To the layman's eye Gallipoli is technically flawless: superb shots of outback country, a convincing evocation of the period, thoroughly believable Gallipoli cliffs, fine acting (even in the minor roles), and something which is to say the least rare in the Australian film industry, a good script - thanks to David Williamson. Moreover the picture, unlike Picnic at Hanging Rock (an otherwise impressive film which was fumbled towards the end), is dramatically tight, completely under control from first to last. It is full of splendid touches, like the appearance of the wooden horse early in the piece, to which the audience immediately responds, recognizing the allusion to Troy. Then there is the perfect miniature, the scene with the camel driver in the desert. There is the parallelism of two wildernesses, the deserts of the new world and the old, and, even more striking, the link drawn between the lights and gaiety of the departure from Perth (and of the nurses' ball in Egypt) and the Luna Park effects of the arrival at Gallipoli.
Dobrez, Livio and Dobrez, Pat, Old Myths and New Delusions: Peter Weir's Australia, Kunapipi, 18(2), 1996.