The next scene jumps to an industrialised area of Australia, contrasting with the natural wilderness of the outback. We are shown a real piece of footage of an Australian city from that time; however it could easily be mistaken for any city in Europe or America, showing how the west is imposing its culture upon Australia and the aboriginals. The scene then jumps into Mr. Neville’s office. Mr. Neville is the ‘Chief Protector of Aborigines’, which is ironic as he does anything but protect them, and is the one in charge of taking them away. The room is very dimly lit, the only light in the room on Riggs, making him seem evil or satanic. This is justified as he signs the order to take the girls away. In the scene Neville seems cold-hearted and emotionless as he doesn’t even hesitate at signing the paper to take the girls away.
The next scene is the most emotional scene of the film. The abduction scene where the three girls are taken from their mother is extremely powerful. At first when the car comes into the picture there is a delayed confusion where the girls look on in bewilderment. Their mothers are the first to react as they grab their children and begin to run. The director uses a point of view shot from the car catching up on the girls, showing that their cause is hopeless. Once Riggs catches up with them the parents can only protest as their children are lawfully but wrongly taken away from them. We are shown the children in the car as Molly desperately resists being taken away. As the car drives off we see the parents running after their children from the children’s point of view. This shows how close the parents are yet they can’t touch their children. Then as the car pulls away the camera zooms to the children’s faces as their parents disappear from sight. The scene ends with the car driving off onto the distance, possibly never to be seen again.
After being forcedly removed the girls are sent to Moore River. They are sent by train in cages to Moore River. The director uses a point of view shot from within the cage, making the viewer feel imprisoned, like the children were. There is also no dialogue, which makes the action of being looked in the cage stronger.
When they arrive they are greeted by a friendly looking nun. However as soon as they enter their room the viewer realises this isn’t a friendly place. The children are in their bed lined up in rows, almost militarily. It doesn’t seem like a place for young girls.
Soon after arriving at Moore River Mr. Neville arrives to inspect the children. When Molly’s name is called out she is reluctant to stand. When she does get up we seethe scene from Molly’s viewpoint as she gets up. This shows how intimidating Mr. Neville is and makes the viewer think what it would be like to be in Molly’s shoes. Then the way he inspects Molly is not like a human but like an animal. When Mr. Neville turns away and makes notes on Molly all sound stops, and the film is silent for a few seconds. This really lets the coldness of Neville come through when he says no, and gains sympathy from the viewer for the Molly.
Very soon Molly decides for the girls that they will escape. As the girls start to run away the music gives hope to the viewer for the success of the girls escape. Another aerial shot of the outback is shown reminding the viewer of the enormous challenge that the girls face. Shots of the girls running along with the drum beat really create tension. The drumbeat could represent the girls heartbeat at the excitement of going home or anxiety of being caught.
When the girls reach the river they become close to being caught and tension is built up. Gentle music builds up to a tense drum beat as the tracker gets close to finding them. Camera shots from below looking up at him show that he is a threat to the girls. Molly outsmarting the tracker is ironic as Neville is sees the ‘half-cast’ as un-intelligent.
When the girls find the fence, it is the first time that there is real belief that the girls will make it. By showing the girls by the fence and then their mother by the fence, is a connection to home.
When the girls are offered shelter they come close to being captured. The white owner gives calls the police and he arrives in the middle of the night. The music creates tension and the drumbeat again represents their heartbeat. Luckily, the policeman can’t see them because of the darnkness and for the moment they are safe. But as the sun rises the tracker gets close to finding them but they use the rocks to outsmart the tracker again. Point of view shots show just how close the tracker gets to finding the girls.
During their journey home there are several scenes jumping to Neville in his office. These show Neville’s plans and how, although he believes himself to be superior to the girls his plans are futile as Molly is one step ahead of him.
Cracks in the girls begin to appear as Gracie believes that she can catch a train to her mother. This is a trick and although Molly knows this Gracie cannot fight her urge to get home quickly. There is a physical separation as Molly and Daisy are far apart from Gracie. The director uses Gracie’s viewpoint to show the girls leaving her. This is the first sign of weakness in the girls and tension is built as it seems the girls might not make it together.
Molly eventually goes back to help Gracie but it is too late. As Gracie goes to walk to Molly a long shot of her walking towards them, then the car appearing creates despair in the viewer. The music is calm in contrast with the action. The viewer is also aware that Molly and Daisy are also close and could be caught. There is one final shot of Gracie looking back out the car, being driven off. This is emotional for the viewer.
We then see Neville again giving up on the chase and instead giving instructions to wait at Jigalong (the girls home) and recapture them there. This creates tension in the viewer because they think that when they do make it they will just be recaptured and their journey would have been pointless.
As Molly and Daisy’s journey continues they reach the salt pan. You are shown an aerial shot of the sheer size of the salt pan and the complete lack of life. Also the disappearance of the fence is another signal of lost hope because it is the one thing that has lead them this far. This really tests the girls and questions whether they can make it. The viewer feels sympathy and worry for the two girls as well. Shots of the girls silhouette’s show their exhaustion and the extreme heat they are faced with. The music is very harsh and reinforces what the viewer is seeing. The deep gasps of the girls create a sense that they may not make it and then collapse. The viewer is left wondering whether the girls are even alive.
When it returns to the girls the first thing you hear is a bird call; a sign of life and with it hope. This could be the spirit bird at the beginning of the film that Molly’s mother said would look out for her. This creates relief in the viewer and a feeling that if they can do this they can do anything. You see a long shot of the new landscape with trees and life. The rabbit proof fence is another sign of hope for the children. The music gives a sense of accomplishment.
The mothers are also aware of the children being close and an aboriginal ritual is taking place for the safe return of the girls. Riggs doesn’t trust this ritual and goes to investigate. The viewer becomes tense because Riggs is known to be a danger because he took the girls in the first place. The setting is very dark which adds to the tension. Riggs is confronted by two of the women and close up’s of Riggs face show his nervousness, and the power is reversed. Along with the bird noises this is a very tense scene and the viewer is unsure what will happen.
This tension soon turns to joy with the return of Molly and Daisy and the music accompanies this well. This scene releases all sorts of emotion that the girls journey is over. Close up of Molly’s face show her smiling for the first time since being taken away, pointing out just how important home is.
The last scene of Neville doesn’t show him as evil. It was his ignorance that makes him believe he was right.
The final scene is real footage of Molly and Daisy as old women, with molly in her native tongue recounting her story. This brings home the realness of the story and because it is real it make’s the film so much more emotive.
‘Rabbit Proof Fence’ creates effective emotion and tension by putting the viewer in the girls shoes and makes you realise that this was real.