La dernière vague

'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.

I notice a lot of viewers are trying to 'understand' The Last Wave. Sometimes...understanding is 'the booby prize'. In an age of in-your-face special effects and fast action that negates thinkiing at all, this film is brilliant. Peter Weir is truly a remarkable film maker. He does something so few director's do anymore. He allows us to be involved with the story...to think for ouselves. Same as with Picnic At Hanging Rock, which I have to watch at least once a year, The Last Wave allows ME to think for myself.

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.

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.

Across the great divide which we call understanding, there is still much we do not know about that which was explained by the early tribal Elders. In every instance, there is much concerning the dangers of knowing too much. Conversely, there are those who warn us of not preparing for what they warn is the 'End Time.' In this movie called " The Last Wave " an aboriginal native is murdered for no apparent reason. When those responsible are arrested, they remain silent less they disturb the order of things. David Burton (Richard Chamberlain) plays the Defense Attorney assigned to defend the accused. Although haunted by prophetic images from his own childhood and warned by modern signs given to him by an sympathetic Aboriginal named Chris Lee (David Gulpilil), Burton proceeds to defend the infraction as Tribal Law and therefore not subject to standard justice. The movie is fraught with puzzling, dark foreboding images of apocalyptic end world disasters and warns of a future island tsunami and doom. Black drama and deep rituals are what gives this film it's frightening allure and therefore is not for the faint-hearted, in fact the simplest haunting apparitions can last for years in the nightmares of innocent movie goers. Good silent drama. ****