Gallipoli [1981] Peter Weir

http://bayimg.com/jaAdNAAdJ Gallipoli (1981) http://www.imdb.com/title/tt0082432/ Gallipoli is a 1981 Australian film, directed by Peter Weir and starring a young Mel Gibson and Mark Lee, about several young men from rural Western Australia who enlist in the Australian Army during the First World War. They are sent to Turkey, where they take part in the Gallipoli Campaign. During the course of the movie, the young men slowly lose their innocence about the purpose of war. The climax of the movie occurs on the Anzac battlefield at Gallipoli and depicts the futile attack at the Battle of the Nek on 7 August 1915. Mark Lee ... Archy Hamilton Bill Kerr ... Jack Harold Hopkins ... Les McCann Charles Lathalu Yunipingli ... Zac (as Charles Yunupingu) Heath Harris ... Stockman Ron Graham ... Wallace Hamilton Gerda Nicolson ... Rose Hamilton Mel Gibson ... Frank Dunne Robert Grubb ... Billy Tim McKenzie ... Barney David Argue ... Snowy Brian Anderson ... Railway Foreman Reg Evans ... Athletics Official 1 Jack Giddy ... Athletics Official 2 Dane Peterson ... Announcer Gallipoli provides a faithful portrayal of life in Australia in the 1910s—reminiscent of Weir's 1975 film Picnic at Hanging Rock set in 1900—and captures the ideals and character of the Australians who joined up to fight, as well as the conditions they endured on the battlefield. It does, however, modify events for dramatic purposes and contains a number of significant historical inaccuracies. It followed the Australian New Wave war film Breaker Morant (1980) and preceded the 5-part TV series ANZACs (1985), and The Lighthorsemen (1987). Recurring themes of these films include the Australian identity, such as mateship and larrikinism, the loss of innocence in war, and the continued coming of age of the Australian nation and its soldiers (later called the ANZAC spirit). The numerous running sequences in the film are set to Jean Michel Jarre's Oxygène. Gallipoli is the great Australian story, says Australian historian Bill Gammage. In 1915, a mere 14 years after the formercolony became an independent nation, an all-volunteer army of Australian and New Zealand citizens (ANZAC) joined theto fight in Europe and were deployed in the invasion of Turkey by sea. It stalled before it had a chance to begin: troops were pinned down on the beaches and casualties were high as assaults failed in the face of difficult terrain, a tenacious enemy and poor coordination among the units. Anzac Day is still observed in Australia and New Zealand to commemorate the failed campaign. Peter Weir's Gallipoli (1981) recreates not just the battle but the culture patriotism and dreams of glory that inspired thousands of Australian men to enlist for a European war that otherwise had no effect on the island nation. It explores and challenges the mythology that has grown up around this defining event, celebrated in history books and song as a heroic display of courage in the face of overwhelming odds; Gallipoli was Australia's Alamo, where a kind of victory is found in military defeat. In the words of Weir scholar Marek Haltof, it was for Australia, the baptism of fire and, consequently, the birth of a nation. That's an ambitious undertaking for Weir, coming off of acclaimed low-budget films like Picnic at Hanging Rock (1975) and The Last Wave (1977), and for the fledgling Australian film industry which was just beginning to find international success for its national cinema. To bring it down to human terms, Weir and screenwriter David Williamson built their story around two men: Archy Hamilton, an 18-year-old star runner inspired to enlist through idealism and adventure, and Frank Dunne, older, more experienced and more cynical about the surge of patriotic sentiment. It's not our bloody war, he argues. It's an English war. It has nothing to do with us. But he signs on anyway, hoping to land a spot with Archy in the Light Horseman (despite the fact that he can't ride) and perhaps come home with a promotion and a career. They hop trains and hike across the outback of Western Australia to reach Perth and end up in another desert, training in the shadows of the great Pyramids and the Sphinx in Egypt, before they are deployed on the fateful invasion. The invasion itself occupies the final, fatal act of Gallipoli. Mel Gibson had starred in Mad Max (1979) but was not yet a star when he was cast in the central role of Frank, the wise-guy city boy who befriends country boy Archy. Mark Lee was essentially cast as Archy from a photo session that the producers put together to illustrate the vision for potential investors. Their easy friendship, born of mutual respect (both are amateur athletes) and shared trials on the journey through the Australian desert, centers the drama; they are just a couple of mates who head off for a grand adventure and lose their innocence in the brutal grinder of war. Bill Hunter delivers the film's most measured performance as Major Barton, commander of the Light Horseman brigade. Both tough and paternal, he sees how thecommanders dismiss the Australian brigades as rude and undisciplined and understands that his men have been sacrificed as cannon fodder to cover the offensive of the more valuabletroops. Still, he's also a loyal soldier who follows his orders, no matter how misguided. Weir was initially inspired to make this film after visiting the Gallipoli Memorial in Turkey in 1976, but his research (which included letters and diaries from the soldiers as well as advice from historian Bill Gammage) found the true story more ambivalent than the myth he had grown up with. That guided his treatment of the story and his portrait of the battle as a senseless slaughter, and informs his contrast between the easy-going, affable Australian rubes and the properofficers