My Friend the Enemy

EPISODE 2

MY FRIEND THE ENEMY

http://www.metromagazine.com.au

ISBN: 978-1-74295-547-6 http://www.theeducationshop.com.au CONTENTS 1. Overview of the series 3 2. Curriculum 16 Production notes Gallipoli (Glendyn Ivin, 2015) is a seven-part mini-series applicability 17 Principal cast about the Australian and New Zealand experience of the Gallipoli campaign in 1915 — the campaign that 18 Film study (2) 4 3. Background contributed so strongly to the national identity of the information 21 Gallipoli as a three nations. representation of 4 4. The story to date history As dawn breaks on April 25, 1915, Anzac troops go into battle on the beaches of the Gallipoli peninsula in 5 5. Before watching 21 Comparing Gallipoli Turkey. Although they fight heroically in a chaotic and this episode with some accounts from soldiers at the confusing battle, the landing is ultimately a disaster. It will be the start of an eight-month stalemate where 9 6. Continuing the time thousands will lose their lives. story and exploring ideas and issues in 24 7. Resources for Living in the trenches amongst the dysentery, flies and Episode 2 further study of the Gallipoli campaign mud, Thomas “Tolly” Johnson, 17, learns what it means 9 Summary of Episode 2 to be a young man in war. Having lied about his age to 10 Key information and 25 8. Appendix 1 – enlist with his brother Bevan, Tolly’s fears mount that he ideas to discuss Characters as will be killed on the peninsula when he is thrust into the envisioned by the brutal battles at Gallipoli. SCREEN EDUCATION © ATOM 2015 10 Bringing it together writers 15 Film Study (1) General Sir Ian Hamilton, commander of the Gallipoli campaign, optimistically clings to the belief that he can break the stalemate at Anzac and Helles and take the peninsula. When his battles at Lone Pine, Chunuk Bair, Suvla Bay and The Nek result in catastrophic losses and further stalemates along the coastline, Hamilton, 2 refusing to acknowledge defeat, requests another 95,000 men. 2. Curriculum The flamboyant and outspoken British journalist Ellis Ashmead-Bartlett becomes deeply concerned about applicability Hamilton’s campaign and the incompetence of the British Gallipoli is suitable as a classroom resource for mid- command, and does his best to get the truth back to dle and upper secondary students, especially for: London. Australian History Year 9 When the military censor intercepts his letters and reports • Depth Study: World War 1 — The places where criticising the campaign, Ashmead-Bartlett becomes even Australians fought and the nature of warfare dur- more determined to alert the British Prime Minister to ing World War I, including the Gallipoli campaign the catastrophe unfolding at Gallipoli. He finds an ally in Australian correspondent Keith Murdoch and together they English Year 9 and 10 carry out their plan to end the stalemate at Gallipoli. • Analyse and evaluate how people, cultures, places, events, objects and concepts are represented in texts, including media texts, through language, structural and/or visual choices.

Media Arts Year 9 and 10 • Evaluate how genre and media conventions and technical and symbolic elements are manipulated to make representations and meaning. • Evaluate how social, institutional and ethical issues influence the making and use of media artworks.

The seven episodes are:

1 FIRST DAY: As dawn breaks on April 25, 1915, seventeen- year-old Thomas “Tolly” Johnson lands with the Anzac troops at Gallipoli and finds himself in a chaotic, brutal battle for the Turkish heights.

2 MY FRIEND THE ENEMY: When the Turks launch a massive attack, Tolly risks his life by charging a machine gun to protect his brother Bevan.

3 A MAN ALONE: In an attack on a Turkish position in the hills, Tolly is shot in the chest and evacuated to the beach.

4 THE DEEPER SCAR: Tolly recovers from his injuries and reluctantly returns to the front line at Gallipoli where he volunteers for sniper duty.

5 THE BREAKOUT: In August, General Hamilton coordinates a complicated series of feints and attacks in a final push to take the Gallipoli peninsula.

6 IF ONLY: After the failure of the August offensive, British journalist Ellis Ashmead-Bartlett breaks the military censor- SCREEN EDUCATION © ATOM 2015 ship agreement, forcing London to finally intervene in the Gallipoli campaign.

7 THE EARTH ABIDES: Tolly volunteers to stay behind and man the trenches as the British commanders begin the dangerous task of evacuating tens of thousands of troops from Gallipoli. 3 killed at Gallipoli.

3. Background After abandoning their supplies to scale sheer cliffs and navigating the wild terrain, Tolly, Bevan and their section information find themselves ahead of the main force, fighting towards to understand the series you need to have some back- the heights where they are involved in fierce combat with ground information. If you have not see Episode 1 First Turkish troops led by the charismatic Colonel Mustafa Day you should go to the Study Guide for that Kemal. episode and read Background Information 1 on pages 6-10 to help you answer these three questions:

1 Why were the Allies fighting the Ottomans (Turks) at Gallipoli?

2 Why were Australian troops involved?

3 What was the role which the Australians and New Zealanders had in the invasion on 25 April 1915?

You should also read Background Information 2 on pages 11-12 to understand the basic military terms.

4. The story to date at dawn on April 25, 1915, Anzac troops land at beaches along the Gallipoli peninsula. Among them are Thomas “Tolly” Johnson, 17, and his older brother Bevan. The brothers are close although Tolly harbours complicated feelings for Bevan’s fiancée, Celia, that haunt him through- SCREEN EDUCATION © ATOM 2015 out the campaign.

Struggling ashore and under heavy fire, the brothers find themselves in a chaotic and confusing battle. With little communication and artillery, and faced with major casualties, the Anzacs push on, Bevan courageously fighting for King and country while Tolly’s fears mount that he will be 4 wanted an armistice they must come along the beach 5. Before watching from Kaba Tepe with white flag and proper officer, a white flag appeared on Kaba Tepe. It was seen by our men, and this episode hundreds of them could be seen standing on the ridges this episode of Gallipoli focuses on three main events watching it. A white flag was then to be sent out by us — during the war: the mass Ottoman attack on 19 May, but we hadn’t got one. A signaller waved his flag whilst the negotiation between the two sides to organize an a scurry was made along the beach to get a bath towel, armistice to bury the dead, and the actual armistice which was finally sent out on a stick. Some time later you of 24 May. could see the Turkish white flag start marching along the skyline of Kaba Tepe. Men were walking about there every- 1 Here is the personal diary account of that event writ- where; I saw some coming out from the ridge between our ten by Australian war correspondent C E W Bean (See right flank and Kaba Tepe — one or two. Presently the first text that follows and map on following page). horseman I have seen at Anzac came over the ridge and Read it and decide if you were making a film of the cantered up the neck of the side of Kaba Tepe. event, how would you do it? What would you include? What would you exclude? What would you empha- They came up to our officers; there were clearly two officers sise? Create a storyboard that shows the sequence and two horse-holders. The officers shook hands — took your account would take. Add notes about how you out cigarettes. Our two officers brought their senior of- would film each part, how you would use music and ficer along the beach. When about a quarter of a mile from sound effects, what point the dialogue would make, our sappers post they blindfolded him very carefully with which characters you would focus on to tell the story. two handkerchiefs, and then each taking an arm led him between them like a child, chatting volubly — I suppose Then look at how the filmmakers have tackled this in English. He had two small wire entanglements to cross same task in this episode. before he reached our sandbag wall; a low trip wire maze and a higher one stretching down to the sea. They directed his feet carefully over the first one — like you do in the game where a man is blindfolded and set to step over a lot of May 19 The attack books that aren’t there — irresistibly like it. They shouted for coats to help him cross the second one; but in the meantime At 3—20 the Turks attacked. Fire was immediately opened. someone had a brainwave. There were several Australians The Turks made no noise about their first attack this time. bathing along the beach near by. Someone rushed off for a Afterwards they frequently blew bugles to get their men stretcher — then they called for the bathers. Two of these out of the trenches, but the first attack was noiseless. big Australians — naked as the day they were born — took They seem to have come out all along the line at nearly the stretcher round the larger entanglement. The Turkish the same moment. The Turks did not seem well-trained. There was no attempt at covering fire, and so our men could sit right out on the traverses of the trench, or even the parapet, and shoot for all they were worth. The Turks would lead out all along the same path, one after another — simply inviting death.

