FEBRUARY 29 2020 LISTENER 49
THE LEGEND OF BARON TO’A
directed by Kiel McNaughtonH
aving decamped to Australia as a
young man, leaving his upbring-
ing in a tough Auckland suburb
behind, corporate strategist Fritz
(played by Tongan-Australian actor Uli
Latukefu) finds himself drawn back into
his old neighbourhood’s woes when he
returns to seal a busi-
ness deal. The reluctant
prodigal son is soon
embroiled in a feud
involving local gang the
“Pig Hunters”, his stoic
Uncle Otto (a terrific
Nathaniel Lees), an argu-
ment over a lawnmower
and the search for a
stolen family heirloom –
a wrestling title belt of his late dad, “Baron
To’a”.
This Pacific-flavoured action-comedy
is an intensely physical flick, chock-full
of exciting chases through backyards and
wince-inducing fight scenes. Less hardy
viewers may find it too violent and insuf-
ficiently funny, and it’s true that for most
of the movie Baron To’a delivers more of a
well-acted if violent drama than a slapstick
comedy in the spirit of Three Wise Cousins
or Take Home Pay.
It’s the first feature directed by Kiel
McNaughton, a former Shortland Street
star who cut his teeth behind the camera
with the likes of Auckland Daze and themockumentary Find Me a Māori Bride.
He was also a producer of the acclaimed,
female-powered dramas Wa r u and Va i – so
his Pacific Island sensibilities are strong,
and his affection for urban Polynesian
communities is evident here. Kids roam
the cul de sac with sirens blaring from
their bikes, while a corrupt cop (Xavier
Horan) throws his weight around and har-
asses local solo mum Renee (Shavaughn
Ruakere).
It feels a bit fuddy-
duddy to criticise the
violence in a film that
is explicitly a homage
to the great days of
wrestling. Undoubtedly
some members of the
Tongan community will
be uncomfortable with
this portrayal whereas
others may rightly argue that any repre-
sentation is important. It’s nonetheless a
hugely entertaining film that particularly
younger audiences will take to.
It’s beautifully shot, with a soundtrack
as thumping as the action. It’s also a
delight to see familiar faces such as Jay
Laga’aia and national treasure John Tui
in key roles, bringing moments of pathos
among the punches, to this touching, if
bone-crunching, story of whānau and the
importance of legacy.
IN CINEMAS NOWPathos among
the punches
A homage to the great
days of wrestling is
violent but beautifully
shot and sounds
thumpingly good.
This action-comedy
is chock-full ofexciting chases
through backyards
and wince-inducingfight scenes.
FILM
by Sarah WattFilms are rated out of 5:
(abysmal) to (amazing)Bone crunching: Uli
Latukefu as reluctant
prodigal son Fritz.over the years. It wasn’t always their cup
of tea, but they were very tolerant.”
His father would have appreciated the
movie that he inspired, he thinks.
“He would f---ing love it. I’m so
happy because when you say you made
something as a tribute to your dead dad,
if it turned out to be a shitter, it would
be the most horrible thing on Earth. So,
I’m really glad that it’s exactly the type of
film that I would have watched with him
and he would have been roaring with
laughter.”
The film stars Elijah Wood, whose
career since Frodo hasn’t lacked for
incredibly strange films, as Norval, an
LA DJ who has answered a letter from
his estranged father and turned up on
his doorstep in the back of beyond. The
former Hobbit and Timpson have been
mates for some time and his signing on
helped get the film financed.
“Friendship aside, Elijah wouldn’t
have done it as a favour. The script was
super tight and well written and we
assembled a good team around me in
case I did go off the rails. Elijah kept
pulling me back because my instincts are
always to go too far.”
Timpson shot the film in Canada, with
a local and Kiwi crew. Madeleine Sami
has a supporting role and composer Karl
Steven’s soundtrack adds creepy class to a
movie that, after an edgy first act, erupts
into outlandish, inventive violence.
“I had fun until the crew thought
I had too much fun,” says Timpson,
laughing. “I’m very bored by violence in
films and I think it’s not used properly
when it is.
“That’s why I didn’t want any guns in
the script at all – so let’s use their absence
in really interesting ways. I turned back
into that kid slaughtering my brother
with a video camera every weekend.” l
Come to Daddy is at selected cinemas now.
“I’m so happy because
when you say you made
something as a tribute
to your dead dad, if it
turned out to be a shitter,
it would be the most
horrible thing on Earth.”