who prize discipline and obedience to orders, no matter what the reality is on the ground. Gallipoli became the biggest homegrown Australian production to that time. Funding was secured via a partnership between music mogul Robert Stigwood and Australian media mogul Rupert Murdoch (whose father was at Gallipoli). While the production traveled to Egypt to capture the scenes of the soldiers training and relaxing surrounded by the pyramids, most of the film was shot in Australia, with an isolated cliff-side beach in South Australia standing in for Gallipoli. Gallipoli took home eight Australian Film Institute Awards in 1981, but more importantly to both the filmmakers and the Australian film industry, it was Weir's first film to receive wide distribution in the U.S. and it became an international hit. It helped carry director Peter Weir and actor Mel Gibson (who also made The Road Warrior in 1981) to international success and it showed that an Australian subject could have universal appeal. It also managed to celebrate the national myth of Gallipoli, which had romanticized the heroic tragedy of (in Weir's words) the birth of our nation through a defeat. At the same time, it deflated the romantic notions of glory under fire to show the reality of Gallipoli and mourn the men who gave up their lives for a war they had no stake in. A major theme of the film is loss of innocence and the coming of age of the Australian soldiers and of their country. An early scene in the film depicts Uncle Jack reading from The Jungle Book about how Mowgli has reached manhood and now must leave the family of wolves that raised him. Actor Mel Gibson commented, “Gallipoli was the birth of a nation. It was the shattering of a dream for Australia. They had banded together to fight the Hun and died by the thousands in a dirty little trench war. The film draws a parallel between sport and warfare, with a recruiter for the Light Horse at the Kimberley Gift race calling war the greatest game of them all. Another theme relevant to the visual text is the theme of waste of potential. In the opening scene of the movie we see Archie performing his pre-race routine. He then proceeds to perform the 100 yard dash in near-record time. In the final scene of the movie we see Archie in the trenches at Gallipoli. The whistle for them to go over the top is about to be blown and Archie is leaving some sentimental items in the trench, a medal and a watch. The medal is symbolic of Archie's potential, what he could've been in life. The watch is symbolic that time has run out for Archie. He then performs his pre-race routine once again, a direct link to the opening scene, and the whistle is blown. This next scene depicts Archie running weaponless through the battlefield, this run is, of course, metaphorical and is again to show what Archie could have been. Finally, Archie is shot and there is an 8-second freeze frame; it appears as though Archie is breasting tape. Gallipoli shows much of the conditions and events that soldiers endured in the Gallipoli theater of war. Archy Hamilton's athlete character was inspired by a line from C.E.W. Bean's Official History of Australia in the War of 1914-1918 describing Private Wilfred Harper of the 10th Light Horse during the attack at the Nek: Wilfred... was last seen running forward like a schoolboy in a foot-race, with all the speed he could compass. The most notable deviation of the film from reality, and the one for which it has been most criticized, is its portrayal of the chain of command at the Nek. Although he is seen wearing an AIF uniform, Colonel Robinson is often mistaken for an Englishman due to his accent, which is in fact a clipped Anglo-Australian accent typical of the time and not a deliberate attempt to mislead the audience. In any case, Colonel Robinson's character equates to the brigade-major of the 3rd Brigade, Colonel J.M. Antill, an Australian Boer War veteran. Indeed very littlecommand and control was exercised at the Nek. In his best-selling history, Gallipoli (2001) Les Carlyon agrees that the film unfairly portrays the English during the battle and Carlyon lays the blame squarely at the feet of Antill and 3rd Australian Light Horse Brigade commander Brigadier General Frederic Hughes - The scale of the tragedy of the Nek was mostly the work of two Australian incompetents, Hughes and Antill. The film implies that the fictional and benevolent General Gardiner called off the attack, when in reality the attack petered out when half of the 4th wave charged without orders whilst the surviving regimental commander in the trenches, Lieutenant Colonel Noel Brazier, attempted to get the attack called off. Other critics, Carlyon included, have pointed out that the Australian attack at the Nek was a diversion for the New Zealanders' attack on Sari Bair, not thelanding at Suvla. Thewere therefore not 'drinking tea on the beach' while Australians died for them. Moreover two companies of aregiment, the Royal Welsh Fusiliers, in fact suffered very heavy losses trying to support the Australian attack at the Nek once it was realized that the offensive was in trouble. Some have also criticized the film for its portrayal ofofficers and their disdain for Australian discipline behind the lines. According to Robert R. James, no evidence for any such disdain on the part ofcommanders for their Australian troops actually exists;[10] however, thecommand's low regard for the discipline of Australian troops behind the lines has been widely documented by old historians (such as C.W. Bean) and new ones (Les Carlyon) alike and by oral tradition of the survivors. SOUNDTRACK SELECTIONS: ADAGIO IN G MINOR FOR STRINGS & ORGAN" Composed by Tomaso Albinoni OXYGENE PART 2 Written by Jean-Michel Jarre

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