The Plumber (Peter Weir, 1979)
Given the critical acclaim of Picnic at Hanging Rock (1975) and The Last Wave (1977), it is surprising to learn that Peter Weir, the leading figure of the Australian New Wave, would still have to resort to writing and directing a TV movie to make some cash. Consequently, his fourth feature would eventually be granted a theatrical distribution in the international market.
The Plumber (1979) is a 77-minute feature film that very much resembles a teleplay thanks to primarily being set in a single location. It centres on class conflict and male toxicity, and showcases the hypocrisies of its two main characters. Above all, the film serves as a spiritual forerunner to The Cable Guy (1996).
Jill Cowper (Judy Morris) is a postgraduate anthropologist residing on the university campus with her scientist husband Brian (Robert Coleby). She spends her days at home working on her Master’s thesis while Brian teaches and conducts nutritional research. He is determined to gain the attention of the World Health Organisation for his theory of Kuru, a fatal neurodegenerative disorder caused by cannibalism, still being present among the tribes of Papua New Guinea. His obsession with this discovery occasionally leaves Jill feeling neglected and alone. An expensive watch for Jill, does little to compensate for her being home alone for the majority of the day.
Max (Ivar Kants) unexpectedly barges his way into Jill’s life as the university's plumber. However, his invasive behaviour is a red flag; suggesting he could be a shady or dangerous individual. Jill finds herself feeling increasingly uneasy and threatened in her own home by the disruptive and overly friendly plumber. The annoying tradesman exhibits a complete lack of respect for her personal privacy. Max’s bizarre behaviour is evident from the outset as she suspects he may have taken a shower instead of doing any work. Hardly professional.
Max is quite vocal about his dislike for the social and intellectual higher-ups. He sees Jill as one of the elitists perched above the ivory tower of academia and class privilege. Thus, she is the recipient of his subtle, irritating comments and disapproving looks. On the other hand, Jill’s quiet exterior hides a woman who despises Max for his complete lack of sophistication; which is rather ironic, given her studies on primitive tribes.
The scenes between the two characters are remarkably awkward and sinister at times. Weir lets various details linger longer than necessary; achieving an uncomfortable atmosphere throughout the course of the film which feels intentionally exaggerated. Thus, The Plumber alternates between absurd comedy and psychological thriller territory. It’s bolstered by a choice selection of library tracks from the KPM vaults; notably the eerie Sea of Tranquility by Edgar Vetter and W. Merrick Farran, which really fits the bizarre tone of the film.
Weir’s inspiration for writing Max originated from a cab driver he met who resembled a long-haired John Lennon. It was during the Vietnam War, and the director was shocked to discover that his driver held abhorrent opinions on the conflict. The apparent contradiction of a peace-loving crusty of the flower power generation, revealed him to be an unapologetic fascist in a deceptive guise. This was how the plumber/wannabe folk-singer Max came to be. He wears a "Save the whale!" badge, but does he really mean it, or is it performative?
Additionally, the blue sticker on Max’s leather jacket that reads, “Liberal = Less Tax”, was a slogan by Australia’s conservative party, ironically known as The Liberal Party. Further contradictions are evident in Max’s rant to Jill when revealing he was once a burglar:
“Anyway, I only ever took from the rich. Bludgers living off the workers. Sucking the life blood of the country. Vampires. I’d tread on them if I could. Squash ‘em like snails. Wouldn’t give it another thought. That’s the way we saw it in Melbourne. We had principles. The crim scene in Adelaide’s just the opposite. Real capitalist.” — Max
Evidently, Max still acts like a burglar by entering Jill’s home via the hole in the bathroom ceiling when she tries avoiding him.
The most distressing aspect of Jill’s situation is the isolation she faces. Her concerns are not taken seriously by the supporting cast. Her friend Meg (Candy Raymond) appears to regard Max as a typical individual, while Brian is preoccupied with his work to notice anything. The gaslighting further exacerbates Jill’s mental health.
Brian’s subplot concludes with a group of colleagues from the World Health Organisation being invited to the couple’s apartment for dinner. The menu features Jill’s speciality curry, which on this occasion, she’s accidentally made excessively hot. Keep in mind, their bathroom resembles an obstacle course, with scaffolding everywhere, and you have the makings for a classic comedy skit.
Although The Plumber may appear modest and limited in scope compared to Weir’s other films, it is an exceptionally entertaining and fascinating study of the classes. It achieves this in a relatively short runtime. That makes this a beaut, I reckon.
Currently, The Plumber is available to stream on both BFI Player and the Criterion Channel. It's also available as a bonus feature on Peter Weir's The Car That Ate Paris (1974), which was released recently on 4K UHD. Alternatively, there are old DVD copies about.