They made two charges in most parts, but opposite Quinn’s Post and opposite the 4th Battalion they made four charges. Indeed, at Quinn’s Post they made five or six.

Most of the Turks out there were dead. . . [The Turks had suffered 10000 casualties in this day of suicidal attacks. The Australians had lost 160 men killed and 468 wounded. Australian rifles and machine guns had fired 948 000 bul- lets in repulsing the Turks.]

Some of those . . . Turks under the parapet had fright- ful wounds in the head — half the head blown away. I SCREEN EDUCATION © ATOM 2015 saw one head wound like a star, or pane of broken glass; another more or less circular — you could have put your hand into either.

May 22 Negotiating the armistice

This morning in answer to our letters that if the Turks 5 SCREEN EDUCATION © ATOM 2015

C E W BEAN, OFFICIAL HISTORY OF AUSTRALIA IN THE WAR OF 1914-1918, VOL II, THE STORY OF ANZAC, ANGUS & ROBERTSON, 1924 6 down in it you could see the Turks crowding up to their half way line. The trenches here run up to within 10 yards of one another: in fact they are at one point joined by a communication trench made by us on the night of one of our attacks when we took the Turkish trenches. When we came back we filled up one end and the Turks filled up the other — but for a time it was open. Our men used to throw out biscuits occasionally, or Bully Beef tins to the Turkish end of the trench, and shout out “Saida.” When a Turkish hand appeared reaching for the tin they would blaze at it. On one occasion I believe they threw a hambone over — an abhorrence to the Turks — and caused quite a disturbance. . .

The men on the half way line between Quinn’s and the Turk trench were not more than five or six yards away from Quinn’s. The ground was absolutely bare of scrub — it had been cleared. They were burying dead between the trenches, and shovelling some into the communication trench which connected the left of our line with the left of a colonel got on to it — the two naked men carried him into Turk trench around the plateau, only a few yards distant. the water, round the edge, and back to the beach. And I got three photographs! As he came along the beach a Our men and the Turks were offering each other cigarettes: procession gradually formed round him, as it would round a occasionally there was a squabble as to whether a bit of Salvation Army band in Market Street — no officer seemed accoutrement had been found on our side or theirs of the to think of sending them away. centre line. A Turk would run to point to it. “Mafish” our man would say, gathering it into a little bag. 24 May The armistice There must have been a hundred men and officers at this The orders to our men were that only stretcher and burial point, . . They made no pretence of busying themselves parties were to go out — mostly A.M.C. men; all others were with the dead — they simply stood there surveying our to keep their heads below the parapet. With the enemy the lines from the edge of the plateau calmly working out their agreement was that there should be no reconnaissance, exact attack. “It will be a much better planned one than the sketching, photographing; no work done, no digging or last”, Col. White said to me. moving of troops during the day. What we wanted was to have their dead buried stench; I know it was bad enough on We came out of Quinn’s (from the back of Quinn’s you see May 19th — it must have been awful by today). . . the whole Turkish front on Baby 700 clearly, but our fire prevents them from firing there — a good illustration of In the 2nd Battalion lines the dead were very thick indeed covering fire). opposite there, but thicker still opposite the 4th Battalion — to the right of the break in their line; but thickest op- It was here, as we were climbing up our trench, that we posite Courtney’s. Here our men were shovelling Turkish saw General Birdwood, General Godley, Col. Monash, dead into a short abandoned Turk trench and the Turks Onslow, and the staff who had been quite frankly walking were dragging their men to the edge of the gully opposite along the front of our trenches reconnoitring. Courtney’s and shovelling them over — where they lay as we saw them 20 or 30 together in a crevice. This quite disillusioned me as to truces. We wanted it to clean the battlefield for our men. The Turks wanted it to get Quinn’s is easily the worst place in our line. The fire trench rifles. The Turks made no pretence of burying many of their is shallow; the parapets very low — and they look very fellows so far as I could see. We both frankly reconnoitred thin; and the tunnels through which you grope your way the other’s position — I don’t know which got the better of from one trench to another are simply a rabbit burrow — it. Our men got a day’s rest, but so did theirs. I though this SCREEN EDUCATION © ATOM 2015 you can scarcely get through some of them. In one trench truce a good thing before it came off— but I don’t think I there is an archway such as you often find. It is not four would ever desire a truce again under the same circum- foot — scarcely three foot — thick; but in it is a dead Turk. stances; better to go on and let them attack again if they His boot and his fingers of one hand stick out from the roof wanted to with such knowledge as they have. as you squeeze your way under. Edited extracts from Kevin Fewster (ed), Frontline Gallipoi. The trench was shallow and uncomfortable; and even sitting C.E.W. Bean’s diary from the trenches, Allen & Unwin, 1990 7 SCREEN EDUCATION © ATOM 2015

PETER STANLEY, QUINN’S POST, ALLEN&UNWIN, 2005 8 horrific aftermath of a major battle. While the outnumbered Australians successfully repel the Turks and hold their defensive lines, the casualty rate is so high that thousands of bodies litter No Man’s Land.

The stench, flies and dysentery are unbearable and neither side can bury their dead under fire. Reluctantly the English and Turkish commanders meet to negotiate an armistice.

The Anzacs and Turks cease hostilities to bury the thousands that lie dead across No Man’s Land. Meeting face-to-face for the first time, the enemies share photos of loved ones and conversation as they carry out their grisly task. Tolly exchanges gifts with a young Turkish private 6. Continuing the story who looks eerily similar to him. and exploring ideas and issues in Episode 2 SUMMARY OF EPISODE 2

One month after the dawn landing, the Australians and New Zealanders are digging in, struggling to hold their position in the hills above Anzac Cove.

Although both sides have taken massive casualties and are locked in a stalemate, newspapers in London and Sydney are aglow with reports of “gallant Anzacs” and great suc- cess at the front. British journalist Ellis Ashmead-Bartlett grows frustrated with the military censorship and urges his fellow journalists to break ranks and write the truth.

Tolly’s fears mount when Bevan volunteers to charge a SCREEN EDUCATION © ATOM 2015 machine gun nest during a massive Turkish assault. Fearful for his brother, Tolly instead scrambles out of the trench and charges the gun, killing the Turks, saving his brother’s life and impressing his commanding officers.

The Australian Light Horsemen arrive at Anzac Cove to reinforce the exhausted troops and are shocked by the 9 Ashmead-Bartlett and the Australian journalist, later to become the official historian, C E W Bean. Why does Ashmead Bartlett object to censorship?

