NCEA LEVEL ONE ENGLISH
Visual Text Study – “Gallipoli”
Suggested Teaching Plan
This Unit has been written FOR Year 11 in preparation for NCEA ‘Close
Study of Visual Text’.
Viewing of the film.
1. Pre-teaching : some background to World War One, the countries
engaged in it and its setting, and how the Australians and New
Zealanders came to be involved, would make the film more relevant.
2. Show the film right through without interruption (except for lesson
breaks) . Each period, it is useful to begin with a brief summary
from a student of what has been seen, and to answer any questions
if they arise.
3. Class discussion of immediate responses. (Can use the response
sheet provided.)
4. Complete a brief plot summary for students’ personal notes and
later revision, (emphasising that this is the only time they will write
this, as it is never required in the examination).
5. Revise basic film techniques and terminology. (Sheet provided.)
Close Reading of the Film
1. Show the film again, in short sections, for ‘close reading’ of the text,
stopping to discuss, analyse, and take notes. A way to do this is to
follow the ‘chapters’ of the DV, but can be done arbitrarily according
to the class and time available. Ask “What is happening here? How
has it been made to happen, given that everything in film is
deliberate?”
2. Task sheets can be set for individual work: e.g each group may
have to analyse a different character, or film shots used in different
scenes, or other aspects of the film sequence in question, which
can then be shared.
There is unlikely to be time to focus on the whole film in this sort of
depth – focus on key sequences such as (e.g )the opening and ending,
or the officers’ dance and then the landing in Gallipoli…etc.
Areas for further study:
1. Narrative Structure - See the Background Notes below, and have
students note the way the film is ‘divided’ into its narrative structure.
2. Setting - See the Background Notes below, and give a historical and
geographical perspective. Significant is the social pressure at the
time to ‘be a man’ and fight for the Empire – and how this, ironically,
led to a sense of independent nationhood for the Australians and
New Zealanders who felt disconnected from the British and thrown
together as a national group with their own ‘culture’ and identity.
3. Characterisation - see notes made on Archie and Frank below –
and focus on other characters (Uncle Jack, Les the Stockman,
Major Barton, Frank’s friends from the pre-war days.) How does
each of these contribute to the storyline? What do the characters
represent? How do we know that?
4. Themes - See Background Notes for details on the themes. Start
by asking the class what the idea that the film-maker has in mind for
us to think about might be…there are at least three significant ones.
(See below in Background Notes.)
5. Theme and Techniques - Take the themes and discuss the film
techniques which enhance them, and draw our attention and shape
our ‘mood’ or attitude. (See below in Background Notes.)
BACKGROUND NOTES
FOR TEACHING.
SETTING
The social, geographical and historical setting of the
film “Gallipoli”
“It will all be over by Christmas.”
Australia became a nation with the signing of its constitution at the Exhibition
Building in Melbourne on 1 January 1901.
Only a few short years later in August 1914, after a period of great tension
and upheaval in Europe, Great Britain declared war on Germany. Unlike today,
most Australians felt they were more British than Australian. Because of this
loyalty, the man who was to become Australia’s next Prime Minister, Andrew
Fisher, promised that “Australia will stand by to defend (Great Britain) to our
last man and our last shilling”.
Men rushed to join the long queues at army barracks around Australia. All had
different reasons for wanting to enlist. Many believed they had no choice but
to protect England from invasion. Others thought it was a once in a lifetime
opportunity to travel. And many just didn’t want to miss out on something so
exciting. “Don’t worry,” they told their mothers, wives and girlfriends. “It will all
be over by Christmas.” The first ships that took the soldiers off to war were
filled to overflowing. Many of the men were from the country and some had
never seen the ocean before. But they soon became used to it, as they spent
many weeks at sea. When they finally reached land, many were disappointed
they were not in England. The Generals had decided there were already too
many soldiers in the British training camps, so the Australians were sent to
Egypt, where they finished their training.
The Generals had also decided that these soldiers needed a name. They
were to be known as the Australian and New Zealand Army Corps, or
ANZACs.
Turkey (then called the Ottoman Empire) was on the side of Germany in the
First World War. The British Generals decided they could defeat Turkey if they
could capture the capital city called Istanbul (then called Constantinople).
After the Turks sank several British and French ships in the Dardanelles, it
was decided that the only way to capture Constantinople would be to land
soldiers near a place called Gallipoli. The closest soldiers were the ANZACs,
who had completed their training in Egypt. The Australians were getting
restless, and after coming all this way they wanted to see how good they were
in battle. They were soon to get their chance.
