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form y separately published work icon Gallipoli single work   film/TV  
Issue Details: First known date: 1981... 1981 Gallipoli
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AbstractHistoryArchive Description

The narrative begins in Western Australia in 1915 and follows the paths of Archie Hamilton and Frank Dunne, before and after their enlistment in the Australian Imperial Forces. Hamilton is the patriotic son of a grazier and Frank Dunne is a drifter with no great desire to fight for the British Empire. They meet as runners in an outback footrace and become best mates. After training in Egypt, they land at Gallipoli, just as the great Allied assaults of August 1915 are to begin.

Source: Australian Screen.




  • The trailer for this film is available to view via YouTube: (Sighted: 10/8/2012)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Where Are the Australian Anti-War Films? Lauren Carroll Harris , 2021 single work criticism
— Appears in: Kill Your Darlings [Online] , July 2021;
Peter Weir’s Gallipoli 40 Years On : Deftly Directed and Still Devastating Nick Prescott , 2021 single work column
— Appears in: The Conversation , 19 April 2021;

'With the release of the first-world-war film Gallipoli in 1981, director Peter Weir could finally shrug off the nickname he had laboured under since making his first films: “Peter Weird”.' 

Screening Anzac : Anzac-themed Television in Australia and New Zealand during the First World War Centenary Carolyn Holbrook , 2020 single work criticism
— Appears in: Journal of Australian Studies , vol. 44 no. 4 2020; (p. 440-456)

'Historians have long sought to compare Australian and New Zealand Anzac commemoration, finding that Australian commemoration tends to be more nationalistic and celebratory, while New Zealand’s is more solemn and inclusive of Māori, women’s and pacifist perspectives. This article examines war commemoration in Australia and New Zealand during the centenary of the First World War through the medium of four Anzac-themed television productions: Australia’s Gallipoli and The Power of Ten and New Zealand’s When We Go to War and Field Punishment No. 1. Due to their capacity to attract mass audiences, television and film are useful mediums for elucidating major cultural trends, including the changing nature of war commemoration and its relationship to ideals of nationhood. In particular, the article argues that the coexistence of myth-challenging representations in Australia with productions that reinforce the traditional Anzac legend reflects a longstanding tension between supporters of the state-sanctioned nationalist trope and its critics in artistic and academic communities; alternatively, the less controversial nature of the Anzac legend in New Zealand helps account for the more prosaic tone of some of its Anzac-themed television.' (Publication abstract)

Films That Help Us Remember Them David Stratton , 2020 single work column
— Appears in: The Weekend Australian , 25 April 2020; (p. 13)

'On May 1, 1980, I was invited to attend a reception held at the Hilton Hotel in Sydney, at which two of Australia’s best-known businessmen made an important announcement to the invited guests. The men, Rupert Murdoch and Robert Stigwood, were Australians who were well known around the world: the “media magnate and [the] entertainment entrepreneur” (as The Sunday Telegraph reported a few days later) used the occasion to announce the formation of a new company, R&R (later known as Associated R&R Films), a joint venture between News Corporation and the Robert Stigwood Organisation; the latter company had been responsible for hit films such as Tommy, Saturday Night Fever and Grease. A total of $10m would be invested in local productions, the first — and, as it turned out, the last — of which would be Gallipoli, directed by Peter Weir, produced by Patricia Lovell and scripted by David Williamson.' (Introduction) 

Desert Worlds Richard Nile , 2019 single work essay
— Appears in: Southerly , vol. 79 no. 1 2019; (p. 84-105)
'In late 1914, twenty thousand mostly young Australian men ventured forth from the driest inhabited continent on earth to cross the ocean in a convoy spread over twenty-five kilometres in length and measuring twenty kilometres in width. The greatest mass exodus from the Antipodes which included a further ten thousand New Zealanders, this was the first and largest of many similar voyages over the next four years. The Australians might have considered themselves to be desert people. “The sand has his own / Wave and motion,” wrote S. Musgrove in “Australia Deserta” in the first issue of Southerly in 1939, “Rages the bed / Of the stony ocean” (14). Yet they preferred to identify as colonial sons returning to the motherland of pastoral England before heading to war. Of their own place, “They call her a young country but they lie,” wrote A. D. Hope in his much debated poem “Australia” which he began writing around the time of the publication of the inaugural issue—and to which he contributed an essay—“She is the last of lands, the emptiest, / ... the womb within is dry” (Hope).' 


y separately published work icon No Picnic : An Autobiography Pat Lovell , Sydney : Pan Macmillan Australia , 1995 Z1224962 1995 single work autobiography
Alert and Alarmed: Art Under Fire : Robert Connolly : Filmmaker Robert Connolly , 2005 single work column
— Appears in: The Sydney Morning Herald , 29 November 2005; (p. 18)
The Ethics of Fellowship in Two Antipodean War Films: Gallipoli (1981) and The Lord of the Rings (2001, 2002, 2003) Ian Henderson , 2005 single work criticism
— Appears in: Australian Humanities Review , January-February no. 34 2005;
Ian Henderson makes connections between Peter Weir and David Williamson's Gallipoli and Peter Jackson's The Lord of the Rings trilogy.
Fear in Peter Weir's Australian Films : A Matter of Control Theodore F. Sheckels , 2009 single work criticism
— Appears in: Antipodes , June vol. 23 no. 1 2009; (p. 75-80)
Many have noted the prevalence of the emotion of fear in Peter Weir's Australian films. In dealing with this fear, commentators have directed their focus at the world external to that which Weir's characters inhabit. The commentators have asked what is it 'out there' that these characters are so afraid of. As is wont of all good scholars they have attempted to discern an answer that unites Weir's oeuvre.
Battlers Take Top Spot in Movie Poll Rosemary Lentini , 2010 single work column
— Appears in: The Courier-Mail , 7 October 2010; (p. 13)


1981 winner Australian Film Institute Awards Best Screenplay, Original or Adapted
Last amended 10 Aug 2012 10:16:33
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