The NFSA has completed a digital restoration of Gallipoli (1981).
Lost in the desert, on their way to join up, Archy (Mark Lee) and Frank (Mel Gibson) discuss politics, patriotism and the reasons for war.
Gallipoli remains one of the most loved of all Australian films. It’s one of Weir’s most nakedly emotional films and one of his most poetic.
Summary by Paul Byrnes.
Gallipoli is partly a film about innocence and purity of heart, and landscape is an important element in that theme. The stark desert setting for this scene is almost abstract, as if the two friends are crossing from one state of mind to another – perhaps from boyhood to manhood. It also has Biblical overtones, as a trial in the desert that must be overcome before they can proceed to their destinations.
Before this scene, the Western Australian landscape is shown more realistically. The stylisation in this clip emphasises that the characters are undergoing a transition. The dialogue, about the politics of the war, also reflects differences in attitude – Archy’s obedience versus Frank’s pragmatism.
In Western Australia in 1915 two young men join up to fight in the First World War. Archy Hamilton (Mark Lee) is the patriotic son of a grazier. Frank Dunne (Mel Gibson) is a drifter with no great desire to fight for the British Empire. They meet as runners in an outback footrace and become best mates. After training in Egypt, they land at Gallipoli, just as the great allied assaults of August 1915 are to begin.
Gallipoli created a national and international debate when it premiered in 1981. It was a huge hit in Australia, but British historians took it to task for factual inaccuracies and alleged bias against the British commanders of the campaign.
The charge at The Nek on August 7, 1915, which provides the film’s climax, did take place but an Australian, rather than a British officer, ordered the final charge. The film gives the opposite impression, something Peter Weir has said he regrets. 'The implication was that we were Pom bashing,’ he told David Stratton, 'whereas they had fought valiantly and suffered terribly alongside us. Apart from that the events were portrayed pretty accurately’. Historians are still divided over the wider question of whether the British commanders of the campaign were incompetent.
The film remains one of the most loved of all Australian films, partly because of its intense nationalism. Its mixture of innocence and sacrifice, youthful high spirits and brutal, industrialised murder, helped to redefine how Australians thought about the First World War. In dramatic terms, it’s one of Weir’s most nakedly emotional films and one of his most poetic, especially during the elegiac finale. It is packed with religious imagery, the final freeze-frame being a form of crucifixion.
It opened shortly after Breaker Morant, another film that presented a vision of Australian soldiers (even if Morant was actually British) as lambs to a British slaughter.
Notes by Paul Byrnes.
This clip shows Archy Hamilton (Mark Lee) and Frank Dunne (Mel Gibson) walking across the desert on their way to enlist to fight in the First World War. They disagree about motives for joining up and Archy, who is more patriotic, calls Frank a coward. Continuing, they become lost, with Archy’s attempts at navigation failing. The clip finishes with a shot of the two figures in the distance, a great arc of footprints behind them.
Education notes provided by The Learning Federation and Education Services Australia.
Two men stride through the desert, engaged in strident discussion.
Archy You of all people should be going.
Frank Why me of all people?
Archy Because you’re an athlete.
Frank Haha! What’s that got to do with it?
Archy I’ve got mates who’d be lucky to run the 100 in 12, and they’re gonna do their bit. So why shouldn’t you?
Frank Because it’s not our bloody war!
Archy What do you mean, not our war?
Frank It’s an English war. It’s got nothing to do with us.
Archy You know what you are? You’re a bloody coward.
Frank There’s only one reason why I haven’t knocked you down, mate.
Frank Because I don’t feel like carrying you to the next bloody waterhole. Now shut up, and don’t open your yap about the war again.
They walk on. Frank stops for a drink. They seem to be lost.
Frank Where’s your sun now?
They keep walking.