Every Man A Volunteer
The exhortations and inducements used in Australia to persuade men to enlist
were as old as the oldest society- the community’s safety is at stake; your
families are in peril; your religion is being derided, and so on. There was the
added spur of mockery, overt or implied-a child asking, “What did you do in
the War, Daddy?”; a strong-featured woman asking her man, “Will you go or
must I?” By 1915 the art of poster propaganda was very well developed and
worldwide, and outside the pornography of painted violence the themes were
much the same whatever the nation. “Our” men were always firm-jawed and
heroic, “Theirs” were fiercely evil and generally unshaven. The summarily
pointing or beckoning finger was a universal symbol.
Perhaps it was because the battlefields of Europe were so distant, perhaps
because the lure of England as “Home” was so strong that there entered into
the early phase of recruitment in Australia an element of huckstering. It was
as though a cheapjack travel agent was at work to persuade young men to
seize their chance. The long casualty lists from the Dardanelles and the
disasters of France and Flanders were yet to come; in the days before the
end at Gallipoli, there was a fairground atmosphere about the urging to join for
The Greatest Show on Earth.
To some extent it was true. It was exciting. The bands filling the streets with
colour and cadence, the sense of swagger about the men already in uniform
all laid the groundwork for a widespread and very successful advertising
campaign, certainly the best of its time. The campaign’s theme was elemental
and almost irresistible; the product offered free travel, excitement and a spice
of danger and implied a just and rightful victory and the rewards that would
follow. To ignore such a campaign could mean ostracism; to accept the
challenge was to snatch at the chance of a lifetime.
© Time-Life Australia Pty Ltd 1998
(from the series Australians at War)
ANZAC forces were involved in operations in three main geographical areas during World
War 1. Those areas are depicted on the map below.
The Gallipoli Campaign
The Gallipoli campaign marked the first time that Australians went into combat as Australians.
The term ‘ANZAC’ originated from that time and ANZAC Day, arguably Australia’s most
significant national holiday, occurs annually on 25th April, the date of the start of the Gallipoli
campaign.
Structure of the Film
Gallipoli is roughly divided into three parts. The first third is set in Western
Australia in May 1915 as the first news of the Gallipoli landings is published,
the second third is set in Egypt where the troops are in training, and the final
third at Gallipoli — the Battle of the Nek only occupies the final minutes of the
film. All of the parts have a similar setting – the desert, though in two different
parts of the world. Therefore, the ‘backdrop’ colours of the film are
predominantly sand and blue – adding to a feeling of space.
Repeated Sequence:
First and last sequence of the film ‘mirror’ each other. Both are focused
Archie, about to run a race. Uncle Jack’s chant is recited. There is a whistle
to start the race. There is the sound of Archie’s fast breathing as he runs
against time, and the sound of feet on the earth. Yet the first race is hopeful
and triumphant, whereas the last race is ominous. The freeze frame is the
exact opposite of the motion of the running image, and is a shock to the
audience. A waste of life.
Cross-cutting:
This is where the shots cut between two or more places at the same
chronological time. At the end, we see Frank trying to run between the
groups of troops with messages because the field phones do not work. His
message is vital; Major Barton needs to let the British know that the diversion
is not necessary as the troops have already safely landed, but the
Commander rejects this, and Frank races between them across the firing line,
risking his life. (Music is “Oxygene” which we associate with the running of
races.)
At the very same time we see shots (mid and close up) the Australians in their
trench, preparing to die – leaving their wedding rings, and other precious
personal tokens, on their personal belongings in the trench for their families at
home. (Music is “Albanoni’s Adagio” which we associate with dread and
imminent danger.)
Snow kept a
diary, as
many
soldiers did
at Gallipoli.
(Over- theshoulder shot.)
The shots flick between these two scenes, and create a feeling of extreme
tension and urgency – will Frank make it in time, will the men be told not to ‘go
over the top’ in time…
When Frank hears the whistle, as he is trying to reach Major Barton to tell
him to hold it, he screams “Noooooo!” This is the moment of tragedy for him he has not succeeded in saving others – and this highlights the change in
Frank, who used to think only of himself (an opportunist). Then, we cut again
to Archie, running, to his moment of tragedy.
All of this clever editing of the film creates huge suspense and pressure, much
more so than if we had only seen Archie preparing for his death without Frank
trying to stop it. There would have been a sense of dread, but not the
suspense of running against time to stop the waste of life. This cross- cutting
builds up to the final terrible climax of the ending.
