One goes to a drama to suspend disbelief. Whether you are a believer or sceptic, Samson and Delilah is different. This is true realism, the director establishing time in a truly cinematic way. The beginning is slow, with the utter boredom of the characters shown by the repetition of scenes in which nothing changes. Later in the film a very subtle sequence shows the lapse of time by the change from a full moon to a crescent. Other viewers seem to have misinterpreted this sequence. This is true cinema. Samson is a petrol sniffer. In a community where there is no work, no commercial entertainment, and no fun, Samson and his brothers try to amuse themselves. The result is violent, but funny. Delilah is learning to paint with the help of her grandmother. Painting is a valuable source of income to the Australian aboriginal. They say: 'You whitefellers have to go to school to learn art; we know, in here.' Australian film makers have an enviable reputation for documentary. This is a documentary with a story. We now have a tradition in photography, cinematography and the graphic arts, particularly amongst Aboriginal women, that is very significant. It is no surprise that the Aboriginal woman has brought new weight to feminism. In Samson and Delilah, Delilah finishes up with the power. She controls the gadgetry - and the psychology.
We don't need to be told that Samson thought Delilah was dead. He is shown inspecting the skid mark. This movie is so full of these subtle hints. So Delilah appears with her hair 'done.' Well, she'd been in hospital for two weeks, hadn't she?
We don't need to be told that Samson thought Delilah was dead. He is shown inspecting the skid mark. This movie is so full of these subtle hints. So Delilah appears with her hair 'done.' Well, she'd been in hospital for two weeks, hadn't she?