...and by that I mean the final line. Watch and find out what I mean.
Class warfare, Aussie style, in this good early film from Peter Weir which, in its early 80s mixture of comedy and menace, brings to mind the good early films of Brian De Palma. Yes the basic situation is ludicrous with nobody but the "over imaginative" housewife seeing what a wacko the plumber is. But there are fine performances from Judy Morris as the strangely passive victim of angry resentful Max the Plumber, Ivar Kants in the title role with his creepy grin and thrusting, insinuating body language as Max, and Robert Coleby as the detached, materialistic Yuppie academic husband who is the real villain of this piece. It is only when a subtle contrived scheme by Judy Morris' character effects the husband's pocketbook and his own sense of privacy does her status seeking husband act.
P.S. If you didn't know by the accents that we are in 1980 Australia, then the scene where a woman lights up right after a meditation class should clue you in.
Class warfare, Aussie style, in this good early film from Peter Weir which, in its early 80s mixture of comedy and menace, brings to mind the good early films of Brian De Palma. Yes the basic situation is ludicrous with nobody but the "over imaginative" housewife seeing what a wacko the plumber is. But there are fine performances from Judy Morris as the strangely passive victim of angry resentful Max the Plumber, Ivar Kants in the title role with his creepy grin and thrusting, insinuating body language as Max, and Robert Coleby as the detached, materialistic Yuppie academic husband who is the real villain of this piece. It is only when a subtle contrived scheme by Judy Morris' character effects the husband's pocketbook and his own sense of privacy does her status seeking husband act.
P.S. If you didn't know by the accents that we are in 1980 Australia, then the scene where a woman lights up right after a meditation class should clue you in.