Characterisation
The two main characters are a contrast to each other in
background, attitude and appearance. Yet they become
‘mates’ and complement each other. Each takes on some of
the other’s qualities – and ‘grows’ as a character.
The first third of the movie shows how the two characters meet, and are
drawn into the war. Archie's path stems from naivety. This naivety is shown in
a very unique way. Rather than show this naivety by contrasting Archie with a
highly educated character, Director Peter Weir shows it with a character who
demonstrates ignorance and may yet be the voice of true logic. The character
is an old camel driver that Archie and Frank meet by chance in the Australian
desert:
Archie) I'm off to the war
Old man) What war?
Archie) The war against Germany.
Old man) I knew a German once.
Old man) How did it start?
Frank) Don't start him.
Archie) Don't know exactly, but it was the German's fault.
Old man) The Australians fighting already?
Archie) Yeah, in Turkey
Old man) Turkey? Why's that?
Frank) Ask him
Archie) Because Turkey is a German ally.
Old man) Oh, well, you learn something new everyday. Still, can't see
what it's got to do with us.
Archie) If we don't stop them there, they could end up here.
Old man - Looks over the Australian desert) And they're welcome to it.
Frank originally has no intention to enlist. This is first obvious the first time he
appears in the film with his three friends, who are reading about the war
“Count me in. Come on, Frank, you gotta be in it.
Frank: (Sighs) No thanks, if you blokes all want to go get
yourselves shot,go ahead.
Snow: Well, I'm not scared to die for my country, Frank.
Frank:Good for you, Snowy, sign yourself on.
(from the film script.)
– so he tells his friends that he will not go to war. But on consideration that
girls express their affection for the brave soldiers, he thinks it may not be such
a bad idea. This again is a contrast, because Archie is very inexperienced
with women, as one scene shows when the two reach a sheep station after
their trek to Perth, and Frank is the suave ‘sophisticate’ who models how to
behave in the company of girls.
Secondary Characters:
Note that Uncle Jack (in the first part of the film) and Major Barton (in the
last part of the film) play the ‘wiser, older man,’ like a father figure who seems
stern, yet has a great understanding of how younger men feel - their hopes
and dreams, and their need for support.
Both of these men give Archie someone to regard as a role model and each
of them ‘blows a whistle’ that makes Archie run his fastest to do his best for
them. They serve as a ‘foil’ to emphasise the youthfulness of Archie and
Frank and other young men, and each knows of the harshness of life.
Archie:
Uncle Frank:
A:
F:
A:
F:
A:
F:
A:
F:
A:
Peter Trevelyan joined up last week.
No more of that. You're underage.
- You ran away when you were younger. –
Not to a war.
Been all round the world by the time you were 17.
- Barbary Coast... Spice Islands. –
I made those stories up.
You didn't. Dad said you were nearly killed several
times.
I judged the risks and took my chances. War's
different.
- How's it...
- It's just different. There's no hope your parents
would let you go, so what's the point in talking
about it?
I thought you might help me.
And at the officer’s dance when Frank and Archie ‘sneak’ in pretending to
have to deliver a message to Major Barton, he catches them out and says:
Major Barton: (to a soldier on duty at the dance) Would you mind
telling Dunne that this is a dance for officers only?
Major Barton: (calling Archie by his false name, which he suspects is
not his real name, but has chosen to let pass) Lasalles!.... Have one
or two drinks before you go.
Archie: Sir!
Frank: (to Archie, as they hold up their drinks) Cheers!
Both of these older men realise that the younger men are facing terrible
dangers without realising the extent of what life is to present them with, and
bring to our attention the theme of the waste of young life/ the futility of war.
Themes

A major theme of the film is loss of innocence and ‘coming of age’ –
of Archie and Frank, and of the Australian soldiers and their
country.
Actor Mel Gibson commented, “Gallipoli was the birth of a nation. It was the
shattering of a dream for Australia. They had banded together to fight the Hun
and died by the thousands in a dirty little trench war."
The film draws a parallel between sport and warfare, with a recruiter for
the Light Horse at the Kimberley Gift race calling war "the greatest game of
them all." There is irony and bitterness in this, when the actual ending of the
film is considered.

Another theme relevant to the visual text is the theme of waste of
potential.
In the opening scene of the movie we see Archie performing his pre-race
routine. He then proceeds to perform the 100 yard dash which he does in
near-record time. In the final scene of the movie we see Archie in the trenches
at Gallipoli. The whistle for them to go 'over the top' is about to be blown and
Archie is leaving some sentimental items in the trench; a medal and watch.
