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Richard approaches the role of David Burton, a staid city lawyer, quietly and deliberately. A marked contrast to his swashbuckling roles. No motion or line is wasted. Everything in this film has a deeper purpose and meaning. Everything is a symbol for something else. It is a cinematic visit to the aboriginal Dreamtime and requires patience and attention from the audience. But it is absolutely worth it!
There is a scene that has been driving me mad for years. It is when David Burton's wife, Chris and Charlie are all standing in the living room and Mrs. Burton asks Chris if Charlie is a relative of his. Chris replies that no, Charlie is a painter. Mrs. Burton says, "I'm a painter too," and points to one of her paintings on the wall. Charlie says something in aboriginal and Chris translates with a sheepish grin, "Very nice." I'm sure Charlie is really saying something like "piece of crap". But I would dearly love to know for sure what he is saying before I shuffle off this mortal coil. By Geri Maisano
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I
never got to see this movie during its original release in 1979. Like
too many of Richard’s films, it was eclipsed by more mainstream,
Hollywoodish films and generally scoffed at by the American critics. Fortunately,
it is now coming into its own. Directed by Peter Weir, the film is deceptively
slow, its almost casual recounting of a murder and resulting trial building
to a final apocalypse. It brings to mind Weir’s later film The Truman
Show, where every day life conceals an underlying and ultimately devastating
reality.
Anybody
speak aboriginal? Please help!