Australian Geographic – MarchApril 2026 – Australian Geographic

The outcome of the Gallipoli campaign was still in question. But the 25 April 1915 disaster that became known as the landing at Anzac Cove was already being etched forever into the nation’s cultural psyche. Tragically, as is now well-known, the landing became a scene of immense bravery but also a slaughter, with more than 2000 of the 16,000 men offl oaded at Gallipoli that day killed or wounded by nightfall.

The short fi lm shot back then on Tamarama, entitled The Hero of the Dardanelles, was intended to help the recruitment drive for the war (the Dardanelles is the strait that was strategically vital to the Gallipoli campaign). But it’s also now acknowledged as the fi rst depiction made on celluloid by local moviemakers that captured Australia’s contribution to the Great War. It also turned out to be the fi rst of many fi lms made about this campaign as well as other wars that involved the nation.

Y 1965, THE 50th anniversary of the Gallipoli landing, Anzac Day ceremonies observing and remembering the Anzac legend featured huge public attendances. Many schoolchildren at the time, however, viewed 25 April with indiff erence. “It didn’t mean anything to us,” recalls Aussie screenwriter David Williamson, who was in his teens during the late 1950s and early ’60s. By the late ’60s, many people were taking to the streets in protest over Australia’s involvement in the Vietnam War, including a young Peter Weir. It wasn’t long before Anzac Day attendances dwindled as many Australians began to regard the day as a celebration of war.

But just as The Hero of the Dardanelles helped attract the masses for the war eff ort in 1915, another war fi lm based on the same campaign – eponymously titled Gallipoli – played a key role in bringing the crowds back to Anzac Day commemorations. After the success of Picnic at Hanging Rock (see Rocking the silver screen, AG 188), director Peter Weir, now a distinguished fi lmmaker, sought his next project and set his sights on the subject of World War I. The Dardanelles campaign wasn’t originally on his radar.

But a visit to the Gallipoli Peninsula in 1976 changed that, sparking his imagination and earmarking the campaign as the subject of a future feature fi lm. The screenplay was written by Williamson, based on an idea by Weir.

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This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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• Title: –
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• Pages: 133
• Language: English (en)

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