David Gulpilil is
an actor, dancer and artist who grew up in the Outback, far away from the
British influence in Australia. His
performances in director Nicholas Roeg’s
stunning film Walkabout and in Peter Weir’s magnificent Last Wave have the ring of authenticity
and are breathtaking.
He was only 16 when he portrayed someone much like himself
in a movie that powerfully conveys the stark similarity between so-called
primitive and advanced cultures.
The story begins with a deranged father trying to shoot his
daughter and son after taking them out to a remote, desolate area of Australia.
The children manage to escape, but to what? The hot, unfriendly environment of
Australia’s Outback. It’s unlikely the two young bourgeois children could
survive long enough to find their way back to food, water and shelter. Along
comes the young man, who has begun his rite of passage into adulthood by attempting
to survive on his own in the wild. It is a tribal ritual called “walkabout.” Being much more equipped to survive in this
environment, he takes responsibility for the lost children. Jenny
Agutter is the coming of age girl.
She is an extraordinary actress playing an extraordinary character. (Roeg
apparently suffered some criticism — that he exploited her beauty by including
extensive nude scenes.) It is incredible
to me that the human mind would go there. This is what the film is about —
humans stripped to their nakedness — in a dangerous Eden. And Lucien
John is the young boy, young enough fortunately, to find the walkabout an
adventure. And we believe him too. The film is about the three of them and all
three are very much up to the task.
What Roeg has wrought here is much more than a story of
survival. It is setting so-called
civilization up against the more primitive lives of those who live closer to
the earth. This isn’t romancing the
simple life, though there are occasional glances of paradise amidst nature at
its most brutal, which includes the graphic killing of prey in order to
survive. If nothing else, it is shows
that the life in high-rises and life out in the brush are in many ways very
much the same. We are of the same blood.
We have only created a little distance between the killing and the
eating. And in some ways we have
desensitized ourselves from the essential, though often unpleasant, truths of
existence, including, paradoxically, the impossible gap between the two worlds,
as much alike as they are.
The Last Wave is
perhaps a little less visually powerful, but no less thought-provoking. An
aboriginal man dies in Sydney. The police believe it is murder and a brief
investigation leads to four men, one of them David Gulpilil, older now, but
still mesmerizing. Richard Chamblerlain finds himself,
through his association with a nonprofit defense association, to be their
defense attorney — a difficult job at best.
Weir, who directed Picnic
at Hanging Rock and Don’t Look Now,
returns to themes that can be described as otherworldly in as much as one must
accept a world of not necessarily complete rationality. In The
Last Wave, there is a suggestion that a great natural calamity is about to
take place and that, in order prevent it, Chamberlain’s character, must uncover
the mystery at the heart of an aboriginal tribe’s “myth.” He can only do so — and incidentally free the
four wrongly charged with homicide — by risking his sanity as well as his life
and quite possibly the lives of everyone. Gulpilil plays one of the young men
charged with murder and again he is the guide to the outback of the human
psyche, a more reluctant guide this time.
Again, Gulpilil is flawless and Chamberlain reminds us just how
underrated an actor he has been during his career.
The question is what is real? Is rational thought the truth? What about dreams? Premonitions?
What both films have in common besides aborigines, though
they are at the heart of them, is a larger question. What do we make of culture
and how it shapes “the truth.” Of the two. Roeg’s film makes a statement and
Weir’s poses a question.
Not sure what you should be drinking with this double
feature. Walkabout takes place in a dessert.
You could get heatstroke just watching it. So beer or a chilled wine. The
Last Wave is interminably cold and wet.
Water, water, everywhere. And
caves and wind. Perhaps an Australian
version of an Irish coffee or a House Cappuccino modeled after San Francisco’s
Tosca house specialty, coffee, chocolate steamed milk and brandy.
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