12 The main emphasis in the episode is on the truce that follows the May 19 attack. What attitudes have to be addressed before a truce is possible? Consider both the events that lead up to the truce (the firing of the Red Cross flag), and the attitude of some of the senior officers towards showing weakness to the Turks.

13 What different attitudes do we see by the British officers towards the Turkish officer who comes to negotiate the truce?

14 The truce goes ahead. How does the film establish the terrible situation that existed between the two lines of trenches?

KEY INFORMATION AND 15 We see details of three different interactions — between Bevan and a Turkish soldier, between Tolly and IDEAS TO DISCUSS a Turkish soldier, and between Captain Chandler and a Turkish officer. What is the emphasis of these interactions? 2 What was the Allies’ situation one month after the inva- Do you think this is a realistic scene? sion of Gallipoli on 25 April?( See also Map 1 on page xx to help you understand the situation.) 16 The Turkish officer says that ‘this politics, this is diplomacy’. What does this mean? 3 We see journalist Ellis Ashmead-Bartlett walking with the generals. He is warned against ‘trying the censor’. What 17 We also see some other interactions — where two sol- does this mean? diers bury a dead Turkish soldier in the British trench, and very briefly where Sergeant Perceval reacts to the ‘smiling 4 We see the soldiers discussing atrocities in Belgium, and may you go, and smiling come again’ comment. How do rumours of Turkish atrocities against Australian soldiers. these reactions balance the three main harmonious ones? How would such rumours influence soldiers’ attitudes to the enemy? 18 What is the impact of the truce on the attitude of the Australians to the enemy? 5 The senior officers know that an Ottoman attack is ex- pected. What is their attitude to this? What is the attitude of the officers on the beach? What is the attitude of the BRINGING IT TOGETHER soldiers in the trenches? The characters 6 The attack when it came was fierce. How do the filmmakers show the fierceness of this attack? 19 Summarise various aspects of the characters revealed in this episode. See Character Table 1 on pages 7 What do we learn about Bevan and Tolly during and after 11-12. the episode with the Turkish machine gun?

8 What do we learn about Dave? Does this surprise you? Does it seem realistic? Explain your reasons.

9 Ellis Ashmead-Bartlett is critical of the situation. How does General Birdwood respond? What is this telling us about the attitude of the military towards the campaign? SCREEN EDUCATION © ATOM 2015

10 During a lull in the fighting we see reinforcements from the Light Horse arriving in the trenches at Quinn’s. How are they received by the ‘old hands’. Why are they received in this way?

11 We see a discussion about censorship[ between 10 CHARACTER TABLE 1

Character Character notes SCREEN EDUCATION © ATOM 2015

11 CHARACTER TABLE 1

Character Character notes SCREEN EDUCATION © ATOM 2015

12 20 We also see these new characters, Light Horse troops Continuing fighting sent as reinforcements. What are your first impressions about the attitudes and qualities of these men? See 26 If the two sides start to see each other as fellow human Character Table 2 on page 14. beings, and as similar people, why would they go back to fighting each other? 21 You can compare your ideas with those of the writers by looking at Appendix 1. Consider how the actors suc- Censorship ceed in ‘creating’ their characters successfully. 27 Ashmead-Bartlett is trying to tell the truth. How might The officers people in Britain and Australia knowing the truth benefit the situation? How might it harm it? 22 What does the episode suggest about the attitudes of the most senior officers (aboard the ship), the officers on the beach, and the officers who are actually fighting?

The Anzacs

23 What is the image that is presented about the Australian soldiers. Is there one image, or is there a collec- tion of individual attitudes and values and behavior?

Mateship

24 Mateship is a key quality that is usually stressed in the Anzac Tradition. What does the film show about mateship?

The enemy

25 What aspects of the enemy are emphasised? SCREEN EDUCATION © ATOM 2015

13 CHARACTER TABLE 2

Character Character notes

35 SCREEN EDUCATION © ATOM 2015

34 14 FILM STUDY (1)

The makers of the film want to create a work that in- 28 Look at each of the following aspects of film-making forms, entertains, engages, educates, creates empathy and summarise in column B how the film uses each one. with and gets certain messages across about Gallipoli. Read the Production notes as well, as these will help il- How does it do this? lustrate the intentions and the skills of the filmmakers in creating the episode.

A: ASPECT B: THE EPISODE SCREEN EDUCATION © ATOM 2015

15 scholarship and analysis of the Gallipoli campaign, as well as numerous other histories, records and first-hand accounts including letters and memoirs.

Gallipoli was filmed in Victoria over 16 weeks, with addi- tional photography on location in Turkey. The mini- series was shot by Germain McMicking with production de- sign by Jo Ford, makeup and hair by Chiara Tripodi and costumes by Cappi Ireland. Stephen Rae composed the score and Deborah Peart edited the series.

Production designer Jo Ford utilised thousands of photographs, sketches, charts and records to recreate the Gallipoli peninsula, from Anzac Cove up to the ridges and gullies and Turkish positions at Battleship Hill, encom- passing command posts, warships, hospitals, tents, dug- out shelters and trenches. An extensive system of frontline and support trenches was constructed west of Melbourne and formed the main set for the series.

While most of the set dressings and props were created especially for the production a few rare original items were used, including a Turkish field gun captured on April 25, 1915, in the vicinity of Lone Pine by the Australian 9th Battalion (the first one recruited for the war, in Queensland). The 9th Battalion was among the first ashore on Anzac Day and served at Gallipoli until the evacuation in December 1915. PRODUCTION NOTES

Written by Christopher Lee, inspired by Les Carlyon’s critically acclaimed best-selling history of the Gallipoli campaign and directed by Glendyn Ivin the mini-series chronicles the entire, bloody Gallipoli campaign, from the early hours of April 25, 1915, through to the withdrawal of the last Anzac troops eight long months later.

An epic story more than three years in the making, Gallipoli portrays one of the most heroic yet catastrophic chapters in Australian history, principally from the per- spective of the emblematic young Anzacs in the trenches, but also from the officers in the field, from the British High Command, from the journalists struggling to report the truth, and from the Turkish forces fighting desperately to defend their homeland from invasion. Gallipoli also focuses on the experience of the New Zealand troops and their particular bravery at the Battle of Chunuk Bair.

Gallipoli opens with the landings at what was to become Anzac Cove and moves on to portray the critical battles of the conflict mainly from the young soldiers’ point of view, including Baby 700, The Nek, Lone Pine and Chunuk Bair, SCREEN EDUCATION © ATOM 2015 as well as lesser known events such as the truce in May 1915 which allowed both sides to bury their mounting dead.

In research, writer Christopher Lee and director Glendyn Ivin drew heavily on Les Carlyon’s meticulous

16 Emmy Award-winning makeup and hair designer Chiara Tripodi led a team of prosthetic and special effects artists to create the bloodied wounds and corpses seen throughout the series, which involved working with a cast of over 100, as well as numerous extras and prosthetic bodies. Costume Designer Cappi Ireland ensured that costumes, especially the uniforms, were not only his- torically accurate but also unique to each individual across the timeframe of the narrative, attending to such minute details as the sewing of an insignia badge, or the way a character wore his hat or laced his boots.

In addition to research, the creative team drew on the ex- pertise of military adviser Dayton McCarthy, Ph.D., who brought his historical knowledge of military culture and in particular the First World War, together with his practical experience as an Australian Army Major to assist in the re- alisation of the story and ensure authenticity. In addition to working closely with the production crew on the historical details, Dayton also led the cast through military training prior to filming to help them understand the physical and psychological experience of a common soldier at Gallipoli from the heat of battle to their daily duties and pastimes.

