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92_3 | In 1954 the north wing of the 1885 building was taken over by the Railways and Tramways Hospital Fund, and the present eastern wing was added.
Upgrades to the station took place in the late 1990s, with the wooden steps on the footbridge being replaced due to their slipperiness in wet weather, a small but high-roofed shed at the east end of the platform being removed for security reasons, and the area under the lower part of the platform stairs also being fenced-off for similar concerns.
As of October 2020, the station is undergoing substantial upgrades, including two lifts providing ambulant access to the platform, new access ramps, lighting and CCTV upgrades, as well as improved access infrastructure such as bicycle parking and an accessible parking space. |
92_4 | Training college
In 1967, the Department of Railways granted the New South Wales Rail Transport Museum use of the former goods sidings pending its moving to Enfield. On 6 November 1987, this site was opened by the State Rail Authority as a training college, being officially opened by Minister for Transport Ron Mulock. It was refurbished in 2008 with the two Tulloch trailers replaced with S set carriages As well as various pieces of rail signalling and track infrastructure, the training college has two S set carriages.
Platforms & services
Transport links
Transit Systems operate two routes via Petersham station:
412: Martin Place to Campsie station via Earlwood
445: Balmain to Campsie station via Canterbury
Petersham station is served by one NightRide route:
N50: Liverpool station to Town Hall station
Description |
92_5 | The Petersham station complex consists of the current station building on Platform 1/2 (1926), the former station building on Terminus Street (1885 with 1954 alterations), platforms alongside each station building (1885 and 1926), a footbridge (1883), a pedestrian subway (1891), a signal box (1927), and a modern canopy.
Petersham Railway Station is entered from Trafalgar Street to the south and Terminus Street to the north. The station group has a former wayside platform and station building (currently offices) and island platform accessed via the footbridge. The former station building is generally accessed from Terminus Street. To the north of the station on Terminus Street is a residential area while to the south and across Trafalgar Street by industrial and commercial buildings.
Former station building (1885 with 1954 alterations) |
92_6 | The "first class station building" is a symmetrical composition in an ornate Italianate style with a high parapeted central block, a central tower, and flanked by lower supporting buildings. The main block is fronted to the south by a platform awning supported by cast iron columns with decorative cast iron lace work. The width of this platform has been reduced since it was decommissioned. The Terminus Street elevation is accessed via sandstone steps onto a veranda, supported on cast iron columns with decorative lacework, which spans the extent of the central block. An access door under this veranda has been created off the lower landing of the stone steps to the west. The exterior walls are face brickwork with painted moulded cement decorative elements. To the eastern end of the original building is a rendered brick extension. Infill sections have been constructed between the previously separate wings to the east and west and 2 garage doors under the eastern wing (there was previously |
92_7 | a garage door located further to the east which has subsequently been bricked up). |
92_8 | Recent restorations have included new tuck pointing and the reinstatement of most of the doors and windows to the south elevation, although several remain non-operational. The works also saw the roof replaced in corrugated steel sheeting in place of the original slate. The oval vents to the roof were reinstated. These works have been undertaken in an appropriate and sensitive manner obviously with reference to the original architectural drawings.
There have been several changes to the existing building internally, mostly as a result of changing function. There are several new openings in the partition walls, and these have been treated so as to complement the original style of the building. The doors and windows to the north elevation are for the most part, original, with the reproduced doors and windows to the south elevation to match. All mouldings such as skirtings, architrave and cornices are in keeping with the age of the building. |
92_9 | From the garage and subfloor space it would appear that much of the timber floor structure has been replaced. These floors are carpeted above. Many of the later partition walls and fittings have been worked around the existing fabric and would for the most part be considered "reversible". There is Perspex secondary glazing to the openings on the south side in an attempt to keep out the noise of the passing trains.
