Victoria Bitter, Legacy and RSL in Australia have teamed up again to commemorate the Gallipoli Centenary with Raise A Glass, online at raiseaglass.com.au. This year the campaign marks the ANZAC Day Raise A Glass with the story of Australia’s 16th Battalion and their harrowing charge at Bloody Angle. “Most men tremble when faced with death. The 16th Battalion AIF sang a song. It was just one of many heroic acts exhibited by those at Gallipoli 100 Years ago. Which is one reason why, at Victoria Bitter, we’re proud to be among Australia’s biggest contributors to veteran welfare, having donated nearly $7 million to RSL and Legacy since the appeal began in 2009.”
The 16th Battalion suffered heavy losses during a hellish fire fight at Bloody Angle on the hills at Gallipoli. First-hand accounts talked about the men singing as they went into battle despite the treacherous conditions. Of the 600 in the Battalion, 338 young men were killed during the charge at Bloody Angle. The Raise a Glass campaign has a cast of 338 men – one representing each of those fallen men – filmed whistling “It’s a long way to Tipperary” at Melbourne’s Shrine of Remembrance.
In an interesting link, the campaign was directed by Derin Seale, with his Oscar-winning father John Seale as cinematographer. John was the camera operator on Mel Gibson’s 1981 movie Gallipoli and Derin spent time as a child on the set. Both Derin and John, as well as lead producer Karen Bryson volunteered their time for the cause. The Mel Gibson character portrayed a dispatch runner at Gallipoli, which is the job Len Ives had at Bloody Angle.
Clemenger BBDO Melbourne Executive Creative Director Ant Keogh says the team went back to the history books when they were creating the campaign.
“In the Victorian State Library, we came across a thin pink book. It was the sketches and diary of Ellis Silas, Signaller of the 1st IAF 16th Battalion, recording his experiences at Gallipoli.
“In 1915, the 16th Battalion made a charge over particularly challenging terrain. They were immediately met with heavy resistance and the casualties were high. But instead of retreating or hiding they charged on, singing It’s a long way to Tipperary,” he said.
Victoria Bitter General Manager Craig Maclean says the Victoria Bitter team is again proud to highlight the work the RSL and Legacy do for veterans’ welfare through the appeal.
“Bringing a story like the fierce battle at Bloody Angle to life is a big part of this appeal; it reminds people to stop and remember the bravery and sacrifice all our servicemen and women make,” Maclean said.
While raising money for servicemen and women of all conflicts, the 2015 campaign specifically commemorate the centenary of the Gallipoli landings.
Maclean said watching the making of the TVC helped the team understand the enormity of the losses suffered.
“When all these young, fit, healthy men stood in front of the Shrine of Remembrance at sunset, you really had a sense of the scale of loss sustained on the battlefield 100 years ago. It really drove home why we run this campaign each year.
“Victoria Bitter is one of the largest supporters of veteran welfare in the country. This year, we will make a $1 million corporate donation as well as running a fundraising drive for the public to contribute. It’s our way of honouring all Australian servicemen and women past and present. It’s our way of saying thank you,” he said
Credits
The Bloody Angle campaign was developed at Clemenger BBDO Melbourne by creative chairman James McGrath, executive creative director Ant Keogh, senior art director Luke Thompson, senior copywriter Jim Robbins, senior agency producer Lisa Moro, executive TV producer Sonia von Bibra, print producer Craig Busman, designer and typographer Jake Turnbull, retoucher Michael McCall, digital producer Gemma Seeto, digital designer Jessica Ramsey, social creative Matt Maguire, account team Adam Kennedy, Oliver Wearne, Kate Barnes, and strategy planner Michael Derepas.
Filming was shot by director Derin Seale via Finch with with director of photography John Seale and executive producer Karen Bryson.
Editor was Jack Hutchings at The Butchery with Flame artist Eugene Richards.
Sound was produced at Flagstaff Studios by sound engineer Paul LeCouteur. Music was produced at Electric Dreams by Cornel Wilczek, Tom Spender, Mark Mitchell, Pascal Babare, Jojo Petrina, Gus Franklin and Danny Thiris.