To create landscapes and environments with precise historical and geographical accuracy, teams of CGI artists led PRINCIPAL CAST by Pat Sarrel and Scott Zero have been at work since production began. -- Tolly Johnson -- Billy Sing -- Bevan Johnson -- Kodi Smit-McPhee Producer John Edwards said, “The three years in both -- Dave Klein -- Harry Greenwood the planning and execution is necessary to realise both -- Cliff Sutton -- Sam Parsonson the ambitions and the responsibilities of a project like this. -- Ellis Ashmead Bartlett -- Tom Budge We wanted to tell the whole Gallipoli story and we aspired -- Sir Ian Hamilton -- James Callis to come to grips with what the Gallipoli experience has -- Walter Braithwaite -- John Bach meant to Australia. Making it has been both a daunting and -- Anthony Chandler -- Nicholas Hope exhilarating ride.” -- Harry Perceval -- Anthony Hayes -- Charles Bean -- Matt Nable -- Celia Houghton -- Leon Ford -- Sir William Birdwood -- Ashleigh Cummings -- Captain Taylor -- Anthony Phelan -- Mrs Johnson -- Jeremy Lindsay Taylor -- Stewie Watson -- Justine Clarke -- Two Bob King -- Travis Jeffery -- Chook Dutton -- Dion Williams -- Tessa Gordon -- Lincoln Lewis -- Mustafa Kemal -- Gracie Gilbert -- Lord Kitchener -- Yalin Ozucelik -- William Malone -- Lachy Hulme -- Keith Murdoch -- Grant Bowler -- Captain Mehmet -- Damon Gameau Ozkan -- Alex Tsitsopoulos

-- Major Stephen -- Dan Wyllie SCREEN EDUCATION © ATOM 2015 Midgely -- James Stewart

17 FILM STUDY (2)

29 Here are some historical photographs of the events in example, you might have suggested a similar approach to this episode of Gallipoli. Comment on how the filmmakers the fighting), and on the differences. Why do you think the have used these in the episode. filmmakers have included some elements that you have not, and excluded some elements that you might have SEE photos ‘A. The Truce negotiations’ below; and included? ‘B. The Truce’ on pages 19-20. 31 The title of the episode is My Friend The Enemy. Do 30 Look back at your storyboard activity. Compare how you think this is a good title? Explain your views. you would have approached the story with the way the filmmakers have done. Comment on the similarities (for 32 Imagine that you have been asked to provide an alternative title to the episode. What would your title be? Explain why you think it is appropriate.

A. THE TRUCE NEGOTIATIONS

3 SCREEN EDUCATION © ATOM 2015

5 18 6

B. THE TRUCE

7 19 B. THE TRUCE

12 20 A Gunner Recep Trudal, Ottoman 27th Regiment

It started at morning prayer call time, and then it went on and on, never stopped. You know there was no break for eating or anything . . . Attack was our command. That was what the Pasha said. Once he says ‘Attack’, you attack, and you either die or you survive. We were decimated, and in the end we fell apart. We went down there again two days later. My God you should have seen it! You couldn’t step on the ground. It was all bodies . . . Their families came later, you know, and they all cried at the burial scene, trying to find out where their sons were. GALLIPOLI AS A B Private Jack Nicholson, 1st Battalion

REPRESENTATION OF Every man jack was involved ... everybody who could get HISTORY a rifle onthe parapet was in that. We had to because we knew that if they broke through, we’d be driven into the Every account of history that you read or see is a sea. representation of the event — that is, it is somebody’s version of what happened. The person who C Private William Tope, 12th Battalion created the account chose what to include, and what to exclude, what to emphasise, and what I had led reinforcements into the trench. I stopped at the to play down. Every account is influenced by the entrance and filed them in. When they had filled the trench, creator’s own knowledge, understanding, values, I found I didn’t have enough room because there were men attitudes and the messages or meanings he or she still filing in and I was standing like a galoot, so I pushed wants to get across. this chap at the end, made make room ... I felt that I’d be buried there behind if I didn’t have a go ... It gets you, Gallipoli is a representation of history. This does especially when you’re lying down with all your mates and not mean that it is wrong or biased, it just means you’ve been together for so long, and you know the inten- that the creator has presented this version, which sity of the fire that they can put up—it just sings in your might be different from, but equally as valid as, ears, vibrates . . . My friend, Richardson, he was watch- somebody else’s account or version. ing with his glasses and he was telling us where to fire to catch the bunnies as they ran back home. But it does mean that to be a good and believ- able representation of history the version must be D Private Memish Bayraktar, fair and reasonable in what it chooses to include, Ottoman 27th Regiment, leave out and emphasise. Countless dead, countless! It was impossible to count. Blood was flowing like water. That night we drank water COMPARING GALLIPOLI from a creek, and then in the morning realised that it was WITH SOME ACCOUNTS all blood. FROM SOLDIERS AT E Ottoman Army report THE TIME 1. Our attacks of yesterday and during the night have been repelled. Kemal has been distressed. He was so 33 Look at the following primary source accounts fired up that he would not pull back his troops and at of the events seen in Episode 2 and decide if night the 7th Division has been destroyed. the film reflects or does not reflect each one. 2. Today the enemy’s position and ours remain Underline in coloured ink any elements that seem unchanged. to be consistent with the way events are present- SCREEN EDUCATION © ATOM 2015 ed in the film — and in a different colour if any of F Lieutenant-Colonel Shefik, the accounts seem to contradict or challenge the commander 27th Regiment image presented in the film. Rather than looking at all, you might divide the accounts among the The great heroism of all our brothers in arms, which adds class, and present a report from each person on one more famous and worthy leaf to the golden letters writ- the extract/s allocated. ten on our history’s page, is appreciated and remembered.

21 G Captain Aubrey Herbert, Staff officer

The Turkish captain with me said: ‘At this spectacle even the most gentle must feel swage, and the most savage must weep’... I talked to the Turks, one of whom pointed to the graves. ‘That’s politics’, he said. Then he pointed to the dead bodies and said, ‘That’s diplomacy. God pity all of us poor soldiers’.

H Private Frank Parker, 5th Battalion

I don’t suppose you’ll find a more gruesome and sickening sight—there were bloody flies and maggots and God knows what, and these fellas swelled up like balloons . . . but I’m L Private Frank Parker, 5th Battalion afraid a lot of them had a very shallow grave because we never had the time really, there were so many of them. And we were all great mates, then another five minutes and someone blew the whistle and the machine-guns were I Private Jack Nicholson, 1st Battalion all rattling fire again.

