War

Peter Weir’s Gallipoli is a remarkable film. Starring an inexperienced model, who was only intended to be used for a photo shoot to promote the picture and shot on a small budget, this film's longevity and frequently attained levels of excellence could have never been predicted. That doesn't mean Gallipoli will be turning up on any all-time best lists any time soon, as the first half has a tendency to drag its feet. However, a solid hour two punctuated by one of the most haunting images I have seen in a...war film elevates the material from slow-paced and dragging to something that actually works, and is certainly worthy of recommendation. Mark Lee, the model-turned-actor mentioned above, stars opposite Mel Gibson, and delivers a performance of such credibility that no one could have ever guessed he didn't know the first thing about acting. In fact, he holds his own with the already seasoned Gibson, and the two make a believable pairing as a couple of naive young men hungry for adventure, who make the mistake of seeking it during the First World War. Their paths lead them to the disastrous real-life battle of Gallipoli, where strategic incompetence led to the senseless slaughter of a great many Australian soldiers.

The sense of pride in one's country is always there, and the movie seems to endorse such a feeling. However, the anti-war message is never far from the surface, and it wells up prominently in the third act like blood from a liver wound that reappears as quickly as it’s washed. Still, it's anti-war without being partisan, and remains true to all the soldiers, who gave their lives for their country, their beliefs, and most importantly, their mates. Weir's directorial style also provides the film with two strong legs, and has since been imitated in every great modern war film, especially Spielberg's Saving Private Ryan. The underwater shrapnel scene of Gallipoli is recreated with equal skill and effectiveness by Spielberg, but let's remember: Weir did it first. And Weir's constant use of exterior locations, while nearly achieving overkill status from time-to-time, demonstrates the director's expert sense of landscape and scope. It's a beautiful picture to watch, but not always one to entertain. However, hang with it through the first hour, and you'll be blown away by the crescendo of fear and violence Weir's film has reached.