The former station building was in good condition at the time of heritage listing. |
92_10 | The exterior of this building is largely intact and has been subject to extensive restoration in recent years. The offices which occupy the 1954 extension and a small section of the original 1885 building are not considered significant. While this extension to the west has little merit, it does not detract from the integrity of the main building. Likewise, infill sections are poorly executed but do not have a major impact on the integrity of the 1885 building. The interior contains many architectural features, both original and reproductions, which contribute to the significance and integrity of the building as a whole. |
92_11 | Platform Building (1926) |
92_12 | A rectangular face brick building (all painted) with a gabled roof and integral shallower sloped cantilevered awnings. The face brick in stretcher bond has been painted. The building is seven bays in length, with the bays defined by engaged brick piers which coincide with the awning supports. Original chimneys have been removed. The cantilever awning is on standard double bowed steel brackets supported on decorative cement cornices on engaged brick piers and bolt fixings to the station building brick walls. The soffit is the underside of the corrugated steel roof fixed to intermediate exposed purlins. There is a decorative timber fascia at the junction with the brick wall. Vertical timber boards form a valance at each end. The edge of the awning is finished with a plain timber fascia. The awning roof, as for the main roof, is corrugated steel. The window openings have brick sills and arched brick heads with original timber sashes. Security grilles have been fitted to all doors and |
92_13 | windows and modern services fixed to the building. The canopy to the eastern end is completely modern ( 1990s). The planter box to the western end is thought to be where the stairs once accessed the subway. |
92_14 | The interior is much altered from original plans dated 1925. The booking office and associated functions were relocated to be housed in this building when the subway was closed. Some original features remain including the mini corrugated metal ceilings and pressed metal ceiling roses, moulded bead detail to rendered and set walls, cornices and architraves. Windows are original sashes however the doors are replacements. The floor is covered in vinyl and may have original timber floorboards under. The existing waiting room, which is currently used as a store has the original bench seating. The toilets have been relocated from the original plans to the western end of the building and these rooms now have little merit.
The platform building was in good condition at the time of heritage listing. |
92_15 | While the exterior is mainly intact, the interior has been modified to meet ever-changing operational requirements. This, coupled with the fact that there a more intact examples of this type of platform building elsewhere, has reduced the integrity of this particular building.
Signal box (1927)
External: A timber-framed structure with fibre cement cladding on brick base. Access is on the eastern side, via precast concrete stairs, onto cantilevered concrete platform. The small external toilet is accessed off the concrete platform to the south. To the north-east and north-west corners there are timber framed multi paned sliding casement windows with security grilles to the exterior. The building features a Dutch gable roof with fibre cement slates and decorative finials with a timber louvred vent to the gablets. |
92_16 | Internally, it has typical ceiling detail with a raked section to perimeter and cover mouldings. The metal bracing across the ceiling is also typical in signal boxes of this period. The interior walls have fibre cement sheet and batten cladding. The original signalling equipment still remains.
The signal box is mostly intact with all its signalling equipment, original fibre cement slate tiles and weatherboard walls. It was reported to require maintenance attention at the time of heritage listing.
Platforms
Platform 1 (Up) and Platform 2 (Down) form an island platform with asphalt surface and original brick facing. The platform to the former station (to the north) has been made narrower and is not currently used. |
92_17 | Canopies
There is a modern canopy at the edge of the stairs that leads down from the footbridge onto the platform and it provides shelter to the space between the stairs and the platform building. The canopy has a slight butterfly roof and is constructed of Colorbond steel sheets resting on steel I beams and columns.
Footbridge (1883)
The footbridge comprises a deck connecting both Trafalgar and Terminus Streets and stairs that lead down to the platform and the streets. The entire structure rests on original brick piers, cast iron columns, arches and steel trestles. Refurbished in 1992 the footbridge has a concrete deck and stairs with painted steel handrails and balustrades. The riveted metal lattice work to the underneath of the deck of the footbridge is original. |
92_18 | Pedestrian Subway (1891)
The subway runs from north to south under the rail tracks and accommodates the two entries into the station. It has brick walls and a ceiling made of original concrete slabs reinforced with steel joists. However, as the walls are almost entirely covered in graffiti it is difficult to ascertain original fabric. The subway originally had a booking office and stairs leading up to the platforms. However at some point both were bricked in and this has resulted in the subway having no connections with the platforms and serving as only a crossing under the tracks.