When the armistice was set, the men were picked for their M Harvey Broadbent, historian height—all six-footers. That was to make Johnny Turk think we were all big blokes’. The Turkish names given to Anzac positions in the wake of 19 May live to this day on the battlefield as testimony to J Private Charles Bingham, the slaughter—for Lone Pine, there is Bloody Ridge (Kanli 1st Australian Casualty Clearance Station Sirt), for Johnston’s Jolly, Red Ridge (Kirmizi Sirt), for the Pimple, Martyr’s Hill (Shehidler Tepe) and for Russell’s Top, You’d say, ‘How are you, Johnny’—we called them Johnny Hill of Valour (Jesaret Tepe). and gave them cigarettes and bully beef. We just sort of mimed . . . They were quite decent fellows. They gave N William Dexter, Anglican Chaplain, AIF badges in return, uniform buttons with a star and crescent on them, some got dried fruit—that’s about all you could Things very quiet this morning. Raining and things generally get. We picked up rifles and brought them back. miserable. At 7.30 a.m. armistice began for the purpose of burying the dead. The smell is something awful. Some of the K Captain Aubrey Herbert, Staff officer bodies have been lying in the heat of the sun for 4 weeks and of course all are unrecognisable. It is only by identifica- About a dozen Turks came out. I chaffed them, and said tion discs that the corpses are known. It was arranged that they would shoot me next day. They said, in horrified a central line between the trenches be fixed. Each on their chorus: ‘God forbid!’ The Albanians laughed and cheered, own half of the ground could take their dead away and also and said: ‘We will never shoot you’. The Australians began rifle and ammunitions ... The ground was simply covered coming up and said, ‘Goodbye old chap; good luck’. And with dead between the trenches at various points and after the Turks said, ‘Smiling may you go and smiling come the day’s work of burying estimates of 12,000 Turks killed again’. Then I told them all to get into their trenches, and have been made ... Amongst this awful mass of dead Turks unthinkingly went up to the Turkish trench and got a deep were some of our boys who had been killed on the 1st and salaam from it. I told them that neither side would fire for 2nd days’ fight and had lain there since ... The bodies were twenty-five minutes after they had got into the trenches. horrible to look at being black and swelled up stretching out the clothing and in many cases when they were touched falling to pieces ... It seems so strange, the quietness in the valley, no explosions and the men getting on the skyline and looking at the Turks through their glasses.

O Compton Mackenzie, novelist and journalist

Looking down I saw squelching up from the ground on SCREEN EDUCATION © ATOM 2015 either side of my boot like a rotten mango the deliquescent green and black flesh of a Turk’s head. ‘This parapet’s pretty well made up of dead bodies,’ said our friend below, putting out his hand to help me jump back into the trench, for he saw that I had had enough of it up there.

22 P Captain Aubrey Herbert, Staff officer

We mounted over a plateau and down through gullies filled with thyme, where there lay about 4000 Turkish dead. It was indescribable. One was grateful for the rain and the grey sky. A Turkish Red Crescent man came and gave me some antiseptic wool with scent on it. . . The Turkish captain with me said: ‘At this spectacle even the most gentle must feel savage, and the most savage must weep’. . . One saw the results of machine gun fire very clearly; entire companies annihilated - not wounded, but killed, their heads doubled under them with the impetus of their rush and both hands clasping their bayonets.

Q Corporal Charlie Clark, Wellington Battalion

At Quinn’s, looking out on the bodies of mates, and not being able to recover them, you got callous pretty quick. You couldn’t be anything else. It was no use feeling anything else. We seen out the heat and the flies and the dysentery for months. We seen out the British generals too, and their mess-ups. We didn’t hate them. We just treated them with T Corporal Charles Livingstone, contempt. We treated some of our own lot with contempt 6th Australian Light Horse Regiment too, the officers that ran. [We exchanged] coins and other articles, and in some R Private Jack Nicholson, 1st Battalion cases were able to communicate. A Turk and crescent em- bossed with the Sultan’s scroll in Arabic. All I had to give I didn’t cry, unless Gallipoli was one long cry. If you cried him in exchange were a few coins. once you’d never stop. There were friends going every day and sometimes every hour of the day, wonderful friends. I U CEW Bean, journalist grieved inwardly. That was all you could do. As a war went on you could forget the death of a very fine friend in five One reaction to this immense slaughter was that the at- minutes. titude of the troops towards this enemy changed: from being bitter and suspicious they became admirers and almost S Private John Adams, 2nd Battalion friends of the Turks — “Jacko” or “Abdul”, as they called them — and so they remained to the end of the war. [Saw] four battalions of Turks forming up for another attack. Bombs were as distant as the moon, our weapons V Turkish staff officer Fahrettin-Altay being rifles and bayonets ... [Turkish] officers were shout- ing excitedly and striking their men across the backs and [A feeling of] sympathy formed quickly between the sol- legs with swords in an attempt to get them into position. diers of these opposing armies who had been trying to kill A few bugle calls and commands were then made, and on one another. They had given our soldiers buttons that they they came until their flanks were exposed to the withering had ripped from their own uniforms and had requested war fire of the rd3 Battalion [to the left] and the 2nd Battalion [to mementos in return. Since the buttons of our uniforms at the right]. The flanks were thus mown down and the attack the time were hidden, they had looked for other things, and was doomed. small mementos such as coins had passed from hand to hand.

Extracts taken from diaries, letters and reminiscences quoted in

C E W Bean, Official History of Australia in the War of

1914-1918, Vol II, The Story of Anzac, Angus & Robertson, SCREEN EDUCATION © ATOM 2015 1924, Les Carlyon, Gallipoli, Macmillan, 2001, Harvey Broadbent, Gallipoli, The Fatal Shore, Viking, 2005, Jonathan King, Gallipoli Diaries. The Anzacs’ Own Story Day by Day, Kangaroo Press, 2006, David W Cameron, Our Friend The Enemy. A Detailed Account of Anzac From Both Sides of the Wire, Big Sky Publishing, 2014

23 7. Resources for further study of the Gallipoli campaign 2010 The Gallipoli series has a dedicated website: www.9jumpin. Peter Fitzsimons, Gallipoli, William Heinemann, 2014 com.au/Gallipoli Harvey Broadbent, Gallipoli, The Fatal Shore, Viking, 2005 You can explore more about the series and its making Jonathan King, Gallipoli Diaries. The Anzacs’ Own Story on that site. Day by Day, Kangaroo Press, 2006 David W Cameron, Our Friend The Enemy. A Detailed Other websites Account of Anzac From Both Sides of the Wire, Big Sky Gallipoli and the Anzacs Publishing, 2014 http://www.anzacsite.gov.au Peter Stanley, Quinn’s Post, Allen&Unwin, 2005 Commemorating 100 Years of ANZAC http://www.anzacportal.dva.gov.au Books — New Zealand Gallipoli and the Anzacs secondary resource (2010) Christopher Pugsley, The Anzac Experience. New Zealand, http://www.anzacportal.dva.gov.au/sites/default/files/publi- Australia and the Empire in the First World War, Reed, cation-attachments/Gallipoli_Anzacs_Complete_0.pdf 2004

Books — Australia Books — Britain C E W Bean, Official History of Australia in the War Peter Hart, Gallipoli, Profile Books, 2011 of 1914-1918, Vol II, The Story of Anzac, Angus & Tim Travers, Gallipoli 1915, The History Press, 2009 Robertson, 1924 SCREEN EDUCATION © ATOM 2015 David W Cameron, Shadows of Anzac. An Intimate History Books — Turkey of Gallipoli, Big Sky Publishing, 2013 Kevin Fewster, Vecihi Basarin, Hatice Hurmuz Basarin, A Robin Prior, Gallipoli The End of the Myth, UNSW Press, Turkish View of Gallipoli. Canakkale, Hodja, 1985 2009 Tolga Örnek, Gallipoli. The Front Line Experience, Currency Philip J Haythornwaite, Gallipoli 1915 Frontal Assault on Press, 2006 Turkey, Osprey Publishing, 2005 Edward Erickson, Gallipoli. The Ottoman Campaign, Pen Les Carlyon, Gallipoli, Macmillan, 2001 and Sword Military, 2015 Michael McKernan, Gallipoli. A Short History, Allen&Unwin, 24 PRIVATE BEVAN JOHNSON PRIVATE DAVE KLEIN PRIVATE THOMAS ‘TOLLY’ JOHNSON PRIVATE CLIFF SUTTON

