|
High Tide (1987)Story about a backup singer for an Elvis impersonator who re-enters her past when she leaves a tour in a small town and finds her daughter in a mobile home park. Director:Gillian ArmstrongWriter:Laura Jones |
| 0Share... |
User Lists
Related lists from IMDb users
Share this Rating
Title: High Tide (1987)
Want to share IMDb's rating on your own site? Use the HTML below.
Photos
Edit
Cast
| Cast overview, first billed only: | |||
| Judy Davis | ... |
Lillie
|
|
 |
Jan Adele | ... |
Bet
|
| Claudia Karvan | ... |
Ally
|
|
|
|
Frankie J. Holden | ... |
Lester
|
|
|
John Clayton | ... |
Col
|
| Colin Friels | ... |
Mick
|
|
|
|
Toni Scanlan | ... |
Mary
|
|
|
Monica Trapaga | ... |
Tracey
|
|
|
Barry Rugless | ... |
Club manager
|
|
|
'Cowboy' Bob Purtell | ... |
Joe
|
|
|
Mark Hembrow | ... |
Mechanic
|
|
|
Emily Stocker | ... |
Michelle
|
| Marc Aden Gray | ... |
Jason
(as Marc Gray)
|
|
|
|
Jan Boreham | ... |
Mona
|
|
|
May Howlett | ... |
Mick's mum
|
Edit
Plot Summary
|
Add Synopsis
Storyline
Story about a backup singer for an Elvis impersonator who re-enters her past when she leaves a tour in a small town and finds her daughter in a mobile home park. Written by Anonymous
Genres:
DramaParents Guide:
Add content advisory for parents »
Edit
See more »
See full technical specs »
Details
Country:
AustraliaLanguage:
EnglishRelease Date:
April 1988 (USA) See more »Also Known As:
Dagály See more »Box Office
Gross:
$138,288 (USA)Company Credits
Show detailed
company contact information
on
IMDbPro »
This is one film I am always recommending to friends looking for something "different" to see. On paper it sounds like one of those 1940's "women's pictures" but in execution it is something really special and beautiful. Gillian Armstrong adds real texture and symbolic heft to the simple story--those speeding-camera shots of the water are wonderful!--and is aided by a sublime cast. Judy Davis gives what is, for my money, quite possibly the greatest performance ever captured on film. She has two scenes in particular--the initial confrontation with her ex-mother-in-law, and a lengthy conversation in a parked car with her daughter where she tries to explain and make sense of her life--that are just extraordinary. This is acting of the highest order and, like the film itself, rises above its meager melodramatic roots.