When Australian New Wave 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, a renowned tale about male culture and loyalty in a 1950s shearing shed, was the very first big hit of Australia's golden age of movie theater however Americans were specifically bewildered by it, manufacturer Matt Carroll remembers.

"They acknowledged that Sunday was a fantastic movie but they didn't understand it," he states.

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

But French audiences were far more welcoming of the film at Cannes Directors Fortnight, thanks to the partner of an Adelaide car dealer who had actually offered Carroll a Peugeot.

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

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

In the huge screening room, "the entire audience simply went nuts, definitely crazy, and we got a huge sale to France", Carroll chuckles.

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

"There's a wonderful friendship revealed in that movie. Sunday says something much more extensive about the Australian character than a variety of other films that analyzed our triumphes and failures."

Thompson, who left home at 14 to work as a jackaroo in the NT, states "it resembled a diary, it was just how people acted - I remember, due to the fact that as a teen, I remained in those sheds.

"Sunday Too Far Away has a truly fundamental part in my career and in my memory; I 'd dealt with that wool press, I 'd gotten that wool. I knew how tough it was ... it was the world of working guys."

Thompson was a star of a slew of other New age movies, including Breaker Morant, Mad Dog Morgan, The Club and The Man From Snowy River.

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

"I matured on a sheep residential or commercial property so I learned how to class wool. My honours thesis remained 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 knew that he was a shearer, and I existed when the director said, 'I don't know where we're going to find shearers from'. And I stated, 'Well, I understand'.

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 crucial function in the age.

"The SAFC was a crucial beacon in the growth of the Australian movie industry," says Thompson.

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

The New york city Times described Australian New Wave as "recording a minute of flexibility and abundance that was over nearly before we understood it" and "having a vigor, a love of open space and a propensity for sudden 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 was like "riding the crest of a wave, it was stunning", says Thompson.

"There was undoubtedly an extremely concentrated vigor, an unique appeal, unlike anything else at the time."

Carroll, who likewise produced Breaker Morant and Storm Boy for SAFC, states the 1970s was an impressive duration for Australian motion pictures.

"More than 220 films, that's more than 20 films 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 inventiveness and the creativity."

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

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

"And then Breaker Morant occurred and they clicked with it and it had huge results, and then the 2nd Mad Max was a giant hit. So those 3 films were essential to opening up the American market."

Thompson keeps in mind that Australia made the world's first feature-length narrative movie, The Story of the Kelly Gang in 1906, "and we had an essential Australian movie industry in the quiet period up to 1927".

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

While Sunday Too Far was New Wave's very first commercial success, 1971's Wake In Fright is widely related to as the age's opening film.

It was Thompson's first motion picture and the last for veteran character star Chips Rafferty, who passed away of a heart attack before it was released.

It evaluated at Cannes and received beneficial actions in France and the UK however struggled 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 also 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 fact the book was composed by an Australian".

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

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