decisive, particularly courageous, PRIVATE DAVE KLEIN 8. Appendix 1 – clinically intelligent and resourceful. In another context his untapped strengths Dave’s pretty quiet, the bloke who sits Characters as might lie dormant and never need to be there laughing at jokes but doesn’t often revealed, but here, on Gallipoli, Tolly is tell them. At 23, he’s solid and reliable envisioned by the called upon to find heroism in himself – and takes his responsibilities seriously. writers and does so with ease. He is genuinely Unlike Bevan he’d never volunteer for a afraid of dying on the battlefield dangerous mission, but if selected he’d PRIVATE THOMAS ‘TOLLY’ carry it out like a true soldier. He’s think- JOHNSON ing of being a schoolteacher when he PRIVATE BEVAN JOHNSON gets home. He had a girlfriend once, but Tolly turns 18 at Gallipoli – a quiet, self- she left him for another bloke. contained youth who is something of a Bevan, 21, is sunnier and more optimistic conservative. Tolly worships his brother than his little brother, more of the view Dave’s friends are very important. He’s Bevan, who is three years older. He that life is to be enjoyed. The army could most happy when he’s with Bevan, Cliff would probably not be a soldier if it not do with more Bevans – he’s the fellow and even Tolly, enjoying the warmth for Bevan – he’d have preferred to stay who read about the war in the paper and of camaraderie, whether it’s in the home and keep things the way they are. immediately knew he had to join up. Not trenches or anywhere else. He’s a bit of much thinking went into it. He likes to do a loner and happy that his mates seem Tolly is a watcher, calmly witnessing the right thing– “there’s bad men over to like him. what happens around him and never there, let’s get stuck into them”. feeling the compunction to add to the noise. He is physically strong and men- He tends to do what he’s told. He’s the PRIVATE CLIFF SUTTON tally more intelligent than Bevan and good, courageous young soldier who’ll his other mates. He critically analyses volunteer for the dangerous mission Twenty-nine-year-old Cliff is a typical what’s going on around him but keeps because someone has to, and be- Aussie larrikin. He enjoys life – he even quiet about his conclusions. Throughout sides, it might mean one of his mates enjoys war. No bloody Turk’s going to the series he learns that his point of doesn’t get killed. Bevan’s mates are shoot Cliffy. He’s not made to die in view has merit, and he’ll gradually learn important to him – he’s popular in the blood and agony, he’s made to live to act on these instincts. pub and people are drawn to him. His forever and pinch the nurse’s bottoms in life is somewhat superficial, a simple the old folks home. He’s a bit of a smart

Tolly has great strength of character – and straightforward proposition: he’ll go alec, the one who’ll think up the practi- SCREEN EDUCATION © ATOM 2015 an attribute that is recognised by his to war, come home, get married to his cal joke then pull it off. He mixes easily mother and his superior officers, but not sweetheart, work a job, have children. and has no prejudices. seen by his peers who simply see him He doesn’t like complications. His main as the “little brother”. At times of stress responsibility on Gallipoli – the same His breezy, in-your-face charm means and critical danger this strength comes since he was a boy – is to look after he can get away with subtly insulting to the surface and Tolly surprises even Tolly. He is the perfect big brother. officers, something he sees as a bit of himself with his actions. He becomes sport. Cliff, like Bevan, is a handy man to 25 Nicholas Hope is Walter Braithwaite John Bach is Hamilton’s Chief of Staff has been described as “arrogant and incompetent”. Certainly, Sir Ian Hamilton Walter Braithwaite, 50, is arrogant, but far from incompetent. His competence is what makes him such a dangerous presence. Braithwaite is a Known as “Johnnie”, Sir Ian Hamilton is 62, tall, gaunt sophisticated and intelligent man, tough with a and balding with a drooping, war-damaged left hand. mean streak, a characteristic completely lacking in He is charming, courtly, kind and sensitive, a fine writer Hamilton. of poetry and prose with a strong aesthetic vision and a soul. He is highly intelligent, well read and, according Some historians have described him as the power to Bean, has “a breadth of mind which the army does behind Hamilton, the eminence grise who cleverly not in general possess”. Here lies his tragedy: all his best manipulated his master to further his own ends. characteristics are not those anyone expects to find in a Where Hamilton is charming, Braithwaite is, if not repellent, then certainly unlikeable. Where leader of men in war. Hamilton is generous, Braithwaite is mercenary. You don’t instinctively warm to this man – he is too Hamilton is a good man, a gentleman and a friend, self-contained, too caught up in his own views, too but his lack of ruthlessness means he is doomed from conscious of losing his place in the pecking order the start. He lacks the mongrel so evident in men like or looking foolish. He will quash any threat to his Kitchener and, in particular, Kemal. As a senior army position. He has been described as “an egregious officer his intelligence gets him through, but a great or snob”. With his peers and perceived betters he can even successful general needs more. Hamilton lacks be funny and pleasant but his genial warmth is the animal drive, the killer instinct that might have rooted in calculating egocentrism. In the end, when they’re both sacked, his relationship with Hamilton made a difference at Gallipoli. He never dominates or is poisonous. sticks to unpleasant decisions. It was said of Hamilton GENERAL WALTER BRAITHWAITE ELLIS ASHMEAD-BARTLETT that he lacked the strength to command his staff, thatNicholas Hope is one of Australia’s most highly they commanded him, especially Braithwaite. Hamiltonregarded actors and works across Australia, the UK listens when he should be acting, takes advice whenand Europe. SIR IAN HAMILTON he should be rolling over the top of his advisers, and Minister is Missing He is best known for his performance as Bubby in Boys. Most recently, Roguehe played Nation Tadgh,, the estranged pauses to take stock when he should be plunging on. Rake and Wild Analysis and politesse are both his strengths and majorRolf de Heer’s internationally acclaimed father of Patrick Reid (Matthew Le Nevez) in Bubby (1993), which won him the AFI Award for Offspring weakness. have by your side in the trenches – he’ll fascinated by what the futureBad Boy holds mindand appeared which thein army does not in general Best Actor and the Venice Film Festival Award for Mysteries. Miss Fisher’s Murder do what has to be done and think aboutBest Performance. and willing to give almost anything a possess”. Here lies his tragedy: all his Hamilton is a vibrant physical presence. He is described it later. He takes what life dishes out to punt. He gets by with his gift of the Born in Britain,best he characteristics grew up in South are Australia not those and anyone as a man who “hums with a nervous energy”. He likes him. His dark, introspective momentsHis film workDamnedgab, includes his, Legend overwhelmingPaul Cox’sof the Exile Seeker confidence,, This Is Not graduatedMyand Life , fromexpects Flinders to findUniversity. in a leader He is also of a men in war. to get on with things and has a strong work ethic. Revenge Close to Home and the title role of Detectivedirector Inspector and published writer, and received his PhD are few and far between – unlike Tolly, he , Thethe Life factof Harry that Dare he , is well and connected. Lust and All Physically courageous, he’s been twice recommended1967 , The NightJohn DugganWe Called in It the a Day NZThe crime Goddess drama of Dugganfrom. Most University of Sydney in 2010. easily manages to ignore the cold hand.He will next behis seen privileged in Simon Stone’slife he debuthas been feature able to Hamilton is a good man, a gentleman for the Victoria Cross. recently he appeared in and the 2014 NZ mini-series Hope The Daughter alongside Geoffrey Rush, ScoobySam Neill Doo . andcall Wire up about favours the fromaftermath friends of andthe 2010family Christchurch and a friend, but his lack of ruthlessness and Miranda Otto. Born in Wales, John Bach lives in New Zealand. A highly earthquakes,connections directed in the by highest Gaylene echelons Preston. of means he is doomed from the start. He respected stage and screen actor, he has forged an ELLIS ASHMEAD-BARTLETT His television workEnglish includes society. He is always fastidious- lacks the mongrel so evident in men like international career spanning more than four decades. Hisly Australian dressed work– a chap includes ought Farscape never, Theto look Day of theKitchener and, in particular, Kemal. As a Changi, The Prime Ellis Ashmead-Bartlett, 34, is bright, Roseshaphazard,, The Feds ,even Golden in Fiddlesa war zone., The Paper Man, Spitsenior army officer his intelligence gets He is best known for playing Madril in Lord of the Rings: funny and a great man in company. McPhee and The Great Bookie Robbery. Most recentlyhim through, but a great or even suc- The Two Towers and The Return of King. His film work he appeared in Wentworth. includes TheAnd, Tattooist as the, The Australians Chronicles ofsay Narnia: of him,25 Prince He does his best to never let it show, cessful general needs more. Hamilton he can charm the knickers off a nun. lacks the animal drive, the killer instinct Caspian, The Cure, Blood Oath, Goodbye Pork Pie and Hisbut stage despite work ranges this armour-plated, from experimental hail-fel theatre- Utu. He hasEverything received three seemingly NZ Film andcomes TV Awards easily forto in Londonlow surface, to performing Ashmead-Bartlett at the Court isTheatre a man in that might have made a difference at his performanceshim, the in the gods films favour The Last him Tattoo and heand has Old Christchurch.beset by doubts – capable of waking in Gallipoli. He never dominates or sticks Scores, and luck.the TV Ashmead-Bartlett drama The Sound and is that the Silencerarest . the night and staring into the blackness. to unpleasant decisions. It was said of of creatures at Gallipoli, a man with a Things go wrong. He is often in crushing Hamilton that he lacked the strength to Television credits include Spartacus: War of the decent education and a fine intellect. He debt. He makes enemies. Worries tend command his staff, that they command- is one of the few people to see the big to pile in. When he decides to take on ed him, especially Braithwaite. Hamilton picture and be horrified by it, mainly be- the might of the British Army, he does listens when he should be acting, takes cause this is his seventh war, either as a so from this aspect of his character. He advice when he should be rolling over 24 soldier or a newspaper correspondent. is genuinely appalled by the slaugh- the top of his advisers, and pauses to His experience and understanding of ter he witnesses and the unthinking take stock when he should be plunging war is far beyond his peers and, indeed, stupidity, as he sees it, of the British on. Analysis and politesse are both his many senior officers. High Command. He is a man motivated strengths and major weakness. by the highest of principles, even as he Ashmead-Bartlett is the British journal- makes light of everything around him. Hamilton is a vibrant physical presence. ist who can really write. Where Charles He is described as a man who “hums (C.E.W.) Bean is a journeyman Australian with a nervous energy”. He likes to get reporter who files decent copy, SIR IAN HAMILTON on with things and has a strong work Ashmead- Bartlett is a war correspond- ethic. Physically courageous, he’s been ent in the traditional sense: a wordsmith Known as “Johnnie”, Sir Ian Hamilton twice recommended for the Victoria SCREEN EDUCATION © ATOM 2015 who can conjure up images for his read- is 62, tall, gaunt and balding with a Cross. ers, making them angry or sorrowful or drooping, war-damaged left hand. He exultant with the power of his prose. He is charming, courtly, kind and sensitive, knows he’s good at it, he knows he’s the a fine writer of poetry and prose with GENERAL WALTER BRAITHWAITE best around, and it fuels his arrogance. a strong aesthetic vision and a soul. He is highly intelligent, well read and, Hamilton’s Chief of Staff has been de- He is optimistic, positive, innovative, according to Bean, has “a breadth of scribed as “arrogant and incompetent”. 26 CAPTAIN ANTHONY CHANDLER

