Film & TV Writer Nafeesa Hussain spotlights Australian film director Peter Weir, highlighting why he stands out compared to other directors
When it comes to directors, we all seem to remember the same key names like Steven Spielberg, James Cameron, Christopher Nolan, and many more. Whilst these individuals have created projects that will forever be cemented in cinematic history, there is one name that is severely hidden from the world that nobody seems to commemorate. This man goes by the name of Peter Weir. We’ve all heard of Witness, Dead Poets Society, and The Truman Show, but what sets Weir apart from all these other superstar directors?
Humanity
Weir constructs characters that are emotionally driven, bound to fighting for their dreams, passions, and ambitions. These characters also push each other and adhere to the found family trope, by being protective over themselves and the people around them. Neil Perry (Robert Sean Leonard), in Dead Poets Society, is a strong protagonist that undergoes the most emotional transformation, by picking between his desire to act on stage or appease his father’s passions on focusing on the school curriculum. This film creates a sense of community and support with the characters pushing each other to be free thinkers and dreamers, and Weir sells this comfort and solace to the audience.
Weir constructs characters that are emotionally driven, bound to fighting for their dreams, passions, and ambitions.
Similarly, in Witness, John Book (Harrison Ford) aids Rachel Lapp (Kelly McGillis) and Samuel (Lukas Haas) over the horrifying events the young boy witnesses to their way of life as Amish people, cementing his identity into their existence. Weir showcases through his films the importance of the human being and pushes the idea of how we are beings driven by our feelings and longings, which co-exist with the inner conflict we have between worlds portraying empathy and psychological nuance.
Unconventionality and Uniqueness
There is almost this hypnotic feeling awakening with what you see on screen.
When it comes to visuals, Weir seems to favour wide naturalistic shots that force the audience to drink in the setting, gradually building these characters into this world. The landscape shots are like cinematic poetry with the use of mist, wind, fields, and birds, all-encompassing this romantic dream-like setting. Moreover, as an Australian filmmaker, Weir has become a central figure of the Australian New Wave, as his early works put Australian cinema on the international map, helping to shape their cultural identity. There is almost this hypnotic feeling awakening with what you see on screen. What sets Weir apart in this department is his lack of reliance of exposition and grand spectacle, and more so on this mysterious subtlety.
Political Undertones
Weir does not explicitly wave the political flag, but he drags you into the system that look harmless, although it’s trying to weaponise you against your free mind. Weir cinematically grounds his films in power, culture, and society, showcasing the guised conflict, like in The Truman Show, with an amiable looking dictatorship framed as entertainment. Weir uses a political sword to wield the interlink between humanism and unconventionality, with the use of trying to help characters break out of the imprisoned systems they are stuck in, alongside the global perspective of stepping into another culture and adjusting to the rules and regulations of a dangerous world.
Overall, Weir stands out as a director because he utilises the rich mysteries of life. Whether he is talking about power, culture or society, he never preaches, he allows us to think and reflect for ourselves which resonates when the screen fades.
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