By Michael Colford
Rating: 4 cats
Director: Peter Weir
Starring: David Gulpilil | Frederick Parslow | Nandjiwarra Amagula | Olivia Hamnett | Richard Chamberlain | Vivean Gray
Country: australia
Year: 1977
Running time: 106
IMDB: https://www.imdb.com/title/tt0076299/reference
Michael says: “There’s something about a Peter Weir film that appeals to me… even if I don’t like the film overall. Case in point: I’m not a fan of DEAD POET’S SOCIETY in the least, but I can’t deny the beauty and impact of the imagery he uses of hooded, prep students running across darkened fields at night. There’s a mystical or spiritual quality to most of his films that so compelling and intriguing, whether it be the haunting eeriness of PICNIC AT HANGING ROCK, the dark, mystery of THE YEAR OF LIVING DANGEROUSLY, or the spiritual psychology of FEARLESS. In one of his early films, THE LAST WAVE (1977) Weir tackles the Australian Aboriginal belief of the Dreamtime; the parallel existence that only some can access.
“Structured as a legal thriller where a group of Aboriginals in Sydney are accused of killing one of their own, Sydney lawyer, David Burton, finds himself uncovering strange secrets about not only the case, but himself as well. The film starts off with some bizarre, unexplained weather phenomena that seems to be affecting much of Australia. Torrential rains fall, sometimes without any visible clouds in the sky, and go on for days and weeks, bringing some to mind of Tempests of ancient lore. As Burton digs deeper into the case, his dreams grow more and more mysterious, with water imagery and visitations from people he has yet to meet. Despite his willingness to defend the accused, they refuse to answer some of his most basic questions, protecting a tribal secret that Burton begins to slowly unearth, even discovering a personal connection to the strange, mystical occurrences that surround him.
“It’s fun seeing well-written, well-directed thrillers from decades past and see how much they differ from modern-day thrillers. They can be much more cerebral, and less reliant on camera trickery or plot short-cuts that are standard in the genre. Richard Chamberlain does a great job as David Burton, struggling with the frustrations of clients that won’t help him help themselves, but also struggling with an enormous secret about himself that is having ramifications on his family, and could be connected with some apocalyptic, natural catastrophe that may threaten them all. Aboriginal actor David Gulpilil (CHARLIE’S COUNTRY, RABBIT-PROOF FENCE) is outstanding as Chris Lee, one of the accused, who simultaneously seems to be drawing Burton along and keeping the darkest secrets. Peter Weir deploys some stunning visual moments throughout the film, especially in the form of Burton’s dreams, or the water imagery that is so prevalent throughout the story. One sequence where Burton sees a possible future for the streets of Sydney is shocking and powerful in its deadly beauty. It’s great to go back and see some of Weir’s early work that I have missed. His 1993 film FEARLESS is my favorite of his films, but so much of his work possesses such power and beauty and are truly cinematic wonders. 4 cats