The Last Wave Page #3

Synopsis: A Sydney lawyer has more to worry about than higher-than-average rainfall when he is called upon to defend five Aboriginals in court. Determined to break their silence and discover the truth behind the hidden society he suspects lives in his city, the Lawyer is drawn further, and more intimately, into a prophesy that threatens a new Armageddon, wherein all the continent shall drown.
Director(s): Peter Weir
Production: Cowboy Pictures
  4 wins & 7 nominations.
 
IMDB:
7.2
Metacritic:
85
Rotten Tomatoes:
87%
PG
Year:
1977
106 min
447 Views


He saw things,

took things...

the things he shouldn't touch.

What sort of things?

Just the things.

Could I see them?

- No.

- Why not?

Then you must die too.

[Native Dialect]

He wants to know

about you seeing me.

I was in my study, asleep.

I woke up and you were...

in the next room across the hall,

standing, holding a stone.

What was on the stone?

A carving.

Um... a kind of face.

There was blood

on one corner of the stone.

What did I see?

A dream.

What are dreams?

A dream like...

seeing...

hearing... talking.

The way of knowing things.

Like what?

Like, if my family's in trouble,

from dream,

they send me a message.

- In dreams?

- And through my body.

Part of my body will move...

if my brother call me.

I'll show you a dream.

Dream is a shadow...

of something real.

[Man Speaking In Native Dialect]

[Native Dialect Continues]

[Yells]

What is it?

[Traffic Passing, Horns Honking]

[Car Door Opens]

[Car Door Closes]

[Doorbell Rings]

Hello, Chris.

In the jail,

you're in one little room...

all day and all night.

Chris, I can't help you unless

you tell me what Billy saw.

No! Can't you see

it is hard for me?

Your people pulling me this way.

Something more strong is holding me back.

- You'll go to jail, all of you. You're in desperate trouble.

- No!

You in trouble. You!

Why do you say that?

You don't know

what dreams are anymore.

Chris.

What are you trying

to protect me from?

Charlie?

Where is he?

I want to talk to him.

He's not here. He's gone away.

I had another dream.

You're dreaming about secret.

- It is death to know them.

- What secrets?

Chris, if you tell me,

I can get you off.

- For Christ's sake, you've killed a man!

- Listen to me!

Why don't you go away?

You'll die!

Leave us alone! Go away!

I can't go away.

Charlie is an owl.

He can fly through the air.

He can do many things.

Lots of magic.

He got the power.

[Chuckles]

But you...

I think you may be... Mulkurul.

What is that?

You different tribe...

from another world.

Across the sea...

from sunrise.

Mulkurul.

Mulkurul.

- Mr. Zeadler.

- He's in conference at the moment.

He's not to be disturbed,

Mr. Burton.

- David, what are you...

- It's tribal.

What's tribal?

What are you talking about?

I've just had my life threatened. They're

all part of some secret tribal group.

- There's an old man... Charlie...

- It doesn't happen in the city.

I want to plead "not guilty."

I think we can get them off.

I think you're making a mistake.

Then I suggest you drop out.

Good...

'cause I don't want

to make a fool of myself...

or of them.

You know something?

That middle-class patronizing attitude

of yours towards the blacks revolts me.

For the best part of ten years,

I've worked with these people.

While you sat, making a fortune

on tax dodges for corporations.

And you come in here with this idiotic,

romantic crap about tribal people.

Send the papers to my office.

[Man]

Personal effects of Billy Corman.

I want these stones photographed.

[Man Singing In Foreign Language]

- Sorry. The gallery's closed.

- I have an appointment with Dr. Whitburn.

This one I've seen before.

A spirit from the Dreamtime.

Aborigines believe

in two forms of time...

two parallel streams of activity.

One is the daily objective activity

to which you and I are confined.

The other is an infinite spiritual

cycle called the Dreamtime...

more real than reality itself.

Whatever happens

in the Dreamtime...

establishes the values, symbols

and laws of Aboriginal society.

Some people of unusual spiritual powers

have contact with the Dreamtime.

How?

Through their dreams.

Through ceremonies involving

sacred objects... like these stones.

What is the name of that spirit?

Ah. Its name is one

of the few words recorded...

from a tribe

once active in Sydney.

- Now extinct, of course.

