![]() In the lead-up to the ceremony, the film won a multitude of other awards including four BAFTAs from the British Academy (for Leading Actor, Casting, Costume Design and Make-up and Hair), the Golden Globe for Best Actor in a Motion Picture – Drama and 12 AACTA Awards including Best Film.Ĭurator Jenny Gall writes in-depth about Catherine Martin's costumes for ELVIS. Shot in Queensland, with filming interrupted by the COVID-19 pandemic in 2020, ELVIS premiered at the Cannes Film Festival in May 2022 and was a box-office smash after it opened in cinemas worldwide from 23 June 2022.Īt the 95th Oscars on 12 March 2023, ELVIS was nominated for 8 Academy Awards: Best Picture (Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss), Actor in a Leading Role (Austin Butler), Cinematography (Mandy Walker), Film Editing (Matt Villa and Jonathan Redmond), Costume Design (Catherine Martin), Production Design (Catherine Martin, Karen Murphy and Beverley Dunn), Make-up and Hairstyling (Mark Coulier, Jason Baird and Alan Signoretti), and Sound (David Lee, Wayne Pashley, Andy Nelson and Michael Keller). Baz's goal was also to restore humanity to a figure who had for decades become a symbol or an icon rather than a man. The life of Elvis became a vehicle for Baz to tell the story of race, sex, class and music in America, from the 1950s through to the 1970s. ![]() Summary by Poppy De Souzaīaz Luhrmann's big-screen spectacle ELVIS tells the story of music legend Elvis Presley (played by Austin Butler) through the prism of his complicated relationship with his longtime manager, Colonel Tom Parker (Tom Hanks). An evocative instrumental score is used throughout the clip. The clip ends with a dissolve back to feet trudging along the muddy track. He addresses the audience directly to remind them that the 'country is in peril’. Members of the 39th Battalion are framed from the waist down, trudging through ankle-thick mud as the image of Damien Parer is superimposed on screen in a reprise from his introduction to camera. The final sequence contains a series of shots filmed from elevated positions along the track of the stretcher bearers carrying wounded soldiers and troops climbing through steep sections in gruelling conditions. Another wounded man with his arm in a sling stands outside a village hut. It also shows the presence of the Salvation Army and includes a shot of Father Albert Moore lighting the cigarette of a wounded soldier. The voice-over commentary by actor Peter Bathurst emphasises the harsh conditions, the bravery of the troops and the care and kindness of the Papuan carriers. ![]() This iconic and Academy Award-winning newsreel shot by Damien Parer contains some of the most recognised images of Australian troops in the Second World War.Īustralian troops from the 39th Battalion along the Kokoda trail through dense jungle terrain and across a river. Hall specified in his will that the Oscar should be archived as a tribute to Damien Parer – ‘to his bravery, skill and endurance … He made it possible.’ Parer was killed in action in 1944. ![]() Then in 1945 he was presented with the real Oscar, which is the one in the NFSA collection. ![]() In an oral history recorded in 1985, Hall recalls that being awarded the Oscar was a ‘great joy and delight to all my people and to me especially because I’d had a fair amount to do with it’.Īt first Hall was sent an ersatz gunmetal Oscar because gold and metals were scarce during the war. According to Ray Edmondson, Curator Emeritus of the NFSA, it was the only newsreel to ever be awarded an Oscar. Kokoda Front Line! was one of four films that shared the Academy Award for Best Documentary in 1943. This is Australia’s first ever Oscar, awarded to Cinesound Review’s chief director Ken G Hall (1901–1994) for Kokoda Front Line! (1942). The inscription on the Oscar reads: ‘To Kokoda Front Line! for its effectiveness in portraying simply yet forcefully the scene of war in New Guinea and for its moving presentation of the bravery and fortitude of our Australian comrades in arms'. ![]()
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