The medal is symbolic of Archie's potential, what he could've been in life. The
watch is symbolic that time has 'run out' for Archie. He then performs his prerace routine once again, a direct link to the opening scene, and the whistle is
blown. This next scene depicts Archie running weaponless through the
battlefield. This run is of course metaphorical and is again shows what Archie
could have been. Finally Archie is shot and there is an 8-second freeze frame.
It appears as though Archie is breasting tape.

Another theme in the film is that of friendship.
Archie and Frank are opposite in many ways – one is a “city boy”, and the
other a country boy. One is a worldly-wise fast-talker, the other is practical
and capable. One is cynical, the other is idealistic. One is vain and an
opportunist risk-taker, who is quite selfish, and the other is modest, disciplined
and used to being part of a team. Their physical appearance has even been
portrayed as opposite – one is fair, the other dark.
Yet they are both talented runners, which unites them. Eventually, through
the shared experiences that become friendship, they complement each other.
They have the shared ‘talk’ which they often repeat, that friends have such as:
“See you when I see you.”
“Not if I see you first!”
By the end of the film, Frank takes huge risks to his own life to help save
Archie, and Archie comforts Frank who is terrified – “Come on! No Turk’s
going to waste a bullet on you!” They demonstrate how friendship grows even
in the most unlikely situations, through shared experiences and adversity.
Quoted from http://www.ozcinema.com/reviews/g/gallipoli.html :
“Another aspect of the national myth brought to the fore is the concept of
mateship. The mysterious force that bonds Australians together in times of need
is ever-present in the incessant peer pressure exerted by Frank's friends. Visually,
it is best summarised in the arduous journey in which Archy and Frank embark
across a desert stretch. Using the 2.35:1 aspect ratio to his full advantage, Weir
created a sense of isolation between Frank, the city-slicker, and Archy, the
country-boy. While capturing the vast, desolate expanse of desert in a
magnificent homage to nature, Weir positioned Archy and Frank at extreme
opposite ends of the frame. Over time, though, as social barriers are broken
down, and the urgency of the situation escalates, the gap between the two
closes.”
Techniques which highlight theme:
Themes: Loss of Innocence and Waste of Life/Futility. (These are
connected.) Friendship.
Symbolic reference from literature: The Jungle Book story – suggests the
idea of moving into the ‘world of men,’ which Archie is ready to do.
An early scene in the film depicts Uncle Jack reading from The Jungle Book about
how Mowgli has reached manhood and now must leave the family.
At the start of the film, Uncle Jack reads The Jungle Book to the younger children of
the family, when Archy walks up and listens at the door. A passage where Mowgli
reaches manhood, loses his innocence, and must leave the family of wolves that
raised him is given particular prominence. It parallels what Archie is about to do, and
has a sense of irony.
(From the script of the film)
"The fire was burning furiously at the end of the branch.
"Mowgli struck right and left and the wolves ran
howling
"with the sparks burning their fur.
"At last there were only Akela, Bagheera,
"and perhaps ten wolves that had taken Mowgli's part.
"Then something began to hurt Mowgli inside him
"as he'd never been hurt in his life before.
"And he caught his breath and sobbed.
"And the tears ran down his face.
"'What is it? What is it? ' he said.
"'I do not wish to leave the jungle, and I do not know
what this is.
"'Am I dying, Bagheera? '
"'No, little brother,' said Bagheera.
"'Those are only tears, such as men use.
"'Now, I know thou art a man and a man's cub no longer.
"'Let them fall, Mowgli.
"'They are only tears.'
"So Mowgli sat and cried as though his heart would
break,
"and he'd never cried in all his life before.
"'Now... ', he said.
"'I will go to men."'
(Theme of loss of innocence/becoming a man.)
Archy, in particular, is driven by the desire to prove that he is indeed a man. Knowing
that his metamorphosis would be complete only after he's accepted into the military
force, Archy sets his mind on doing just that. This theme forms a motif throughout the
picture that is seen clearly when Frank attempts to give Archy a fake beard. His uncle,
too, helps shape Archy's destiny in regards to his decision to enlist since he himself
joined the army and experienced adventure in foreign lands while officially under-age.
The motif is continued in the uncle's reading of Kipling's The Jungle Book in which he
describes Mowgli's transformation into a man.
Contrast: Uncle Jack’s mentoring, calm, worldly wise, older figure, vs
Archie’s restless youthfulness, his hero LaSalles the sprinter, his books about
the world….
