HOME |  CULT MOVIES | COMPETITIONS | ADVERTISE |  CONTACT US |  ABOUT US
 
 
 
Newest Reviews
Auschwitz Escape, The
Jungle Fever
Great White
Spy Who Came in from the Cold, The
Raya and the Last Dragon
Letter from Paris
Behind the Mask
Lucky
Matrix, The
Undergods
Betrayed
Fried Barry
Once Upon a River
Cowboys
Atlantis
We Still Say Grace
Enfant Terrible
Nomadland
Playboy of the Western World, The
Bike Thief, The
Threshold
Virtuoso, The
Here are the Young Men
Beast Beast
Labyrinth of Cinema
Justice Society: World War II
Artist's Wife, The
Truman & Tennessee: An Intimate Conversation
Pusher III
Palm Springs
Devil Commands, The
Oak Room, The
Pusher II
Forget Everything and Run
Secrets & Lies
Red Moon Tide
Man with Nine Lives, The
Pusher
Pot Carriers, The
Black Bear
   
 
Newest Articles
Oh My Godard: Masculin Feminin on Blu-ray
Let Us Play: Play for Today Volume 2 on Blu-ray
Before The Matrix, There was Johnny Mnemonic: on Digital
More Than Mad Science: Karloff at Columbia on Blu-ray
Indian Summer: The Darjeeling Limited on Blu-ray
3 from 1950s Hollyweird: Dr. T, Mankind and Plan 9
Meiko Kaji's Girl Gangs: Stray Cat Rock on Arrow
Having a Wild Weekend: Catch Us If You Can on Blu-ray
The Drifters: Star Lucie Bourdeu Interview
Meiko Kaji Behind Bars: Female Prisoner Scorpion on Arrow
The Horror of the Soviets: Viy on Blu-ray
Network Double Bills: Tarka the Otter and The Belstone Fox
Network Double Bills: All Night Long and Ballad in Blue
Chew Him Up and Spit Him Out: Romeo is Bleeding on Blu-ray
British Body Snatchers: They Came from Beyond Space on Blu-ray
Bzzzt: Pulse on Blu-ray
The Tombs Will Be Their Cities: Demons and Demons 2 on Arrow
Somebody Killed Her Husband: Charade on Blu-ray
Network Double Bills: Maroc 7 and Invasion
Network Double Bills: The Best of Benny Hill and The Likely Lads
Network Double Bills: Some Girls Do and Deadlier Than the Male
Absolutely Bananas: Link on Blu-ray
Network Double Bills: Hawk the Slayer and The Medusa Touch
The Price of Plague: The Masque of the Red Death on Blu-ray
Network Double Bills: Seance on a Wet Afternoon and Ring of Spies
   
 
  Last Wave, The The Rain Must Fall
Year: 1977
Director: Peter Weir
Stars: Richard Chamberlain, Olivia Hamnett, David Gulpilil, Frederick Parslow, Vivean Gray, Nandjiwarra Amagula, Walter Amagula, Roy Bara, Cedrick Lalara, Morris Lalara, Peter Carroll, Athol Compton, Hedley Cullen, Michael Duffield, Wallis Eaton, Jo England
Genre: Horror, FantasyBuy from Amazon
Rating:  7 (from 2 votes)
Review: The Australian Outback where a class of schoolchildren are playing outside during their break when one of them notices the sound of thunder from out of a clear blue sky. Puzzled, he alerts his teacher, when suddenly a burst of torrential rain hits the area and everyone dashes inside to shelter from it; once inside, the children are excited but this turns to terror when fist-sized hailstones start smashing down onto the building. Thus begins the freak weather that strikes the country, with unseasonally wet conditions for what is supposed to be summer time: in Sydney, lawyer David Burton (Richard Chamberlain) is dreaming again...

For his third film, writer and director Peter Weir continued with his determinedly off-kilter view of Australia by delving even further into a mystical take on the land. Here it was the Aborigines he was concerned with, and fashioned a culture clash between the blacks and the whites which was brought out by a prophecy that nobody in the film seems willing to talk about, least of all those who know what might actually be going on. One of those who knew was Weir himself, and he kept his cards close to his chest in a work that many found themselves baffled by on the surface, yet in a curious way were able to follow and perceive what was happening even if specific details were vague.

It may be that The Last Wave is one of those films which improves on second viewing, because once you know what to expect you can pick out the clues as to what all the dreams, premonitions and visions could possibly mean. David finds himself suffering from these, although he is not the only one, as he seems to be some kind of reincarnated holy man, though not an indigenous one. This state of affairs is intensified when the rains hit his city, and he hallucinates that a shaman is hanging around outside his home, which might be real or might not be as his mental state is ambiguously presented. When he gets a case to work on that involves five Aborigines who have apparently murdered one of their friends in a bar fight, things only get worse.

David considers himself a forward-thinking individual, and wants to get acquainted his clients better, but soon finds he is doing this not because he wishes to succeed in their case, but mainly because he is growing obsessed with the idea that there is something major about to be brought down on the heads of the planet. We can guess what that might be from the title, but there's a fuzziness to the plotting, all entirely deliberate, that does something for the atmosphere that a plethora of special effects in a Roland Emmerich style could not do. Here we feel that something unimaginably cataclysmic is impending, and that unease is shot through the whole film, with only a few actual special effects to bolster it.

This means that much of the disquiet in the movie stems from the sense that we are intruding on something the modern world cannot conceive of, which could, in a worst case scenario, have rendered the drama an awful "white man's burden" horror film where the Aborigines are the source of all the chills. And yet, while this does have a science fictional mood akin to depicting the whites as colonisers of an alien planet without understanding their new environment, Weir remains sympathetic to the natives, and indeed sought the advice of his Aboriginal cast members when writing his script. Among those actors was David Gulpilil, best known from Walkabout, as one of the accused who becomes David's guide through his awakening consciousness, although the fact that what he is relaying is forbidden knowledge only makes the genuine strangeness almost palpable. Add in some striking images, from the scene where David sees a street underwater to the arresting, final "is it real or not?" sequence, and you have a horror film not quite like anything else.
Reviewer: Graeme Clark

 

This review has been viewed 2311 time(s).

As a member you could Rate this film

 

Peter Weir  (1944 - )

Australian writer and director with a touch of the mystical about his work, usually fish out of water dramas. After various short films, he made The Cars That Ate Paris, a darkly funny horror which nearly ended his career when it failed financially. But he bounced back with Picnic at Hanging Rock, an international hit which led to apocalyptic fantasy The Last Wave, war tragedy Gallipoli and political thriller The Year of Living Dangerously, whereupon he moved to Hollywood to direct Amish thriller Witness, survival tale The Mosquito Coast, Dead Poets Society (possibly his worst film), comedy Green Card, spiritual air crash drama Fearless, science fiction satire The Truman Show, historical adventure Master and Commander: The Far Side of the World and WW2 era trek movie The Way Back.

 
Review Comments (0)


Untitled 1

Login
  Username:
 
  Password:
 
   
 
Forgotten your details? Enter email address in Username box and click Reminder. Your details will be emailed to you.
   

Latest Poll
Which star probably has psychic powers?
Laurence Fishburne
Nicolas Cage
Anya Taylor-Joy
Patrick Stewart
Sissy Spacek
Michelle Yeoh
Aubrey Plaza
Tom Cruise
Beatrice Dalle
Michael Ironside
   
 
   

Recent Visitors
Graeme Clark
  Desbris M
Andrew Pragasam
Darren Jones
Enoch Sneed
  Paul Tuersley
  Chris Garbutt
  Sdfadf Rtfgsdf
   

 

Last Updated: