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Peter Weir Retrospective: The Cars That Ate Paris (1974)
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Is there a future for the high street in Australia?
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Master and Commander: The Far Side of the World (2003), 2010’s
The Way Back was met with critical acclaim but little box office success and, as of the time of writing, is Weir’s last feature film. Since then? Nothing.
That’s genuinely upsetting for fans of Australian cinema, given that the Sydney-born 76-year-old is without a doubt the finest filmmaker this country has produced. That’s an assertion that might prompt the beginning of a pushback, until you realise that even if he had only made, say,
Picnic at Hanging Rock (1975) and
Gallipoli (1981), he’d have a fair claim on the title. Consider his entire body of work, including the satirical
The Cannes Film Festival in 1976
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With the release of the first-world-war film Gallipoli in 1981, director Peter Weir could finally shrug off the nickname he had laboured under since making his first films: “Peter Weird”.
Idiosyncratic work like Homesdale (1971), The Cars That Ate Paris (1974), and the deeply atmospheric, metaphysical dramas Picnic at Hanging Rock (1975) and The Last Wave (1977) had earned Weir a reputation for making quirky, mysterious, genre-bending films. His gift for creating mood and atmosphere at times overwhelmed his concern with linear narrative.
This tendency seemed to change quite consciously with Gallipoli. Weir has said the inspiration for the story came from a trip to Anzac Cove in 1976. Flying back to Australia from London, he took a detour to Turkey. At the Gallipoli Peninsula, walking in still-extant trenches, Weir found not just shrapnel and bullet-casings, but also the personal effects of young soldiers. These tiny mementos poking out of the earth were probably the final obj