Retaining walls
There are brick retaining walls along Terminus Street made of English bond brickwork from the platform to former station building with an opening for stairs to footbridge. The wall continues up Terminus Street to the east for approximately 100 metres. |
92_19 | Moveable items of heritage significance
Safe in Station Manager's Office
Honours Board in Station Manager's Office
Photographs in Station Manager's Office & Terminus Street Building
NSWGR Sink in garage of Terminus Street Building
Integrity
Despite the moderate integrity of the island platform buildings and the limited integrity of the subway, overall the Petersham Station Group is assessed as having a high level of integrity based on the condition and intactness of the Terminus Street former station building, the footbridge and the signal box. |
92_20 | Heritage listing
Petersham Railway Station has State significance as the station with its group of largely intact, original structures dating from the 1880s establishment of the station through to the 1891 quadruplication and the 1927 sextuplication of the line, is able to demonstrate the growth and expansion of the railways in the late 19th and early 20th century. The building serves to mark the alignment of the first railway in NSW, that being the 1855 Sydney to Parramatta line; |
92_21 | The 1880s former station building is the largest and most elaborate 19th century station building constructed for the Sydney suburban rail system and is the only major "First Class" station building known to have been built in Sydney in the 19th century and is therefore unique in the history of the New South Wales Government Railways. It is a fine example of a late Victorian Italianate station dating from 1885, and although compromised by later alterations and additions is substantially intact and capable of restoration. The building is unusual and of significance by being reached from the street by a grand stair in the classical manner and having a landscaped forecourt to a suburban street and forms a major part of an important historic railway precinct including the bridge and signal box and is a significant landmark in this part of Petersham, which retains much of its 19th century built street character. The station is one of a select number of similar buildings designed by the |
92_22 | office of the Engineer for the Existing Lines Branch, George Cowdery, with the 1883 iron pedestrian bridge and steps also designed by Cowdery; |
92_23 | Petersham railway station was listed on the New South Wales State Heritage Register on 2 April 1999 having satisfied the following criteria.
The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.
Petersham Railway Station has State significance as the station with its group of largely intact, original structures dating from the 1880s establishment of the station through to the 1891 quadruplication and the 1927 sextuplication of the line, is able to demonstrate the growth and expansion of the railways in the late 19th and early 20th century. The extant 19th and 20th century platforms, buildings, footbridge, subway and signal box are collectively able to demonstrate important historical phases of suburban railway development.
The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history. |
92_24 | Petersham Railway Station is significant for its association with Engineer-in-Chief George Cowdery under whose direction the extant 1880s former station building and footbridge were designed, the design and detailing of the station building and footbridge being more elaborate than most station design used elsewhere.
The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. |
92_25 | Petersham Railway Station has State aesthetic significance with its 1880s "first class station building" which displays complicated roof forms, large symmetrical plan and awnings supported on cast iron columns. The building has a prominent presence to both Terminus Street and as viewed from the island platform and footbridge. The 1920s "initial island" platform building is significant with its design showing linear form, gable roof and integrated awnings. The 1880s footbridge with stairs leading down the platforms and streets has been altered considerably in terms of the recasting of the stairs and deck and installation of new handrails and balustrades. However the footbridge has a number of 1880s elements namely brick piers, cast iron columns, arches, steel trestles and latticework to the deck and overall retains is aesthetic quality. |
92_26 | The signal box which dates from 1927 has technical significance as it contains all its signalling equipment demonstrating signalling technology of this era.
The place has strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
The place has the potential to contribute to the local community's sense of place and can provide a connection to the local community's history.
The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.
Petersham Railway Station has rarity in terms of its "first class station building" and the footbridge, with the station building being the only 'first class station building' in the Sydney area and the footbridge being the second oldest surviving footbridge in NSW and a unique example within the suburban network. |
92_27 | The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
The building on platform 1/2 has been altered internally but it retains a high level of integrity to its exterior and is representative of a common form of standard platform building design. With seven bays the building is one of the larger examples of its type and is therefore an excellent representation of this type. The signal box at Petersham Railway Station has characteristic features of this type of signal box namely its elevated brickwork base, timber framed, fibre cement clad operating level structure and Dutch gable roof and has a high level of integrity as its original signalling equipment has been retained and it still has original fibre cement slate roof tiles, making it an excellent example.
