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• W187380645 abstract "To the layman's eye Gallipoli is technically flawless: superb shots of outback country, a convincing evocation of the period, thoroughly believable Gallipoli cliffs, fine acting (even in the minor roles), and something which is to say the least rare in the Australian film industry, a good script thanks to David Williamson. Moreover the picture, unlike Picnic at Hanging Rock (an otherwise impressive film which was fumbled towards the end), is dramatically tight, completely under control from first to last. It is full of splendid touches, like the appearance of the wooden horse early in the piece, to which the audience immediately responds, recognizing the allusion to Troy. This journal article is available in Kunapipi: http://ro.uow.edu.au/kunapipi/vol4/iss2/10 LIVIO and PAT DOBREZ Old Myths and New Delusions: Peter Weir's Australia To the layman's eye Gallipoli is technically flawless: superb shots of outback country, a convincing evocation of the period, thoroughly believable Gallipoli cliffs, fine acting (even in the minor roles), and something which is to say the least rare in the Australian film industry, a good script thanks to David Williamson. Moreover the picture, unlike Picnic at Hanging Rock (an otherwise impressive film which was fumbled towards the end), is dramatically tight, completely under control from first to last. It is full of splendid touches, like the appearance of the wooden horse early in the piece, to which the audience immediately responds, recognizing the allusion to Troy. Then there is the perfect miniature, the scene with the camel driver in the desert. There is the parallelism of two wildernesses, the deserts of the new world and the old, and, even more striking, the link drawn between the lights and gaiety of the departure from Perth (and of the nurses' ball in Egypt) and the Luna Park effects of the arrival at Gallipoli. There is the nicely timed moment of sheepish, ineffectual dawning of consciousness, when someone realizes the Diggers have carried out rough justice on the wrong Egyptian shopkeeper. There is the controlled pathos of all those sequences set in the shadow of the pyramids, particularly the one in which Archy and Frank race towards the tombs. Motifs of innocence and of death combine here and of course the run for the pyramids ironi · cally prefigures the last run at Gallipoli. There is the sensitive, lyrical effect of the swimming sequence on the beach. At this point the camera takes us under the water, distancing us from the fighting. Suspended in a dreamy fluid the naked Diggers seem remote from the reality above, temporarily freed. Then the illusion is broken, one of them is hurt, and we are returned to the real. Finally, there is the satisfyingly balanced shape of the film as a whole, first the treatment of Innocence, then of Experience, beginning with Western Australia and Egypt, ending with Turkey." @default.
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• W187380645 date "1982-01-01" @default.
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• W187380645 title "Old myths and new delusions: Peter Weir's Australia" @default.
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