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.
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.