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

Sunday Too Far, an iconic tale about male culture and loyalty in a 1950s shearing shed, was the first success of Australia's golden age of cinema but Americans were specifically bewildered by it, producer Matt Carroll keeps in mind.
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"They acknowledged that Sunday was a terrific film but they didn't understand it," he says.

"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 far more inviting of the film at Cannes Directors Fortnight, thanks to the partner of an Adelaide automobile dealership who had actually sold Carroll a Peugeot.

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

"I keep in mind sitting in the movie theater and the very first thing that turns up is somebody in the shearing shed states 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 just went nuts, definitely crazy, and we got a big sale to France", Carroll laughs.

"It's the language of the bush," discusses legendary Australian star Jack Thompson, who represented the hard-drinking gun shearer, Foley.

"There's a terrific camaraderie revealed in that motion picture. Sunday says something much more profound about the Australian character than a number of other movies that examined our success and failures."

Thompson, who left home at 14 to work as a jackaroo in the NT, says "it was like a diary, it was simply how people behaved - I keep in mind, because as a teenager, I remained in those sheds.

"Sunday Too Far Away has a really vital part in my career and in my memory