Film Review: Gallipoli (1981)
Leading Players: Mark Lee (Archy), Mel Gibson (Frank Dunne), Bill Kerr (Jack), Ronnie Graham (Wallace Hamilton), Harold Hopkins (Les McCann), Charles Yunupingu (Zac), Heath Harris (Stockman), Gerda Nicolson (Rosa Hamilton), Robert Grubb (Billy), Tim McKenzie (Barney).
Main Crew: prod, Robert Stigwood, Patricia Lovell; dir, Peter Weir; writ, David Williamson (based on a story by Weir); dop, Russell Boyd; ed, William Anderson; mus, Brian May; prod d, Wendy Weir; art d, Herbert Pinter.
Acclaimed as one of Australia's finest cinematic achievements, Peter Weir's Gallipoli is an extraordinarily moving anti-war film that, while shot at an epic proportion, is a personal, endearing portrait of two young Australians. Archy (Mark Lee) and Frank (Mel Gibson) come from opposite ends of the social spectrum. Still, they, like 300,000 other Australians, find unity in their compulsion to seek out adventure and competition in a foreign land. Not essentially a "war film," it is a film about war. Weir has been careful to avoid dismissing the tragic tale of Australia's ill-fated attempt to gain control of the Dardanelles as a mere action film. Instead, he emphasises the journey (both physical and mental) of the two main characters. Through this journey motif, a number of issues arise that help to explain Australia's blind, but determined, involvement in the First World War. The first of these is the feeling of loyalty towards the Empire.
Still trying to define itself as a nation that is able to stand alone, the Australia of 1915 was a country that felt compulsive links towards its mother country. The mixed attitudes that Australians felt regarding the British are exploited effectively by Weir and Williamson. The most obvious contrast comes from Archy's ignorant patriotism and Frank's cynical pragmatism towards the English. This contrast alludes to another of Gallipoli's powerful themes — competition.
The traditional concept of the Australian sporting spirit is realised in Gallipoli on numerous occasions. It is brought to our attention most obviously through the running motif, the anti-British sentiment and occasions of gambling. This part of the Australian ethos contributes strongly up to Frank's determination to sign up for the war effort. Sport, an integral part of the Australian persona, is effectively linked to war by Weir, indicating that our soldiers are merely playing a man's game — but this time, there will be no winners.
Another aspect of the national myth brought to the fore is the concept of mateship. The mysterious force that bonds Australians together in times of need is ever-present in the incessant peer pressure exerted by Frank's friends. Visually, it is best summarised in the arduous journey in which Archy and Frank embark across a desert stretch. Using the 2.35:1 aspect ratio to his full advantage, Weir created a sense of isolation between Frank, the city-slicker, and Archy, the country-boy. While capturing the vast, desolate expanse of desert in a magnificent homage to nature, Weir positioned Archy and Frank at extreme opposite ends of the frame. Over time, though, as social barriers are broken down, and the urgency of the situation escalates, the gap between the two closes.
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