References
Attribution
External links
Petersham station details Transport for New South Wales |
92_28 | John Whitton railway stations
Railway stations in Sydney
Railway stations in Australia opened in 1857
New South Wales State Heritage Register
Petersham, New South Wales
Articles incorporating text from the New South Wales State Heritage Register
Main Suburban railway line |
93_0 | The Story of G.I. Joe, also credited in prints as Ernie Pyle's Story of G.I. Joe, is a 1945 American war film directed by William A. Wellman, starring Burgess Meredith and Robert Mitchum. The film was nominated for four Academy Awards, including Mitchum's only nomination for Best Supporting Actor. This was the film that established him as one of the world's biggest movie stars. |
93_1 | The story is a tribute to the American infantryman ("G.I. Joe") during World War II, told through the eyes of Pulitzer Prize-winning war correspondent Ernie Pyle, with dialogue and narration lifted from Pyle's columns. The film concentrates on one company, ("C Company, 18th Infantry"), that Pyle accompanies into combat in Tunisia and Italy. The friendships that grow out of his coverage led Pyle to relate the misery and sacrifice inherent in their plight and their heroic endurance of it. Although the company has the designation of an actual unit, that unit did not participate in the combat in Italy that makes up the preponderance of the film, and actually stands in for the units of the 34th and 36th Infantry Divisions that Pyle did cover in Italy. |
93_2 | Although filmed with the cooperation of Pyle, the film premiered two months to the day after he was killed in action on Ie Shima during the invasion of Okinawa. In his February 14, 1945, posting titled "In the Movies", Pyle commented: "They are still calling it The Story of G.I. Joe. I never did like the title, but nobody could think of a better one, and I was too lazy to try." In 2009, it was named to the National Film Registry by the Library of Congress for being "culturally, historically or aesthetically" significant and will be preserved for all time. |
93_3 | Plot
The untested infantrymen of C Company, 18th Infantry, U.S. Army, board trucks to travel to the front for the first time. Lt. Bill Walker allows war correspondent Ernie Pyle, himself a rookie to combat, to hitch a ride with the company. Ernie surprises Walker and the rest of the men by deciding to go with them all the way to the front lines. Just getting to the front through the rain and mud is an arduous task, but the diminutive, forty-two-year-old Ernie manages to keep up. |
93_4 | Ernie gets to know the men whose paths he will cross and write about again and again in the next year:
Private Robert "Wingless" Murphy, a good-natured man who was rejected by the Air Corps for being too tall;
Private Dondaro, an Italian-American from Brooklyn whose mind is always on women and conniving to be with one;
Sergeant Warnicki, who misses the young son ("Junior") he has never seen;
Private Mew, from Brownsville, Texas, who has no family back home but finds one in the outfit, exemplified by his naming beneficiaries for his G.I. life insurance among them. |
93_5 | Their "baptism of fire" is at the Battle of Kasserine Pass, a bloody chaotic defeat. Ernie is present at battalion headquarters when Lieutenant Walker arrives as a runner for his company commander; Walker has already become an always tired, seemingly emotionless, and grimy soldier. Ernie and the company go their separate ways, but months later he seeks them out, confessing that, as the first outfit he ever covered, they are in his mind the best outfit in the army. He finds them on a road in Italy, about to attack a German-held town, just as the soldiers are elated or disappointed at "mail call": letters for Murphy and Dondaro, a package with a phonograph record of his son's voice for Warnicki, but nothing for now Captain Walker. Ernie finds that Company C has become very proficient at killing without remorse. In house-to-house combat, they capture the town. Fatigue, however, is an always present but never conquerable enemy. When arrangements are made for Wingless Murphy to marry |
93_6 | "Red", his Army nurse fiancée, in the town they have just captured, Ernie is recruited to give the bride away, but can barely keep awake. |
93_7 | The company advances to a position in front of Monte Cassino, but, unable to advance, they are soon reduced to a life of living in caves dug in the ground, enduring persistent rain and mud, conducting endless patrols and subjected to savage artillery barrages. When his men are forced to eat cold rations for Christmas dinner, Walker obtains turkey and cranberry sauce for them from a rear echelon supply lieutenant at gunpoint. Casualties are heavy: young replacements are quickly killed before they can learn the tricks of survival in combat (which Walker confesses to Ernie makes him feel like a murderer), Walker is always short of lieutenants, and the veterans lose men, including Wingless Murphy. After a night patrol to capture a prisoner, Warnicki suffers a nervous breakdown when, finally hearing his son's voice on the record, his pent up frustrations at the war are released. Walker sadly directs the others to subdue the hysterical sergeant and sends him to the infirmary. Ernie returns |
93_8 | to the correspondents' quarters to write a piece on Murphy's death and is told by his fellow reporters that he has won the Pulitzer Prize for his combat reporting. Ernie again catches up with the outfit on the side of the road to Rome after Cassino has finally been taken. He greets Mew and a few of the old hands, but the pleasant reunion is interrupted when a string of mules is led into their midst, each carrying the dead body of a G.I. to be gently placed on the ground. A final mule, led by Dondaro, bears the body of Captain Walker. One by one, the old hands reluctantly come forth to express their grief in the presence of Walker's corpse. |
93_9 | "Then the first man squatted down, and he reached down and took the dead hand, and he sat there for a full five minutes, holding the dead hand in his own and looking intently into the dead face, and he never uttered a sound all the time he sat there. And finally he put the hand down, and then reached up and gently straightened the points of the captain’s shirt collar, and then he sort of rearranged the tattered edges of his uniform around the wound. And then he got up and walked away down the road, all alone."
