A somewhat mentally handicapped 20-year-old man works as a laborer, but everyone abuses his naiveté. A nice 40-year-old American woman hires him one day and they become close. However, the town and his family see her as predatory.
Peter Soffel is the stuffy warden of a remote American prison around the turn of the century. His wife, Kate, finds herself attracted to prisoner Ed Biddle. She abandons her husband and ... 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 <email@example.com>
Due to the popularity of the Gallipoli battlefields as a tourist destination, this film is shown nightly in several hostels and hotels in several towns on the peninsula. See more »
The Australian flags hung against the walls are "up side down" - the union flag should always be in the top left hand corner regardless of being displayed horizontally or vertically. The flags shown at the beginning of the film all have the union flag at the top right. 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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