011
Rated: M

A worthy Anglo-Australian co-production, Oranges and Sunshine is an important thought-provoking film, under the helm of British director Jim Loach and produced by the team behind The King’s Speech. It’s based on Margaret Humphreys’ book Empty Cradles, which concerned her exposure of the shameful organized deportation of children in care from the United Kingdom, with the collusion of the British and Australian governments; a practice carried on until 1970.

The film starts in Nottingham in the 80s, when social worker Margaret Humphreys (Emily Watson) inadvertently meets distraught Charlotte (Federay Holmes), a lady from Australia desperately wanting to know “who I am”. Years previously Charlotte was taken from a Nottingham children’s home, and with a ship full of children, packed off to Australia by the social authorities.

With the assistance of sympathetic husband Merv (Richard Dillane), Margaret begins a search for the truth that thousands of children were illegally deported from Britain, many believing they were orphans. ‘Rescued’ from poverty-stricken families and unmarried mothers unable to keep their babies, they were promised a land where you can pick oranges for breakfast, and bask in unlimited sunshine. It’s estimated 500,000 ‘forgotten children’ as young as four, were deported and placed in more than 500 institutions in Australia during the last century, many of whom were abused and put to labour.

The authorities don’t extend a hand of kindness to this investigation. Despite the lack of cooperation, Margaret manages to reunite Charlotte with her mother, and travels across the world to Perth with Nicky, (Lorraine Ashbourne) a woman trying to locate her lost brother Jack (Hugo Weaving). A shy introverted man, Jack takes Margaret to a barbecue where she meets others who were shipped to Australia after being informed their parents were deceased. Margaret soon has a flood of requests to find missing relatives from a host of anxious people.

The deportees have suffered over the years, lacking a sense of identity, some having mental anguish about being abused and mistreated in orphanages; including the infamous Bindoon where children were forced into tough manual labour constructing the building. Len (David Wenham), who was brought up in Bindoon, seems to have survived the system, and despite an aggressive nature carries no apparent mental scars. He approaches Margaret to find his mother.

Len convinces an uncertain Margaret to the visit remote the Bindoon boys town run by the Christian Brothers. As he is a benefactor, the Brothers reluctantly invite them to tea. How very different they are to the dedicated monks in Of Gods and Men. In the large uninviting room, Margaret sits calmly facing them, as the Brothers huddle around a table glowering at their accuser, decidedly uncomfortable.

She’s had a physical threat by an abusive supporter of the Christian Brothers to stop publicising the abuse which occurred in their institutions. The demands of her unrelenting search for relatives takes its toll, and Margaret develops Post Traumatic Stress Disorder, and strain is put on her family (especially when a Christmas goes off the rails). She’s now spending much more time in Australia as she becomes more obsessed with her mission.

Jim Loach, son of respected director Ken, worked in TV with documentaries and series from Coronation Street to The Bill. Oranges and Sunshine, his first feature, keeps a slightly distant, almost documentary approach so as not to over-sentimentalise the material, yet still has the power to move you. Music also plays an important part.

The impressive performance from Emily Watson (The Proposition), who gives her best in this sensitively controlled role, has the advantage of the actress looking so right in the part. Supporting actors are equally compelling: David Wenham (Public Enemies) improves with every picture, Hugo Weaving (Last Ride) again puts in a convincing performance, and Geoff Morrell (Curtin TV) is noteworthy in a cameo role as Walter.

The end credits include archival clips of the actual children, making a fitting conclusion with added pathos. The contrast between the cool greys of Nottingham and the dry strong colours of the Australian scenes accent the ironic point of the title. Rona Munro’s script manages the balance of documenting a true confronting story, while keeping the audience fully involved. This results in a well crafted, acted and photographed film with a disturbing message from our recent past. Hearing the pathetic tales of abuse might even dampen your eyes.

John Bale