Ernie joins the company as it goes down the road, narrating its conclusion: "For those beneath the wooden crosses, there is nothing we can do, except perhaps to pause and murmur, 'Thanks pal, thanks.'" |
93_10 | Cast
Burgess Meredith as Ernie Pyle
Robert Mitchum as Lt./Capt. Bill Walker
Freddie Steele as Sgt. Steve Warnicki
Wally Cassell as Pvt. Dondaro
Jimmy Lloyd as Pvt. Spencer
John R. Reilly as Pvt. Robert 'Wingless' Murphy
William Murphy as Pvt. Charles R. Mew
Dorothy Coonan Wellman as Nurse Lt. Elizabeth 'Red' Murphy (uncredited)
Sicily and Italy Combat Veterans of the Campaigns in Africa as Themselves |
93_11 | Casting notes |
93_12 | Casting of the role of Ernie Pyle began in June 1944, after speculation about the role brought forth a large number of names as possibilities to producer Lester Cowan. Pyle was seen by Americans as part saint, part seer, and part common man, and himself pleaded with a fellow correspondent, headed to Hollywood to contribute to the storyline: "For God's sake, don't let them make me look like a fool." The choice narrowed down quickly to three character actors resembling Pyle or his perceived persona: James Gleason, Walter Brennan, and Meredith, who was then little-known and serving as a captain in the Army. Meredith was chosen because he was lesser known. Cowan was advised that if Capt. Meredith appeared in the film, all profits would have to be donated to the Army Emergency Relief Fund, and the Army refused to release him from active duty. According to Meredith, the Army was overruled by presidential advisor Harry Hopkins, and his honorable discharge from the Army was approved |
93_13 | personally by General George C. Marshall. Meredith himself spent time with Pyle while the correspondent recuperated in New Mexico from the emotional after effects of surviving an accidental bombing by the Army Air Forces at the start of Operation Cobra in Normandy. Pyle approved of the casting of Meredith, and said that he believed the actor to be the best choice after the death of British Actor Leslie Howard in a plane crash. |
93_14 | The movie studio initially wanted to place a leading-man type for the main role, but Wellman wanted a physically smaller man to better portray middle-aged Pyle. As a compromise, Mitchum was chosen to play Lieutenant (later Captain) Walker. The film was one of the first starring roles for Mitchum.
Nine actual war correspondents are listed as "For the War Correspondents" in technical advisor credits: Don Whitehead (Associated Press), George Lait (International News Service), Chris Cunningham (United Press), Hal Boyle (A.P.), Jack Foisie (Stars and Stripes), Bob Landry (Life Magazine), Lucien Hubbard (Readers Digest), Clete Roberts (Blue Network), and Robert Reuben (Reuters). Three appear as themselves in the scene in which Ernie learns he has won the Pulitzer prize.
