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

Sunday Too Far, an iconic tale about male culture and loyalty in a 1950s shearing shed, was the very first success of Australia's golden period of cinema however Americans were especially bewildered by it, manufacturer Matt Carroll remembers.

"They recognised that Sunday was a terrific film but they didn't comprehend it," he says.

"It was pretty incomprehensible to anybody who wasn't an Australian. At American screenings, you might too have had it in Dutch."

But French audiences were much more welcoming of the film at Cannes Directors Fortnight, thanks to the partner of an Adelaide car dealer who 'd sold Carroll a Peugeot.

"She stated, 'oh yes beloved, I know Parisian street slang, I'll translate it all for you (into subtitles)'," Carroll continues.

"I remember being in the cinema and the very first thing that shows up is somebody in the shearing shed states about the squatter, 'his shit does not stink'. When it was equated, the Parisian slang for that is 'he farts above his asshole'."

In the big screening space, "the entire audience just went nuts, absolutely insane, and we got a huge sale to France", Carroll chuckles.

"It's the language of the bush," describes famous Australian star Jack Thompson, who depicted the hard-drinking gun shearer, Foley.

"There's a fantastic camaraderie revealed in that movie. Sunday says something a lot more extensive about the Australian character than a variety of other motion pictures that analyzed our triumphes and failures."

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

"Sunday Too Far has a truly vital part in my profession and in my memory; I 'd dealt with that wool press, I 'd picked up that wool. I knew how hard it was ... it was the world of working men."

Thompson was a star of a variety of other New Wave films, including Breaker Morant, Mad Dog Morgan, The Club and The Man From Snowy River.

Carroll remembers likewise feeling well certified to be associated with Sunday Too Far Away, 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 was in Australian shearing sheds. So when we required to discover a shearing shed, I knew exactly where they were," he says.

"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 understand where we're going to find shearers from'. And I stated, 'Well, I understand'.

Thompson and Carroll recently checked out Adelaide for a 50th anniversary screening of Sunday Too Far, staged by SA Film Corporation, which played an essential role in the age.

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

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

The New York Times described Australian New Wave as "capturing a moment of liberty and abundance that was over nearly before we understood it" and "having a vigor, a love of open space and a tendency for unexpected violence and languorous sexuality".

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

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

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

"There was undoubtedly a very concentrated vitality, a special charm, unlike anything else at the time."

Carroll, who likewise produced Breaker Morant and Storm Boy for SAFC, states the 1970s was a remarkable duration for Australian movies.

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

"We never ever had another duration like that, with the originality and the imagination."

The SAFC's 2nd function, the enigmatic and enormous Picnic at Hanging Rock, which also turns 50 this year, became an icon of Australian cinema.

"The terrific thing that happened after that is that Margaret Fink made My Brilliant Career, and the Americans understood it," says Carroll.

"And then Breaker Morant occurred and they clicked with it and it had huge outcomes, and after that the 2nd Mad Max was a huge hit. So those three films were essential to opening the American market."

Thompson notes that Australia made the world's first feature-length narrative film, The Story of the Kelly Gang in 1906, "and we had a crucial Australian movie industry in the quiet age approximately 1927".

"Hollywood and the American investment in theatre chains here was able to control the Australian film market, and basically, in between 1930 and the 70s, nothing much happened in Australian movie theater," he says.

While Sunday Too Far was New Wave's very first industrial success, 1971's Wake In Fright is extensively considered as the age's opening movie.

It was Thompson's very first motion picture and the last for seasoned character actor Chips Rafferty, who passed away of a cardiovascular disease before it was released.

It screened at Cannes and got beneficial reactions in France and the UK however struggled at the Australian ticket office.

It's the story of an instructor waylaid in a mining town where a gambling spree leaves him broke. Amid a haze of alcohol, he gets involved in a gruesome kangaroo hunt and is likewise subjected to moral destruction.

It ran for simply 10 days in Sydney, and 14 in Melbourne, Thompson remembers, "and people were saying 'that's not us', in spite of the reality the book was composed by an Australian".

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

During an early Australian screening, when a guy stood up, pointed at the screen and opposed "that's not us!", Thompson famously shouted back "take a seat, mate. It is us".