A young couple, living in a campus apartment complex, are repeatedly harassed by an eccentric plumber, who subjects them to a series of bizarre mind games while making unnecessary repairs to their bathroom.
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Howard Da Silva
In Adelaide, the wife of Dr. Brian Cowper, Jill Cowper, is writing her thesis at home for her Master's in Anthropology. When the plumber, Max, arrives unexpectedly to do a routine check and maintenance of the the bathroom pipes, Jill is stuck alone at home with the strange, talkative stranger. That day, he mentions spending some time in prison, frightening Jill. She talks about this to her friend Meg, her husband Brian and the superintendent's wife, but they all believe the plumber to be a simple, but nice man. Jill does not agree. There is a problem in the bathroom that brings Max back again, this time even longer. Over time, the tension between them increases. Finally, Jill finds a way to get rid of the plumber. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
This film represents the first ever collaboration of married couple director Peter Weir and designer Wendy Stites. The two have worked on about a dozen of director Weir's films together, Stites (aka Wendy Weir) performing duties in the design areas of production, costume, coordination, consultation and special design. See more »
In the last shot of the plumber playing his guitar, there is music but he isn't moving his hands. See more »
It's what you *can't* see that counts in plumbing. Always remember that.
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You really oughta ALWAYS check your tradesman's ID!
What a straight-up quirky little gem from Peter Weir. Proof indeed that you do not need big budgets to make celluloid winners. Weir has such a great talent for drawing out the extraordinary from the most ordinary of scenarios. A bush-walk that defies explanation at HANGING ROCK, a country town with a lurid secret in THE CARS THAT ATE PARIS, oveflowing domestic storm-water in THE LAST WAVE and here, the humble PLUMBER, or maybe the stranger from Hell?
Filmed for the most part in Jill Cowper's (Judy Morris's) apartment, if not the bathroom itself, her nightmare starts when she has need to call a tradesman to fix faulty plumbing in her bathroom. Whether Max has multiple pre-emptive social issues to deal with or simply reacts later to her upper-class dismissive treatment of his blue-collar status is not made clear. In the bathroom however he rules unchallenged and Jill finds herself at the mercy of what appears to be a serially disturbed tradesman.
Less of a thriller and more a black comedy, Weir places his protaganists each in unfamilar locales. Jill, a highly educated anthropologist, married to a doctor and studying indigenous behavioural activity has absolutely no idea how to respond to this intrusive workman who stops for 10 minute tea-breaks every five minutes and composes a rock-song for which he asks her considered opinion. While the situations thrown up are critically funny at times (Kants gives his greatest performance here) an air of extreme unease pervades proceedings. By degrees, the bathroom is totally destroyed as Max works to compensate for that social-class chip on his shoulder, the size of a Redwood! The scene of the dinner party wherein an overseas guest is trapped under collapsed rubble in the bathroom is a hoot.
After Morris has hit rock-bottom and realises that fear is the key, she devises a way to get back at him. Some viewers regard the end as "soft" if not a total cop-out. What it actually shows is that just sometimes, fighting fire with fire works!
THE PLUMBER was filmed in Adelaide and originally received limited theatrical release. It was not until it was shown on television however that the "legend" of this great little movie was founded and its popularity mushroomed.
Not to be missed under any circumstances.
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