Wellman's wife, actress Dorothy Coonan Wellman, appeared in an uncredited speaking role as Lt. Elizabeth "Red" Murphy, the combat zone bride of character "Wingless" Murphy. |
93_15 | The Army agreed to Wellman's request for 150 soldiers, then training in California for further deployment to the Pacific and all veterans of the Italian campaign, to use as extras during the six weeks of filming in late 1944. Their training continued when they were not filming to present the best image possible for the Army, although the War Department allowed them to grow beards for their roles. Wellman insisted that actual soldiers speak much of the "G.I." dialogue for authenticity. He also insisted that the Hollywood actors ("as few as possible") cast in the film be required to live and train with the assigned soldiers or they would not be hired.
Preservation
The Academy Film Archive preserved G.I. Joe in 2000.
Concept |
93_16 | Screenplay
The film's concept originated with Lester Cowan, an independent producer, in September 1943, when he approached the War Department for cooperation in making a movie about the infantry with the same high degree of prestige as Air Force. In October he came to terms with United Artists for financial support and distribution of the proposed film, then developed a story outline based on Pyle's columns reproduced in Here is Your War, which the Army approved on November 27. |
93_17 | Attempts to write a script that would accurately translate Pyle's style and sentiments to the screen while being acceptable to all of Pyle's readers and fans delayed filming for a year. Cowan came up with his final concept—Pyle's "love affair" with the ordinary infantryman—by June 1944, but developing a storyline proved more difficult. After the D-Day Invasion of Normandy, believing that the end of the war was in sight, the script moved in the direction of Pyle covering the infantry in its final advance to victory.
However the final form of the screenplay developed through the input of several war correspondents and associates of Pyle, chiefly Don Whitehead, Lee Miller, and Paige Cavanaugh, who assisted the writers in selecting details from Pyle's columns for inclusion in the film, and from the desires of director William Wellman, who worked directly with Pyle. |
93_18 | Finding a director
Cowan's first choice for director was John Huston, even though he had completed only two films before going into the service. Cowan was impressed by two feature combat documentaries Huston had made for the war effort, Report from the Aleutians and The Battle of San Pietro, but was unable to gain Huston's services from the Army.
In August 1944, unable to complete the writing of the screenplay, Cowan sought the services of William A. Wellman. One film history (Suid) has Cowan walking into Wellman's home uninvited, making a strong pitch for Wellman's services, then engaging in a heated argument when Wellman refused. Wellman told Cowan that he "hated the infantry" because of his own experiences as a fighter pilot in World War I, and because the infantry commander assigned by the War Department to assist in the making of Wellman's acclaimed Wings in 1927 so disliked the Air Corps that he had attempted to renege on the cooperation and obstruct the filming. |
93_19 | Cowan made two other attempts to cajole Wellman into accepting the assignment, first by bringing a personal letter from Pyle to Wellman (who was quoted as saying it was "like waving a red flag in front of a bull" and resulted in Wellman slamming the door on Cowan), and by bribing Wellman with gifts for his children. The latter resulted in Wellman threatening Cowan if he came back again. |
93_20 | Cowan persisted, however, and had Ernie Pyle (who had returned to Albuquerque for a rest from combat) personally telephone Wellman. Pyle overcame Wellman's resistance by inviting him to his home where two days of discussions resulted in a complete change of heart by Wellman. Suid goes on to note that although Wellman was dictatorial in his management of the filming and crucial to the style and final form of the script, that Wellman's greatest impact was as the "catalyst" for the "collective process" (as opposed to the more modern philosophy of filmmaking as a "director's medium") of bringing together "Pyle, his stories, the actors, and the Army to create a uniquely realistic movie." |
93_21 | Historical basis
Pyle covered the 1st Infantry Division, including the 18th Infantry, in Tunisia from January to May 1943, and wrote a column on the American defeat at Kasserine Pass. He also landed with the 1st Division during the invasion of Sicily in July 1943. However, after the Sicilian campaign, which is mentioned but not portrayed in the film, the 18th Infantry moved to England to prepare for the Allied invasion of France, while the film's "Company C" is said to have made a landing under fire at Salerno. |
