When Australian New age films 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 commitment in a 1950s shearing shed, was the first huge hit of Australia's golden era of cinema 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.
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"It was quite incomprehensible to anyone who wasn't an Australian. At American screenings, you might too have had it in Dutch."

But French audiences were even more inviting of the movie at Cannes Directors Fortnight, thanks to the better half of an Adelaide vehicle dealer who 'd sold Carroll a Peugeot.

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

"I keep in mind being in the movie theater and the first thing that shows 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 substantial screening room, "the entire audience just went bananas, definitely insane, and we got a huge sale to France", Carroll chuckles.

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

"There's a wonderful camaraderie revealed in that motion picture. Sunday says something a lot more profound about the Australian character than a number of other motion pictures that analyzed our victories and failures."

Thompson, who left home at 14 to work as a jackaroo in the NT, states "it resembled a journal, it was just how people behaved - I remember, because as a teenager, I remained in those sheds.

"Sunday Too Far has a truly fundamental part in my profession and in my memory