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Set during World War I, The Lighthorsemen recreates the incidents that led up to the battle for the Middle Eastern city of Beersheba in 1917. The British campaign was stalemated in Palestine when a mere eight hundred cavalrymen rode against thousands of Germans and Turks and captured the desert town, thereby changing the course of history. The story focuses on the heroic deeds of a four-man section of the Australian Lighthorse Regiment and climaxes with the last great wartime cavalry charge. Largely reviled at the time, Wincer's film demonstrates his mastery in shooting equine stories.
Notes
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The trailer for this film is available to view via YouTube: http://www.youtube.com/watch?v=KdFsIYiq_jU (Sighted: 31/8/2012)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Films That Help Us Remember Them
2020
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— Appears in: The Weekend Australian , 25 April 2020; (p. 13)'On May 1, 1980, I was invited to attend a reception held at the Hilton Hotel in Sydney, at which two of Australia’s best-known businessmen made an important announcement to the invited guests. The men, Rupert Murdoch and Robert Stigwood, were Australians who were well known around the world: the “media magnate and [the] entertainment entrepreneur” (as The Sunday Telegraph reported a few days later) used the occasion to announce the formation of a new company, R&R (later known as Associated R&R Films), a joint venture between News Corporation and the Robert Stigwood Organisation; the latter company had been responsible for hit films such as Tommy, Saturday Night Fever and Grease. A total of $10m would be invested in local productions, the first — and, as it turned out, the last — of which would be Gallipoli, directed by Peter Weir, produced by Patricia Lovell and scripted by David Williamson.' (Introduction)
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“They Said It'd Be an Adventure” : Masculinity, Nation, and Empire in Centennial Australian World War I Film and Television
2018
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criticism
— Appears in: Journal of Popular Culture , vol. 51 no. 6 2018; (p. 1356-1375)'The World War I Gallipoli campaign in modern Turkey in April 1915 was calamitous from the outset, with the amphibious assault by British and Allied forces landing well off course. Australia's first major military engagement since achieving nationhood in 1901, its chief success would become their stealth evacuation, which saw seventy thousand men covertly withdrawn over nine days and nights in December 1915. The campaign was ultimately futile and deemed immaterial to the outcome of the war. Such an ignominious defeat at the hands of the Ottoman Empire would seem an unlikely source for a national myth. It lacks, for example, “the psychic reassurance of triumph over the sources of threat” and the defeat of enemies that Graham Dawson identifies as a key psychic and social function of adventure narratives and soldier heroes (282). Yet, the ill‐fated Gallipoli campaign is popularly held in Australia's cultural imagination as the “birth of a nation” for a former colony then still under the yoke of the British Empire. In Australian politics and culture, the youthful nation's presumed character was forged in war and embodied in the deeds of its young men, in spite of ultimate defeat.' (Introduction)
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Film Honours Bravery
2015
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— Appears in: The Advertiser , 21 April 2015; (p. 9) -
National Versions of the Great War : Modern Australian Anzac Cinema
2014
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— Appears in: The Great War in Post-Memory Literature and Film 2014; (p. 289-304) -
Lights, Camera, Fire! Cinematic Representations of World War I's Middle East Front and its Palestine Campaign
2013
single work
criticism
— Appears in: Journal of the Royal Australian Historical Society , December vol. 99 no. 2 2013; (p. 170-189) 'Two important Australian feature films, separated by nearly 50 years, form the basis of this article's examination of World War I's Middle East front through a study of the cinematic corpus referring to the war and its images. Charles Chauvel's 40,000 Horsemen (1941) and Simon Wincer's The Lighthorsemen (1987) offer a spring board for the exploration of the visual aspects of viewers' historical, social and cultural memory shaping the nearly forgotten story of the forces of the British Empire that fought in Palestine and Eastern Transjordan. The cinematic medium developed its own unique signs for wars, usually portraying wartime as a romantic epoch, and not as death and destruction.' (Author's introduction)
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Triumphant Return of the Cavalry
2011
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— Appears in: The Age , 1 April 2011; (p. 4) -
Lights, Camera, Fire! Cinematic Representations of World War I's Middle East Front and its Palestine Campaign
2013
single work
criticism
— Appears in: Journal of the Royal Australian Historical Society , December vol. 99 no. 2 2013; (p. 170-189) 'Two important Australian feature films, separated by nearly 50 years, form the basis of this article's examination of World War I's Middle East front through a study of the cinematic corpus referring to the war and its images. Charles Chauvel's 40,000 Horsemen (1941) and Simon Wincer's The Lighthorsemen (1987) offer a spring board for the exploration of the visual aspects of viewers' historical, social and cultural memory shaping the nearly forgotten story of the forces of the British Empire that fought in Palestine and Eastern Transjordan. The cinematic medium developed its own unique signs for wars, usually portraying wartime as a romantic epoch, and not as death and destruction.' (Author's introduction) -
Film Honours Bravery
2015
single work
column
— Appears in: The Advertiser , 21 April 2015; (p. 9) -
National Versions of the Great War : Modern Australian Anzac Cinema
2014
single work
criticism
— Appears in: The Great War in Post-Memory Literature and Film 2014; (p. 289-304) -
“They Said It'd Be an Adventure” : Masculinity, Nation, and Empire in Centennial Australian World War I Film and Television
2018
single work
criticism
— Appears in: Journal of Popular Culture , vol. 51 no. 6 2018; (p. 1356-1375)'The World War I Gallipoli campaign in modern Turkey in April 1915 was calamitous from the outset, with the amphibious assault by British and Allied forces landing well off course. Australia's first major military engagement since achieving nationhood in 1901, its chief success would become their stealth evacuation, which saw seventy thousand men covertly withdrawn over nine days and nights in December 1915. The campaign was ultimately futile and deemed immaterial to the outcome of the war. Such an ignominious defeat at the hands of the Ottoman Empire would seem an unlikely source for a national myth. It lacks, for example, “the psychic reassurance of triumph over the sources of threat” and the defeat of enemies that Graham Dawson identifies as a key psychic and social function of adventure narratives and soldier heroes (282). Yet, the ill‐fated Gallipoli campaign is popularly held in Australia's cultural imagination as the “birth of a nation” for a former colony then still under the yoke of the British Empire. In Australian politics and culture, the youthful nation's presumed character was forged in war and embodied in the deeds of its young men, in spite of ultimate defeat.' (Introduction)