Guests arrive at an expensive private guest house on a remote island near Sydney. The guest house and weird activities, like theatre sports and orienteering, are run by a leery eccentric. ... See full summary »
The story of a group of young Australian men who leave their various backgrounds behind and sign up to join the ANZACs in World War I. They are sent to Gallipoli, where they encounter the resolute Turkish army.Written by
Murray Chapman <firstname.lastname@example.org>
The war movie 'The Lighthorsemen' (1987) set during World War One features a pacifist character who does not kill. In the later Australian feature film, 'Hacksaw Ridge' (2016), it featured a central character who was also a pacifist character, with his pacifism in World War Two being the major theme in the picture. 'Hacksaw Ridge' (2016) was made and first released almost thirty years after 'The Lighthorsemen' (1987) (twenty-nine to be exact) and was directed by Mel Gibson who had starred in the classic Australian feature film about World War One, 'Gallipoli' (1981), which was directed by Peter Weir. Both 'Gallipoli' (1981) and 'The Lighthorsemen' (1987) shared two major filming locations of Port Lincoln and the Flinders Ranges which are both located in South Australia. Both 'Gallipoli' (1981) and 'Hacksaw Ridge' (2016) won several AFI / AACTA Australian film awards, including Best Film, with 'The Lighthorsemen' (1987) winning a couple of AFI awards, the same number as 'Hacksaw Ridge' (2016) won Oscars. See more »
The Battle of the Nek was not a diversion for the British landing at Suvla, it was a diversion for an attack by New Zealand attack on Sari Bair. See more »
Filmed in a period of cinematographic transition, between, on the first hand, the old Hollywood productions like The Longest Day (Ken Annakin and 4 others, 1962), A Bridge Too Far (Richard Attenborough, 1977) or The Great Escape (John Sturges, 1963) sometimes completely disconnected from the reality and the atrocities perpetrated on the battlefield by both sides and, on the other hand, darker and immeasurably more realistic productions from the late 70s, such as Come and See (Elem Klimov, 1985), The Deer Hunter (Michael Cimino, 1978), Das Boot (Wolfgang Petersen, 1981) and Le vieux fusil (Robert Enrico, 1975).
Indeed, if the first part of this movie is of a distressing insouciance, the two main protagonists striving to leave Australia to join the peninsula of Gallipoli, Turkey, like two children expecting their next summer camp, the second part is cold and raw, unbridled and cruel. In this respect, the film is appropriately lulled by the album Oxygène (Jean-Michel Jarre, 1976) for the sequences full of hope and carefree, camaraderie and friendship and the adagio of Albinoni (Remo Giazotto, 1945) for the poignant sequences of courage and sacrifice.
A moving film with a neat realization and an excellent cast.
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