SERGEANT HARRY PERCEVAL

Certainly, Walter Braithwaite, 50, is Harry Perceval, he’s smart enough to not only by his officers but also by the arrogant, but far from incompetent. His see what has to be done and damn- Anzacs in the trenches. A brisk, busi- competence is what makes him such well practical enough to make sure it’s nesslike man, he is described as “love- a dangerous presence. Braithwaite is a followed through. If there’s no one else able and considerate”, with an honest sophisticated and intelligent man, tough to do what it takes, he’ll shoulder the affection for the men he leads. with a mean streak, a characteristic responsibility. completely lacking in Hamilton. His strength of character and natural Chandler doesn’t mix easily, is hesitant ability with people means he accepts Some historians have described him in company and often ill at ease with his the rough edges of his Australian and as the power behind Hamilton, the peers. He is a calm, quiet personality, New Zealand troops. Where other eminence grise who cleverly ma- deeply respected by the men British generals, particularly Braithwaite, nipulated his master to further his own find the Australians crude and loutish, ends. Where Hamilton is charming, Birdwood’s catholic views mean he has Anthony Phelan is Braithwaite is, if not repellent, then SERGEANT HARRY PERCEVAL a certain respect, even a liking, for the certainly unlikeable. Where Hamilton is “uncivilised” Anzacs. He has little ego generous, Braithwaite is mercenary. You HarrySir Perceval William is the sort of Birdwood sergeant and is a perceptive, generous man. don’t instinctively warm to this man – he everyKnown army as “Birdie”,could do Sir withWilliam more Birdwood, of. He 50, is is too self-contained, too caught up in knowsone of his the place few British in the generals pecking who order is liked and his own views, too conscious of losing andrespected plays his not roleonly toby hisperfection, officers leadingbut also by the his place in the pecking order or looking hisAnzacs men inwith the couragetrenches. Aand brisk, by businesslike example. man, he is described as “loveable and considerate”, with an foolish. He will quash any threat to his Hishonest men affection would follow for the him men to he hellleads. and position. He has been described as “an back – and often do. Perceval, 38, is egregious snob”. With his peers and brick-tough,His strength of powerful character andand natural a bit ofability a lar with- perceived betters he can be funny and rikin.people He means has hebeen accepts a rugby the rough league edges player of his Australian and New Zealand troops. Where other pleasant but his genial warmth is rooted Britishand a boxer,generals, pursuits particularly that Braithwaite, take a bit offind the in calculating egocentrism. In the end, Australiansstrategic crudethinking. and loutish,He tends Birdwood’s to filter catholic to when they’re both sacked, his relation- viewspositions mean heof hasauthority a certain wherever respect, even he goes.a liking, ship with Hamilton is poisonous. forNow the “uncivilised”he has found Anzacs. his rightfulHe has little place ego in and is a perceptive, generous man. the Australian infantry, he’s at war, and Award-winninghe realises actorhe’s Anthonyvery, very Phelan good has at been it. CAPTAIN ANTHONY CHANDLER working in theatre, film and television for more than SCREEN EDUCATION © ATOM 2015 35 years.

