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Reviews: The Convert
Western filmmakers have often struggled with the "white savior" trope, a narrative device common in historical fiction where the story of an indigenous population is told through the lens of a reformed white protagonist. It’s the idea of “we understand their plight because one of us is now on their side.” Think Dances with Wolves, Avatar, Lawrence of Arabia, and Dune. This trope doesn’t always negate a film's value, but it does highlight how Western narratives often struggle to portray other cultures unless a Western figure is at the forefront. At its best, this narrative explores the consequences of colonialism and patriarchy; at its worst, it comes across as patronizing and fails to truly reflect the cultures it aims to depict.
I bring up this trope because it frames an important conversation about The Convert, Lee Tamahori’s film set in 19th-century New Zealand. The story follows Thomas Munro (Guy Pearce), a British priest who arrives in New Zealand, burdened by his violent past, to lead a new settlement's diocese. Upon his arrival, he witnesses a battle between two Māori iwi (tribes) and saves the life of Rangiami (Tioreore Ngatai-Melbourne), the brave daughter of Maianui (Antonio Te Maioha). He brings her to the settlement and tries to introduce her to Western ways with her father's approval. However, Munro soon finds himself disillusioned by the colonizers' hostility and cultural arrogance. Following a tragedy, he leaves for Maianui’s iwi, accompanied by another British woman, Charlotte (Jacqueline McKenzie), to aid in their fight against the expansionist forces of the ruthless Akatarewa (Lawrence Makoare).
Munro arrives in New Zealand with the belief that he can promote peace and coexistence but quickly realizes he is out of his depth. The colonizers are motivated by a cultural supremacy he had not foreseen, and the Māori are a complex society with intricate political dynamics that his idealistic worldview cannot resolve. The brilliance of the script, co-written by Tamahori, Michael Bennett, and Shane Danielsen, lies in how it subtly dismantles the white savior trope. Munro’s attempts at harmony are humbled as he is reduced to a passive observer, unable to grasp the complexities around him. Even when he eventually breaks his vow of pacifism, it’s to save another British character, highlighting his continuing disconnection from the Māori world.
The Convert feels like a natural progression in Tamahori’s career. After his breakout with Once Were Warriors—arguably one of the most significant Kiwi films—he embarked on a largely forgettable Hollywood career. Now, free from the constraints of the Hollywood system, Tamahori returns to his roots, centering Māori culture with care and reverence. The film immerses itself in the language, customs, and traditions of the iwi without ever feeling exploitative. As the story unfolds, it becomes clear that Munro’s perspective is the least engaging for Tamahori. His passion lies in the rich and layered conflicts between the Māori tribes, and the narrative almost seems to drag Munro along reluctantly.
Tearing apart the white savior trope is compelling, much like what Scorsese did in Silence. However, by the end of The Convert, it’s clear Tamahori and his co-writers may have taken on more than they could handle. The looming threat of colonial power fades into the background as the film prioritizes the spectacle of Māori warfare. Even the conclusion feels somewhat rushed and out of sync with the film’s earlier themes. After an emotional climax, a surprisingly upbeat epilogue feels misplaced, especially given the historical realities facing Māori culture.
Still, when The Convert hits its stride, it’s a rewarding experience. Tamahori seems to have made exactly the film he wanted—not aiming for prestige cinema but crafting an entertaining, action-packed showcase for Māori culture. The film is elevated by the magnetic performances of Ngatai-Melbourne, Te Maioha, and Makoare, who fill the screen with a palpable sense of urgency, as if they know this could be one of the last times their culture is spotlighted in such a way.
Appreciating The Convert is like enjoying epic action films. At times, you wish Tamahori had leaned even further into its B-movie potential, embracing more blood and grit. The film occasionally feels caught between two opposing ideas: a serious period drama and a high-octane, adrenaline-fueled spectacle. It excels in one and seems less invested in the other.
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