|
Peter
Weir's Gallipoli is Australia's quintessential war movie.
It works as both a stirring tribute to the Anzacs and as a condemnation
of the travesty which is war, as well as a commentary on just what
drives men to sign up for the Armed forces, be it duty of country,
a sense of adventure, the sex appeal of being in uniform, or buying
into the propaganda machine.
The film is set in Western Australia, 1915, where two rival athletes
- one an 18 year old patriotic farmhand (Mark Lee), the other an
opportunistic nomad (Mel Gibson) - who form a strong bond whilst
travelling to Perth in order to join the Australian Army in the
battle against Turkish forces in Gallipoli.
Weir and company placed great strains into creating Australia circa
1915, with impeccable costume and production designs. However, several
key scenes are marred by composer Brain May's decision to use electronic
synthesisers during the films score, which clashes against the films
early 20th Century setting.
Gallipoli was mainly shot in rural South Australia, with
cinematographer Russell Boyd capturing the outback in all of its
banal yet majestic glory.
The most interesting scenes, however, are the ones set and filmed
in Cairo, Egypt, where the Anzacs were trained to fight against
"the enemy", while craving to the temptations of the flesh
in the cities various whore houses, and the con of various antique
merchants.
I cannot recall ever witnessing such an Aussie fuelled culture clash
as in the scene where a game of Aussie rules is played against the
backdrop of the great pyramids.
The main theme of the film is about the mateship between its two
lead characters, and indeed the mateship between all of the Anzacs.
Gibson and Lee both play their roles convincingly. Gibson in particular
is especially good, his naturality and expressive features lending
credence to his character, as he transforms into the fine actor
which we know today. Bill Kerr and the legendary Bill Hunter provide
memorable supporting roles.
Weir and screenwriter David Williamson have done a commendable job
developing these characters. It is a move which pays off during
the films final tragic moments that take on a whole new level of
emotions.
In fact, the film contains such a tragic and sad conclusion (which
is shot in stark detail complete with a closing still image sure
to haunt the soul for days on end) that I consider Gallipoli
- along with Rocky
and Field of Dreams - to be an essential tearjerker
catered for men.
|