Contrast: Archie’s integrity vs the jeering stockman Les ( in the first race in
the film).
Contrast: Archie’s humble, friendly attitude to winning the first race against
Frank, vs Frank’s arrogance in defeat.
Contrast: Archie’s personality and looks vs Frank’s – to highlight their
differences to be overcome, so that they complement each other as they
become friends. (Friendship theme).
Symbolic image: moving away from home, with suitcase, on a journey of lifeArchie’s conversation with Uncle Jack at the end of the race meeting – his
heavy suitcase “full of books” (Archie is the idealist, with dreams of a big
future, going to war). The suitcase image is repeated as Archie and Frank
cross the desert to Perth, each with his suitcase, on a journey of life.
Symbolism: The medal – Archie wins a medal at the local running race
meeting, at the start of the film. At the end of the film, he takes it out and
hangs it on his knife, knowing he is about to die and leaving it for those at
home (overtones of Uncle Frank here.) The medal emphasises the waste of
life and potential that the film makes us think about. (Waste of life theme.)
Symbolism:
The promise of adventure in far-off, exotic lands is also indicated throughout
the film. Perhaps the most memorable image of this is the wheeling in of a
giant wooden horse in order to lure people into enlisting in the light horse
brigade. Like the Trojan horse from Greek mythology, this "gift" is seen as a
sign of adventure, wealth (of spirit) and the grand nature of war. Behind its
confident façade, however, is a trap. Just as the city of Troy was destroyed
after its citizens embraced the Trojan horse, its reappearance in Western
Australia can be seen as powerful foreshadow of the tragic fate that will meet
these men. Interestingly, though, the men are still entranced by the glory of
war as their boats slowly drifted in towards a hillside of Gallipoli, lit up like a
Christmas tree.
Symbolism used: The repeated running motif links Archie’s and Frank’s
journey together. It is how they meet, and how their ‘journey’ ends. The spirit
of the running changes; it starts as a friendly rivalry and ‘game’ (at the same
time as the war is still an adventure and a ‘game’ to the young men) and ends
as Frank runs to save Archie and the other soldiers’ lives, and as Archie runs
literally for his life – to his death.
Shot transitions: Shot of map in the newspaper after the Mowgli story – note
that Archie studies one of the Gallipoli area, which then transitions into the
same map being studied by Frank’s friend Wilkes, at their railway works
campsite. This is the first link of the connection between Frank and Archie; it
flows in a subtle way and is coincidental, but significant. It is like an omen of
what their destination will be – their ‘coming of age’ and loss of innocence.
Recurring Motif: A running race, set to the same musical theme “Oxygene”,
and sometimes preceded by Uncle Jack’s chant.
The Repeated Motif of “Running” – as in a race against time.
A sub-text of the film is of "war as a game" and the two main characters, Archy
Hamilton (played by Mark Lee) and Frank Dunne Judd (Mel Gibson), meet at an
athletics carnival. Both are sprinters and the numerous running sequences in the film
are set to Jean Michel Jarre's “Oxygène”. This music highlights the running by its
rapid heart-beat rhythm, and the feeling of echoing across wide open space, which is
where much of the running takes place.
The opening shot of the film is of Uncle Jack and Archie training for a local race:
Uncle Archie:
Deeper.
Come on, deeper, deeper.
Come on, deeper. Come on, deeper, deeper.
From here, boy, here!
That's it.
Now, loosen up.
Come on, loosen up.
Come on, boy, loosen 'em up.
That's it. Now, on the spot. One, two! One, two! One, two!
- What are your legs? – Archie: Springs. Steel springs.
- What are they going to do? – Archie: Hurl me down the
track.
- How fast can you run? – Archie: As fast as a leopard.
- How fast will you run? – Archie: As fast as a leopard.
Then let's see you do it.
Are you ready, leopard?
On your mark!
Get set!
This is a motivational chant – Uncle Jack’s “What are your legs?” etc. This
chant recurs later in the film, when Archie has to ‘psyche’ himself up like an
athlete about to go ‘over the top’ to his last race.
Effect: This has a very poignant effect, as it makes it so clear to the viewer
that Archie is thinking about what he has left behind, and which he senses he
will never see again. There is pain and sadness in that moment if the film, but
also huge courage, as Archie and his fellow soldiers know they are going to
their death, but face it.
This running motif is symbolic on various levels.:



It represents the strength and vigour of youth, overcoming obstacles
and competition.