Captain Anthony Chandler is a gen- A highlyGENERAL regarded stage SIR actor,WILLIAM he has performed tle schoolteacher who never thought with theBIRDWOOD Melbourne Theatre Company, Queensland he’d end up pulling the sort of heroic Theatre Company, La Boite Theatre, Stables Theatre, stunts he does at Gallipoli. Chandler, GriffinKnown Theatre as and“Birdie”, Bell Shakespeare. Sir William In recent years Anthony has appeared in several Sydney Theatre 36, is above all a realist and pragma- CompanyBirdwood, and Belvoir 50, Street is one Theatre of the productions, few British tist. Though not a natural soldier like most notablygenerals the wholocal andis liked international and respected tours of GENERAL SIR WILLIAM BIRDWOOD Uncle Vanya (STC) with Cate Blanchett in Australia and more recently The Wild Duck 27 which he won Sydney Theatre and (Belvoir), Helpmann for Awards. In 2014, he was in Belvoir’s production of Once in Royal David’s City opposite Brendan Cowell. His film work includes of the Clones Star Wars: Episode II – Attack , Nim’s Island Babe: Pig in the City and Griff the Invisible , Black Balloon seen in Unbroken, directed by Angelina. He will Jolie. next be, His television work includes Way, White Collar Blue Underbelly II, Water Rats and , Home and Away, Love My Big Sky. More recently he Allplayed Saints , Robbie in Spirited with Claudia Karvan, Ian Fellows in Jane Campion’s Top of the Lake in Rake. , and has appeared

30 Lincoln Lewis is Charles "Chook" Dutton

Chook grew up in a country town in Western Australia where his parents had a dairy farm. He Travis Jeffery is learned to ride a horse as a small boy and has been horse-mad ever since. When war broke out, Chook, 22, was one of the first volunteers into the Henry "Stewie" Watson Light Horse Regiment, looking forward to riding his beloved gelding Charlie into battle. But here he is on Stewie comes from the wheat belt of Western Gallipoli, hating it and missing the horse. Chook is Australia, the same district as Two Bob. They went quiet and self-contained, a genuine nice bloke. to primary school together. Stewie was school captain. He and Two Bob have been best mates Lincoln Lewis is has been acting since he was nine since the fight in fifth class. years old.

Stewie, 22, has a certain calm quality about him His film work includes – the sort of young bloke who intends to make Pearce and the shark thriller33 Postcards opposite Guy something of his life. He’s the one with most plans leading role of Kevin in Bait. He played the about what he wants to do after the war, run sheep Began and was last seenTomorrow in When the War (fat lambs and wool). He figures he can make a Will and Jaden Smith. After Earth alongside big quid if he gets it right. He is the only one of the group of friends with a view of the new nation He won the 2008 TV Week Logie Award for Best of Australia. He joined up because he’d read the New Male Talent for his ongoing role as Geoff papers and thought Australia should do its part. He Campbell in reckons he can be mayor of the local town one day. Home and Away. While not the type who’s easy to get to know, once His other television work includes he decides to trust you you’re his friend forPRIVATE life. HENRYWater ‘STEWIE’ WATSON , Rescue Special Ops, H20: Just Add Neighbours and Underbelly: Razor, Tricky Business. Most recently he Travis Jeffery graduated from the Western played Ned in the third series of SLiDE, Australian Academy of Performing Arts (WAAPA) in House Husbands 2012. . PRIVATE CHARLES ‘CHOOK’ DUTTON

Dion Williams is In 2013, he was cast as Jimmy in the soon to be released Unbroken, based on the true story of Louis Zamperini, an Olympic runner who was taken Thomas "Twoprisoner Bob" by King the Japanese in World War II (directed by Angelina Jolie). His other film work includes Two Bob’s father was an itinerant shearer, which his premiered at the Canberra Locks of Love Stewie, 22, has a certain calm quality PRIVATE THOMAS ‘TWO-BOB’ mother from the Wadjari people of south-western International Film Festival in October 2014. and WA. His mother died when he was eight and he about him – the sort of young bloke KING The Devil’s Playground spent the next six years travelling with his father, who intends to make something of his Television credits include working as a rouseabout. When his father settled life. He’s the one with most plans about Two Bob’s father was an itinerant Anzac Girls. He will next be seen in the third season as deputy manager on a property Two Bob finally of The Doctor Blake Mysteries. what he wants to do after the war, run shearer, his mother from the Wadjari went to school – and quickly caught up. He was sheep (fat lambs and wool). He figures people of south-western WA. His jackarooing on the farm when war broke out and he can make a mother died when he was eight and immediately joined the Light Horse. Two Bob was he spent the next six years travelling accepted into the army because he was reasonably light-skinned. Full-blood Aborigines were banned big quid if he gets it right. He is the only with his father, working as a rousea- from joining up. one of the group of friends with a view bout. When his father settled as deputy of the new nation of Australia. He joined manager on a property Two Bob finally Two Bob is more like Tolly than any of the others. He 34 up because he’d read the papers and went to school – and quickly caught up. tends to think things through; he analyses and sees thought Australia should do its part. He He was jackarooing on the farm when the big picture. His intelligence and charm give him reckons he can be mayor of the local war broke out and immediately joined the confidence he needs to get through in a racist town one day. While not the type who’s the Light Horse. Two Bob was accepted world, although he’s had his fair share of pub fights over colour. Two Bob is a good soldier because he’s easy to get to know, once he decides to into the army because he was reason- practical and gets on with it. He doesn’t say much trust you you’re his friend for life. ably light-skinned. Full-blood Aborigines but he looks after his mates who33 are important to were banned from joining up. him. Like Cliff, he knows he’s going to survive the war. There’s no bloody Turk bullet with a blackfella’s PRIVATE CHARLES ‘CHOOK’ Two Bob is more like Tolly than any of name on it. the others. He tends to think things PRIVATE THOMAS ‘TWO-BOB’ KING DUTTON Emerging talent Dion Williams first came to notice through; he analyses and sees the big as Marlon in the popular Chris Lilley comedy series Chook grew up in a country town in picture. His intelligence and charm give Angry Boys in 2011 while he was still at school. Western Australia where his parents had him the confidence he needs to get a dairy farm. He learned to ride a horse through in a racist world, although he’s He followed this with a lead guest role in the second as a small boy and has been horse- had his fair share of pub fights over col- series of the award-winning Redfern Now. He PRIVATE HENRY ‘STEWIE’ mad ever since. When war broke out, our. Two Bob is a good soldier because was then cast in the recurring role of Lachie in the WATSON Chook, 22, was one of the first volun- he’s practical and gets on with it. He critically acclaimed drama The Time of Our Lives. teers into the Light Horse Regiment, doesn’t say much but he looks after his SCREEN EDUCATION © ATOM 2015 Dion, who hails from Echuca in country Victoria, Stewie comes from the wheat belt of looking forward to riding his beloved mates who are important to him. Like is of Waradjuri and Wokaman descent. He has Western Australia, the same district as gelding Charlie into battle. But here he Cliff, he knows he’s going to survive the a keen interest in drama, music, dance and art, Two Bob. They went to primary school is on Gallipoli, hating it and missing war. There’s no bloody Turk bullet with a and plays guitar. An athlete and footballer, he has together. Stewie was school captain. the horse. Chook is quiet and self-con- blackfella’s name on it. competed in local, regional and state competitions, He and Two Bob have been best mates tained, a genuine nice bloke. and represented Australia as a member of the AFL since the fight in fifth class. Under-17 Flying Boomerangs team that toured South Africa in 2010. 28

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