93_22 | While the screenwriters chose the 18th Infantry Regiment to be depicted in the film, Pyle made clear that his favorite outfit, "my company", was in the 133rd Infantry Regiment (originally part of the Iowa National Guard) of the 34th Infantry Division, a unit he had covered in 1942 while it was still stationed in Northern Ireland, then again in Tunisia. Pyle devotes Chapter Thirteen, "The Fabulous Infantry", of his book Brave Men to this unnamed company of the 133rd Infantry, which he accompanied between December 1943 and February 1944, concentrating on eight G.I.s who were the last survivors of the original 200 shipped to Europe. The chapter's vignettes are very similar to the final form of the film, including portrayal of the well-liked and competent company commander, 1st Lt. John J. "Jack" Sheehy. At least three characters were based on subjects in this outfit, including Sgt. Warnicki (Sgt. Jack Pierson, who also had never seen his son "Junior") and the company's mascot dog, in |
93_23 | this instance a small black-and-white female named "Squirt". |
93_24 | The events in Italy portrayed in the film are based on Pyle's experiences with soldiers of the 36th Infantry Division in the Battle of San Pietro, and the 133rd Infantry in the Battle of Monte Cassino. Mitchum's character, Capt. Bill Walker, was modeled on two soldiers who deeply impressed Pyle. Walker was a stand-in for Capt. Henry T. Waskow of the 36th Division's Company B 143rd Infantry, and the vehicle for conveying the reflections expressed to Pyle by Sgt. Frank Eversole of the 133rd Infantry. Walker's death—and the reaction of his men to it—is a faithful recreation of the death of Waskow on Hill 1205 (Monte Sammucro) on December 14, 1943, which was the subject of Pyle's most famous column, The Death of Captain Waskow. Sgt. "Buck" Eversole was a platoon leader in Lt. Sheehy's company and the subject of several Pyle stories. |
93_25 | Riley Tidwell was involved in the movie made about G.I. Joe. After his discharge in 1945, he toured with Robert Mitchum and the movie cast. The movie tells Captain Waskow's story in which Ernie Pyle pictures Tidwell as G.I. Joe
Awards and nominations
Academy Award nominations
Best Supporting Actor - Robert Mitchum
Best Original Song - Ann Ronell for "Linda"
Best Score - Louis Applebaum and Ann Ronell
Best Screenplay - Leopold Atlas, Guy Endore, and Philip Stevenson
References
External links
The Story of G.I. Joe essay by Amy Dunkleberger at National Film Registry
"The Death of Captain Waskow" reprinted at the Indiana University School of Journalism
Photos of Ernie Pyle from Story of G.I. Joe 1944 by Ned Scott
The Story of G.I. Joe essay by Daniel Eagan In America's Film Legacy, 2009-2010: A Viewer's Guide To The 50 Landmark Movies Added To The National Film Registry In 2009-10, Bloomsbury Publishing USA, 2011, pages |
93_26 | 1945 films
1940s war films
1940s biographical films
American films
American biographical films
American black-and-white films
American war films
Battle of Monte Cassino
Films about journalists
English-language films
Films scored by Louis Applebaum
Films directed by William A. Wellman
Italian Campaign of World War II films
United Artists films
United States National Film Registry films
World War II films made in wartime
World War II films based on actual events |
94_0 | Eugénie "Ninon" Vallin (8 September 1886 22 November 1961) was a French soprano who achieved considerable popularity in opera, operetta and classical song recitals during an international career that lasted for more than four decades.
Career |
94_1 | Eugénie Vallin was born at Montalieu-Vercieu, a small town about 30 miles east of Lyon. She studied at the Lyon Conservatoire and later in Paris. At first she had no intention of performing opera, preparing herself for a career on the concert platform. In 1911 she was chosen by Claude Debussy to sing the part of the celestial voice in the first performance of his Le martyre de Saint Sébastien. She continued her association with Debussy, giving the première of his Trois poèmes de Stéphane Mallarmé in 1914 at the Salle Gaveau in Paris, accompanied by the composer. She also worked extensively with other contemporary composers, including Albert Roussel, Joaquín Nin-Culmell, and Reynaldo Hahn; the latter two accompanied her in recordings of their own works. |
94_2 | She was first persuaded to sing opera in 1912, appearing in a number of roles at the Opéra-Comique, including Micaëla (in Carmen), Mimì (in La bohème), Clara in Les cadeaux de Noël, and the title role in Louise. She went on to make her début at the Teatro Colón, as Marguerite (in Faust) in 1916, returning there regularly over the next 20 years. She made other débuts at Milan's La Scala (in 1916), Rome (1917), the Paris Opéra, as Thaïs, (1920) and San Francisco opera (1934).
