Die letzte Flut

THE LAST WAVE is never going to win over the mainstream audience. It is a slow-moving but fascinating film for those who are willing to go along with it. An Australian properties lawyer is asked to take on the case of five aborigines accused in the murder of one of their own. All sorts of portents and omens soon pop up, as the man's death involves a tribal issue that was not meant for white man's court, and pretty soon the lawyer is having trouble distinguishing reality from fantasy. It looks like the end of the world may be at hand, and he and the aborigines may know this but no one else does. Richard Chamberlain as the lawyer is at his peak here. David Guptil, a familiar face from several other Australian flicks and a decent actor, is one of the five aborigines on trial. THE LAST WAVE is simply not for everyone, anymore than is MAGNOLIA (both happen to have strange things falling from the sky). Check it out on a slow Saturday night.

I am a big fan of this film and may not be able to make a coherent case for it, especially after reading some of the lukewarm comments some of the viewers offer. I agree that some of the themes could have been developed better, and think that the ending smacks of a "Planet of the Apes" solution to a mystery, yet this film is superb for its relentless atmosphere of otherworldly possibility.

Perhaps I associate this film with the strangeness of the 1970's, when Pyramid Power, UFO cults, and interest in occult phenomena occupied much of popular culture. Weir plays on the apocalyptic feelings of many in that decade with his shots of mud falling from the skies and other phenomena. One of my all time favorite scenes is when Charlie the shaman visits the urbane upper-middle class household of Richard Chamberlain et al. and asks to see the family photo album. I still get chills up my spine thinking of that one.

An element that I enjoyed is the counter-intuitive idea that "there are no tribal aborigines" living in Australian cities...they are all assimilated into the European worldview. This opinion, asserted by the most prominent aborigine in the movie, is subverted bit by bit until the very structure of European logic (as represented by the lawyer Chamberlain) is completely undermined by the end of the movie. Another amazing touch is the juxtaposition of the aboriginal sacred cave complex and what the Europeans are using it for, and Chamberlains descent into all that darkness.

Don't try viewing this one on a commercial channel, it will make very little sense broken up in pieces. Rent it, suspend disbelief a little, and enjoy.

'The Last Wave' is far more than the sum of its parts. It's not merely a disaster film, not simply an exploration into Australian Aboriginal spirituality, and certainly more than a simple court drama. Writer/Director Peter Weir manages to take these elements to the next level to produce a truly effective and thought-provoking film with the same eerie atmosphere he gave to 'Picnic At Hanging Rock' two years earlier, that you will continue to remember years later.

When lawyer David Burton (Chamberlain) is called to defend Chris Lee (Gulpilil) over the death of an Aboriginal for which he may or may not be directly responsible, he finds himself not merely struggling to get the truth from Lee, but making sense of what he hears when it does come. As with the Aboriginal belief that there are two worlds - the everyday and the Dreamtime, the truth exists on two completely different levels, with ramifications more disastrous than Burton could ever have imagined.

No doubt the reason why 'Picnic At Hanging Rock' is better remembered is because of its enduring mystery. We are led along the same path but forced to find answers for ourselves. In 'The Last Wave', we can piece everything together by the end of the film. However, even with all the information, we have to choose how much of it we want to believe, because the film takes us beyond the borders of our normal realities.

On the production side, Weir uses his budget to great effect, progressively building a sense of doom in everything from soft lighting, to heavy rain, to good use of sound. The incidental music is unobtrusive, never trying to be grandiose. Richard Chamberlain manages to convey the bafflement the audience would doubtless feel as he tries to unravel the mystery. David Gulpilil excellently portrays a man trapped between two worlds, wanting to do the right thing, but afraid because he already knows the ending.

Put all these things together, and you have a perfect example of why David Weir is a familiar name in cinema thirty years on. Strongly recommended.

"Pretentious" seems a popular word amongst reviewers of this thought-provoking film. HOW I wonder would "they" have made it, given the opportunity? I am saved from further contemplation along these lines by the fact that Peter Weir made it.....and rather well, I hasten to add.

A worthy successor to PICNIC AT HANGING ROCK in as much as the viewer is left with his or her own interpretation of what they have just seen. Events occuring in an everyday environment but where the line between fantasy and reality is so blurred, no lens can be found to bring up a sharp focus. It is a disturbing film which highlights and pays homage to the Aboriginal dreamtime.

Chamberlain, in one of his best roles (made even better when you reminisce about the celluloid embarrassments BELLS, KING SOLOMON'S MINES and NIGHT OF THE HUNTER) plays a hot-shot Australian attorney (complete with DR KILDARE accent) who is called upon to defend a small group of Tribal Aborigines on what appears to be an "open and shut case" murder charge. Initially he finds his clients anything but co-operative and seemingly disinterested by the threat of the white man's legal system. Aspects of the case begin to disturb him and he is drawn into a world of ancient beliefs, symbolic half-lives, a very dimension that causes him to question his own comfortable existence and purpose. Central to his dreams is one of the Defendants (brilliantly played by Australian actor David Gulpilil) who appears existentially, perhaps a disembodied spirit (?), holding out to him a sacred stone with ancient cabalistic markings. He learns that the aboriginal man who was killed was the victim of tribal law and that he must not, cannot, intervene.

The nightmare spills over into real-time...black rain, (we have already witnessed hailstones crashing into a tiny outback school from cloudless skies!) water prophetically leaking through his roof and cascading down the stairs. Visions of a great flood. He becomes obssessed with seeking the truth, not only of what is going on around him, but who he is? The scene where he confronts the Head Tribal Elder in his inner city squat is totally chilling. The viewer's own close and comfortable existence is challenged and put up for re-evaluation here.

Eventually and too late of course, he stumbles across the truth. But IS it? Has he been played for a fool? Has the audience? Much was made at the time of the film's release, that the final scenes were a total cop-out. I even thought as much myself at the opening night. Amazing what a almost a quarter of a century's personal development and insight can do for you. Like 2001: A SPACE ODYSSEY, this film needs to be seen at different stages of your life to appreciate what Peter Weir knew and was trying to say in 1977.

It doesn't happen too often that a film has such a powerful and promising opening sequence as here in "The Last Wave". Playtime at a little countryside school in central Australia, during a sunny & cloudless November day, gets brutally interrupted when a ferocious hailstorm breaks loose and practically destroys the classroom. What an amazing start, especially if - like me - you have a fondness for cataclysmic situations and ecologic horror!

The plot then moves to big-city Sydney, but also there is heavily and non-stop raining the entire time, through which writer/director Peter Weir creates a foreboding and genuinely unsettling atmosphere. In Sydney another crucial theme of the film comes to the surface, namely an extreme clash in cultures. In one of the greatest roles of his career, Richard Chamberlain depicts lawyer David Burton, defending five aboriginals accused of murdering one of their own. Whilst getting more and more persuaded they are forming a traditional tribe within the city, Burton sees one of the aboriginal in his dreams and suffers from increasingly apocalyptic premonitions. It's almost as if our white liberal lawyer is spiritually connected to the aboriginal deity Mulkurul; - but the rebirth of Mulkurul goes hand in hand with the Armageddon!

"The Last Wave" doesn't necessarily has the most plausible script, and is quite honestly a hodgepodge of loose ideas, but Peter Weir is such a fantastic storyteller, and he makes such excellent use of locations, set-pieces, music and the rich Australian culture/history. Notably the extended sequences guided by constant didgeridoo tunes are sending shivers down the spine, and some of Burton's visions are also very depressing. The final, say, 10-15 minutes are a bit disappointing in my humble opinion, but nevertheless a recommendable Aussie cult film.