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Riding the new Age: how Aussie Movies won The World
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When Australian New Wave films burst on to world movie theater screens in the 1970s, sceptical audiences were initially baffled by the broad accents and strange colloquialisms.
Sunday Too Far, a renowned tale about male culture and loyalty in a 1950s shearing shed, was the very first success of Australia’s golden age of movie theater but Americans were especially by it, producer Matt Carroll remembers.
“They acknowledged that Sunday was a fantastic movie but they didn’t understand it,” he states.
“It was quite incomprehensible to anybody who wasn’t an Australian. At American screenings, you might also have had it in Dutch.”
But French audiences were far more inviting of the film at Cannes Directors Fortnight, thanks to the partner of an Adelaide automobile dealer who ’d offered Carroll a Peugeot.
“She said, ‘oh yes darling, I understand Parisian street slang, I’ll equate it all for you (into subtitles)’,” Carroll continues.
“I remember sitting in the movie theater and the first thing that shows up is somebody in the shearing shed says about the squatter, ‘his shit doesn’t stink’. When it was translated, the Parisian slang for that is ‘he farts above his asshole’.”
In the huge screening room, “the entire audience simply went nuts, definitely insane, and we got a big sale to France”, Carroll chuckles.
“It’s the language of the bush,” discusses famous Australian actor Jack Thompson, who portrayed the hard-drinking weapon shearer, Foley.
“There’s a wonderful sociability expressed because film. Sunday says something far more profound about the Australian character than a number of other motion pictures that examined our success and failures.”
Thompson, who left home at 14 to work as a jackaroo in the NT, says “it was like a journal, it was simply how people behaved - I keep in mind, because as a teenager, I remained in those sheds.
merrittvillagenewcanaan.com
“Sunday Too Far has a truly vital part in my career and in my memory
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