It represents a race against time, into the future. Running into life’s
challenges.
It represents the (futile) race against time running out and death waiting
(in the Battle of the Nek and, possibly, all battles that are a part of war).
(This connects the “loss of innocence theme with the theme of ‘waste
of life,’ and futility.)
Music
The most striking feature of the soundtrack is the use of musical excerpts
from electronically synthesised “Oxygène” by French electronic music pioneer
Jean Michel Jarre. This music is set to scenes of open space and running
races, which it suits, with its fast heart-beat rhythm and echoing eery tones
which sound like wind whooshing past – as it would during running. It has the
right sort of energy that fits with the young characters of Frank and Archie.
Quiet or sombre moments at Gallipoli, and the closing credits, feature the
Adagio in G minor, by Albanoni. It is slow, dignified orchestral music featuring
mainly stringed instruments, and filled with a sort of dread and grieving. It is
introduced in the scene where the soldiers are ferried to the beach which is to
be the scene of battle, and also when Archie visits Snow who is obviously
dying from his wounds. This music is very emotionally charged, and lets us
feel some of the fear that must have filled the hearts of the young men.
Camera Technique:
The 8-second freeze frame that signals the end of the film is shocking to the
audience in its finality, and symbolises youth cut off at its peak, as Archie is
seen from a slightly low angle, arched at the peak of his stride, yet cut down.
Effect: There is a poignancy, a sharp sadness, in this final sequence, about
the fact that once the young men were carefree, strong and adventurous, and
had their whole lives ahead of them. By the end of the film, they are facing
certain death. This waste of young lives is obvious to the viewer, yet we
realise there is no turning back or saving the men. There is a suggestion of
the symbolic sacrificial crucifixion pose in this last shot.
Low Angle Shots – holding the camera just below the characters’ eye level,
as above, giving extra feeling of vastness and space to the background. The
horizon is ‘lifted’ and there seems to be a huge area to ‘climb’. It uses the
‘rule of thirds’ where the horizon is never directly in the middle of a shot,
(note this hardly happens in life or in films) but always one third of the way
from the top or bottom of a shot.
There are a number of striking desert shots where this is done – in the first
third of the film when the two cross the western desert to Perth, and in the
Egypt sequence, to link the idea of vastness of space, and the immense
challenge to be faced, metaphorically – man against the odds.
Camera Techniques to enhance setting: (linking with theme)
In contrasting the isolated and personal elements of Australia with the hardedged reality of war in Gallipoli, Weir utilised a number of cinematic
techniques. Most notably, the majority of the Australian scenes are shot with a
tighter lens than those in Gallipoli, indicating that once the men found their
way to war, they became little more than numbers — human ammunition. He
also draws visual comparisons between the sparse, lifeless deserts of
Australia and those of Egypt and, in doing so, suggests that these men's
struggle is thoughtless and insignificant in the greater scheme of things. The
pyramids, "man's first attempt to beat death," have witnessed men coming
and going. They stood through the Napoleonic wars and will stand through the
"war to end all wars." There is contrast in these shots, of antiquity, and the
youth of the men, like millions of young men who have gone before. There is
irony in the fact that the pyramids symbolise ‘beating death’ and humanity is
still not able to do this.
Below: Note low angle – depth that adds height to the looming pyramid.
“TWO – SHOTS”
There are a number of shots where two heads in close-up or mid-shot are
shown.
At the start, Archie and Uncle Frank are shot facing each other in profile, as
close-ups or from hid-shot, which mirrors the closeness of their relationship
and their mutual respect and understanding. They are ‘eye-to-eye.’
The same occurs with Archie and Frank as their relationship develops as
friends. There are several shoulder- to- shoulder shots which ‘connect’ them
visually for the viewer.
Whenever in the film there is a need to introduce intensity (seriousness)
either through the closeness of friendship, or of conflict, note the use of close
ups. When Major Barton and the British Commander discuss the battle about
to occur in the Nek, they are in close-up, but also shot from a low angle to
convey the superior position they hold, and this makes them appear dramatic.
There is a shot at the end of the film when Archie and Frank stand on high
ground at Gallipoli and we hear the sound of machine guns and screams.
Both of the two are motionless and shot as silhouettes, which gives the shot
an eerie, disturbing feeling.
When Frank finds his mates and visits Snow on his deathbed, note the low
lighting and close-ups which add poignancy (a sharp sadness) to the scene.
The shots go between Frank and Snow, slowly. The slowing of the shots
adds the feeling of dread and seriousness to this conversation.