Few stock characters in contemporary film and literary discourse come with more baked-in connotations than the white missionary who sails to a remote island with the hopes of convincing its Indigenous people to abandon their own religions. Years of colonization and violence have understandably prompted many to view missionary work as ill-advised at best and fundamentally evil at worst. So when Thomas Munro (Guy Pearce) lands on the shores of 19th century New Zealand to preach to the native Māori tribes, it’s a given that viewers will approach him with their own baggage and preconceived notions. “The Convert” director Lee Tamahori certainly knows that, and revels in gradually subverting expectations about his protagonist as he asks larger questions about humanity’s ability to transcend violence and prejudice.
Unlike many religious zealots who find themselves whisked off to far away lands by their faith, Thomas isn’t quite convinced that he’s on a mission from God. A former soldier with his own violent past to reckon with, he’s honest enough with himself to understand that the lay mission trip is more of an opportunity to build a new life than a spiritual quest. Any faith that he has in an actual higher power is secondary to his commitment to the principles for which he sees Christianity as a vehicle — namely mercy, forgiveness, and human decency. The fact that his trip is being funded by British colonizers hoping religion will “civilize” the islanders complicates matters somewhat, but he isn’t afraid to defy orders to follow his heart.
One of his first island encounters comes when he sees a band of Māori warriors preparing to slaughter their enemies from a rival tribe. He begs them to spare their victims’ lives, offering up his sole valuable possession, his horse, as part of a morbid trade. The chief determines that one horse is worth one human life, so he spares a young girl named Rangimai (Tioreore Ngatai-Melbourne) and leaves her in Thomas’ care.
As Thomas tries to nurse Rangimai back to health while immersing himself in the island’s culture, the missionary finds himself thrust into the uncomfortable role of shuttle diplomat seeking to negotiate peace between warring factions. In addition to the deep feud between the two Māori tribes, there’s the additional tension created by white settlers who are looking to recreate a European economic system on the island with little interest in including the people who were there first. As tensions rise, Thomas finds himself in a crisis not of faith, but of cultures. Forced to choose a side for what could be the final act of his complicated life, he wonders whether there’s a better option than the violence he has spent his life participating in.
“The Convert” is almost certainly the largest scale cinematic portrayal of pre-colonial New Zealand, in all of its violence and ecological majesty, to date. Financed in large part by New Zealand’s Premium Production Fund as a means of bringing the nation’s artists back to work after the pandemic, the film’s impressive craftsmanship reflects that crew’s commitment to accurately recreating their own history and the resources that the project was afforded. Cinematographer Ginny Loane stunningly frames the island landscapes in richly textured shots that invoke cinematic epics of yesteryear by highlighting the nation’s shimmering oceans and untamed jungles in ways that show both their beauty and ability to mask danger. The Māori costumes, weapons, and ships are designed and built with an attention to detail that ensures the film always feels like a living, breathing tapestry rather than a dusty piece of homework. In terms of production value, “The Convert” is on par with many of the century’s great period epics — and the creative team’s personal connection to Māori history adds a layer of authenticity that distinguishes it from many of its counterparts.
Existing at the intersection of the specific and the universal, “The Convert” manages to combine an entertaining portrayal of an often ignored historical era with universal questions about whether it’s ever possible to build a human society on the foundation of something other than violence. The film’s optimism can only carry it so far before it runs into unchangeable historical realities, but we could all stand to listen to Tamahori’s call to keep an open mind about our specific positions without compromising our deeper principles. Even in seemingly clear-cut situations, you never know whether you’ll be the converter or the converted.
Grade: B+
A Magnet Releasing release, “The Convert” opens in theaters on Friday, July 12.
