Gallipoli (1981)
By Steve Thompson
Gallipoli is beautifully shot, full of Australian culture and educational history, and a touching love letter to the country itself. At its center is the friendship between two competitive runners.
There end the good points. In spite of the aforementioned positives, I found Gallipoli to be an exercise in boredom and off-balance structure. It takes too long to get going, and the ultimate destination of the film is never clear. This one could’ve done with some extra time in the editing room.
The story begins with a young runner named Archie (Mark Lee), who lives on an Australian farm in 1915. Just days before a big competition, he accepts a challenge to race barefoot over a mountain. His competition is a rider on horseback, and this theme of tackling long odds is present throughout.
As various footraces take place, we learn that Australia is busy fighting in Gallipoli against the Turkish forces of World War I. Archie wants to enlist, despite the protests of his uncle, and he’s helped in his efforts by Frank (Mel Gibson), a fellow runner and drifting railroad worker.
The first half of the film concerns Archie’s difficulty in joining the war effort, as well as the slow bonding between he and Frank. Much of this is simply filler, such as their long walk through the Outback to reach a recruitment center in Perth.
Unfortunately, “bonding” doesn’t count as a story in my book. This film could have benefitted from an antagonist, and the Turks, while appropriately vicious, only show up in the film’s final minutes.
If you’re looking for action, they protagonists wind up on the battle-busy beach of Gallipoli for the last quarter. There, they become familiar with the long network of trenches in which to stay safe. Progress is slow, as all they can do is occasionally take quick shots over the trench surface as spotters inform them of a hit or miss. Eventually, they’re forced to take drastic measures in an effort to advance against the Turks.
As we watch the mates have fun throughout the film, there’s a growing sense that director Peter Weir is going to drop a downer ending in our laps. Soldiers frolic naked in the ocean and try to avoid STDs from the local prostitutes, but this is soon replaced with whistling shells and trenches filled with inevitable death.
When the credits finally begin to roll, you may find yourself reminded of the ending to Butch Cassidy & the Sundance Kid. There’s a dark beauty present, but the whole affair is uninspiring.
Then it’s just over.
But not soon enough for my liking.
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This Gallipoli movie review is copyright 2009 Small World Marketing and Shane Rivers. This Gallipoli review should not be reprinted without the permission of the copyright holders.
This movie review of Gallipoli expresses the opinion of the author only. Other Gallipoli movie reviews are available online, and some of those might or might not express different opinions on the movie. Like those other Gallipoli movie reivews, this Gallipoli review is intended for the entertainment and education of the reader. This Gallipoli movie review is provided as is with no warranty or guarantee implied.
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