When Australian New Wave motion pictures burst on to world movie theater screens in the 1970s, sceptical audiences were at first baffled by the broad accents and peculiar colloquialisms.

Sunday Too Far Away, a renowned tale about male culture and commitment in a 1950s shearing shed, was the very first huge hit of Australia's golden age of cinema however Americans were particularly bewildered by it, manufacturer Matt Carroll remembers.

"They identified that Sunday was a fantastic film but they didn't comprehend it," he states.

"It was quite incomprehensible to anyone who wasn't an Australian. At American screenings, you may also have had it in Dutch."

But French audiences were much more welcoming of the movie at Cannes Directors Fortnight, thanks to the other half of an Adelaide automobile dealership who 'd offered Carroll a Peugeot.

"She stated, 'oh yes beloved, 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 turns up is someone 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 big screening space, "the whole audience simply went nuts, definitely insane, and we got a substantial sale to France", Carroll chuckles.

"It's the language of the bush," explains famous Australian actor Jack Thompson, who portrayed the hard-drinking gun shearer, Foley.

"There's a wonderful camaraderie expressed because film. Sunday says something a lot more extensive about the Australian character than a number of other movies that analyzed our victories and failures."

Thompson, who left home at 14 to work as a jackaroo in the NT, states "it was like a journal, it was simply how individuals acted - I keep in mind, because as a teenager, I was in those sheds.

"Sunday Too Far has a truly fundamental part in my career and in my memory; I 'd worked on that wool press, I 'd gotten that wool. I understood how hard it was ... it was the world of working men."

Thompson was a star of a multitude of other New age motion pictures, consisting of Breaker Morant, Mad Dog Morgan, The Club and The Man From Snowy River.

Carroll recalls also feeling well certified to be associated with Sunday Too Far, which was filmed at Carriewerloo Station, near Port Augusta, and Quorn.

"I matured on a sheep residential or commercial property so I found out how to class wool. My honours thesis remained in Australian shearing sheds. So when we needed to discover a shearing shed, I understood exactly where they were," he states.

"And Jack and I were sharing a home together, and I understood that he was a shearer, and I was there when the director stated, 'I don't know where we're going to find shearers from'. And I said, 'Well, I know'.

Thompson and Carroll just recently visited Adelaide for a 50th anniversary screening of Sunday Too Far Away, staged by SA Film Corporation, which played a key function in the age.

"The SAFC was an essential beacon in the growth of the Australian film industry," says Thompson.

"Tale after tale essential to our understanding of ourselves was informed and funded by that entity."

The New york city Times explained Australian New age as "catching a moment of liberty and abundance that was over almost before we understood it" and "having a vitality, a love of open space and a propensity for unexpected violence and languorous sexuality".

"That's me," says Thompson, now aged 84, deadpan.

"Used to be, mate," chuckles Carroll, 80.

As a young star, it resembled "riding the crest of a wave, it was sensational", states Thompson.

"There was indeed a really concentrated vitality, an unique appeal, unlike anything else at the time."

Carroll, who likewise produced Breaker Morant and Storm Boy for SAFC, says the 1970s was a remarkable period for Australian motion pictures.

"More than 220 films, that's more than 20 movies a year. And when you check out the titles, it's simply shocking," he says.

"We never had another duration like that, with the inventiveness and the creativity."

The SAFC's second feature, the enigmatic and enormous Picnic at Hanging Rock, which likewise turns 50 this year, ended up being an icon of Australian cinema.

"The excellent thing that occurred after that is that Margaret Fink made My Brilliant Career, and the Americans comprehended it," says Carroll.

"And After That Breaker Morant came along and they clicked with it and it had big results, and then the 2nd Mad Max was a huge hit. So those three films were essential to opening up the American market."

Thompson keeps in mind that Australia made the world's first feature-length narrative film, The Story of the Kelly Gang in 1906, "and we had an important Australian film market in the quiet period approximately 1927".

"Hollywood and the American financial investment in theatre chains here was able to control the Australian movie market, and essentially, between 1930 and the 70s, nothing much happened in Australian cinema," he states.

While Sunday Too Far Away was New Wave's very first business success, 1971's Wake In Fright is extensively concerned as the period's opening film.

It was Thompson's first movie and the last for seasoned character star Chips Rafferty, who died of a cardiac arrest before it was launched.

It evaluated at Cannes and got favourable reactions in France and the UK but had a hard time at the Australian box workplace.

It's the story of a teacher waylaid in a mining town where a gambling spree leaves him broke. Amid a haze of alcohol, he takes part in a gruesome kangaroo hunt and is likewise subjected to ethical deterioration.

It ran for just 10 days in Sydney, and 14 in Melbourne, Thompson recalls, "and individuals were stating 'that's not us', regardless of the reality the book was composed by an Australian".

"Because when we were seen on screen (formerly), we were viewed as these pleasant caricatures, we weren't used to seeing it and we didn't want to see it," he states.

During an early Australian screening, when a man stood up, pointed at the screen and protested "that's not us!", Thompson famously screamed back "sit down, mate. It is us".