- Mulkurul?

Mulkurul.

This is a name given to a race of

spirits who came from the rising sun...

bringing sacred objects

with them...

like these stones.

This tribe believed...

that the Mulkurul expressed themselves

through people of unusual spiritual power.

You mean,

they're sometimes human?

Yes, the local belief was

that they acted through humans.

- White men?

- No.

Frankly, I don't think that

any of us has the spiritual powers...

that tribal people

expect from Mulkurul.

You see, a Mulkurul has

incredible premonitory dreams.

They usually appear

at the end of a cycle...

when nature has to renew itself.

Most primitive cultures

see life in cycles.

Each cycle ends

with an apocalypse of some kind.

And then there is a rebirth.

What sort of apocalypse?

Oh, usually

a natural cataclysm...

a freeze, a flood, a big rain.

- [Grace] I don't like that man, Mummy.

- What man?

That black man.

- What black man?

- I think he's a witch.

Listen to me.

I want you to go straight to your room,

join Sophie and stay there until

Daddy gets home, all right?

[Knock At Door]

[Whispering]

Go away.

[Whispering]

Go away.

[Knocking Continues]

[Woman]

Mrs. Burton?

You there?

Hello, Mrs. Burton.

Are you all right?

Yes, yes. Come in.

- Did you see anybody in the street?

- No.

Why?

Are you expecting someone?

No, no. Only David.

[Sophie] Can we come

downstairs now, please, Mummy?

Yes, of course, darlings.

- Hello! Hello!

- Hello!

Hello! Come on.

Let's go and have some tea.

We're going to the Potters', Sue.

Their number's by the phone.

Okay.

[Sue] Hey, my mother's

had her cruise cancelled.

Something to do

with the weather or something.

Cyclones in the South Pacific.

They're all in the wrong season.

- Really?

- Do you think it's the stars, Mrs. Burton?

I don't know what it is.

[Quiet Chattering]

No, I just thought I'd find out

if everything was all right.

- That's all.

- [Indistinct Voice On Phone]

Oh, that's good.

Well, we'll be home early anyway.

Lots of pollution right over here.

You know, I'm convinced that

the weather's changed since I was a boy.

Over here.

You know, Annie,

I never see David nowadays.

- Neither do I.

- He's always at Redfern.

We're no longer Potter,

Davies and Burton.

We're Potter, Davies and Aboriginals.

[Guests Laughing]

[Man]

Here comes the southerly.

[Wind Howling]

[Quiet Chattering]

Mummy!

Yes, darling?

I saw them.

What did you see?

Angels...

in pink satin robes.

Oh, they must have been

lovely, my precious.

And there was a beautiful light.

Why don't you snuggle down, darling.

It's very late.

I'm glad you and Daddy are back.

You sleep now.

And in the pink satin robes,

the angels were floating around.

And Jesus was there, Mummy.

I loveJesus.

He loves you too.

And I love you, Mummy.

And I love Daddy too.

Of course you do.

Settle down now.

Daddy'll come

and give you a big kiss.

[Wind Howling]

[Whimpering]

Annie! What's wrong?

He was here. The old man.

[Sobbing]

- What are you saying?

- He was out there in the street watching us, watching...

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Peter Weir

Peter Lindsay Weir, AM ( WEER; born 21 August 1944) is an Australian film director. He was a leading figure in the Australian New Wave cinema movement (1970–1990), with films such as the mystery drama Picnic at Hanging Rock (1975), the supernatural thriller The Last Wave (1977) and the historical drama Gallipoli (1981). The climax of Weir's early career was the $6 million multi-national production The Year of Living Dangerously (1983). After the success of The Year of Living Dangerously, Weir directed a diverse group of American and international films covering most genres—many of them major box office hits—including Academy Award-nominated films such as the thriller Witness (1985), the drama Dead Poets Society (1989), the romantic comedy Green Card (1990), the social science fiction comedy-drama The Truman Show (1998) and the epic historical drama Master and Commander: The Far Side of the World (2003). For his work on these five films, Weir personally accrued six Academy Award nominations as either a director, writer or producer. Since 2003, Weir's productivity has sharply declined, having directed only one subsequent feature, the critically successful but financial flop The Way Back (2010). more…

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Submitted on August 05, 2018

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