The range of roles which she undertook was unusually varied in their vocal requirements: Manon, Charlotte (in Werther), Juliette (in Roméo et Juliette), Marguerite (in Faust), Mignon, Zerlina (in Don Giovanni) and Mélisande. She also sang the trio of heroines in The Tales of Hoffmann. |
94_3 | Vallin had a great affection for French operetta, and performed works by Lecocq, Massé, and Chabrier; she even ventured into music hall during the 1930s, singing at the Alhambra in Paris. Such was her popularity in her native country that she also appeared in a 1937 film, La fille de la Madelon. |
94_4 | Vallin worked with most of the leading French singers of her era, including the renowned tenor Georges Thill, whom she disliked. Her voice was that of a good-sized lyric soprano, well balanced but strongest in its middle and lower registers; but, at her peak, she was also capable of singing high coloratura, as recordings of arias by Bellini and Donizetti illustrate. Her tone was cool and clear, with exemplary enunciation. Louise, Charlotte and Manon became her signature roles. Her performances were described by the critic André Tubeuf as the "epitome of good singing but also of good taste". Sound technique supported both her versatility and the durability of her career; as late as 1946, when she was 60, she sang the Countess (in Le nozze di Figaro) and she continued singing and recording into the 1950s. Between 1953 and 1959, she was a guest professor at the Conservatory in Montevideo.
Death
She died in 1961, aged 75, at La Sauvagère, her estate at Millery, near Lyon. |
94_5 | Recordings
Ninon Vallin left a considerable output of 78-rpm recordings, dating from 1913 until the early 1950s, which can be heard on CD reissues. Many of them consist of operatic arias but there are also notable discs of French mélodies by Fauré, Chausson and Hahn. Among the complete or semi-complete opera recordings in which she featured were:
Louise (abridged); conducted by Eugène Bigot in 1935;
Werther; conducted by Elie Cohen in 1931, with Georges Thill as the tenor lead, in what is still considered to be the finest, most idiomatic recording of this work; and
Les noces de Jeannette, conducted by Laurent Halet in 1922.
References |
94_6 | Bibliography
Barnes, H.M. [1953]. "Ninon Vallin", Record collector, viii, 53; with a discography.
Celletti, R. [1964]. "Ninon Vallin", in Le grandi voci, (Roma: Istituto per la collaborazione culturale); with an opera discography by R. Vegeto.
Fragny, R. de. [1963]. Ninon Vallin, princesse du chant, (Lyon: Éd. et Impr. du Sud-Est).
Pinchard, M. [1962]. "Hommage à Ninon Vallin", Musica, 95: 4.
Steane, John [1974]. The Grand Tradition, (Duckworth, London).
External links
Marston notes on Vallin's life and recordings
Cantabile-subito
1886 births
1961 deaths
French operatic sopranos
Fonotipia Records artists
People from Isère
Academics of the École Normale de Musique de Paris
20th-century French women opera singers
Chevaliers of the Légion d'honneur
Women music educators |
95_0 | Sarvam Thaala Mayam (), also titled Madras Beats, is a 2019 Indian Tamil-language musical drama film written and directed by Rajiv Menon. The film stars G. V. Prakash Kumar and Aparna Balamurali in the lead roles, with a supporting cast including Nedumudi Venu, Vineeth, Kumaravel, Santha Dhananjayan, and Dhivyadharshini. The film features music composed by A. R. Rahman, cinematography by Ravi Yadav, and editing by Anthony.
Returning to direction after 19 years, Menon makes a comeback with a film that is relevant, entertaining, and inspirational in parts. The film released on 1 February 2019. The film was a box office success.
Plot
This is a story about a famous mridangam player named Vembu Iyer and his student Peter Johnson, son of an expert mridangam maker named Johnson who is a crazy Vijay fan, collide. |
95_1 | Earlier Peter is a care-free brat who neither has any interest in his father's Mrudangam making business nor in his own career. He started wooing a nurse called Saara while she kept him some distance due to his approach. Then one day, on his father's insistence he went to deliver mrudangam to Vembu Iyer's concert where he was allowed to watch his program. After observing Iyer's concert, Peter started admiring him and decided to join as a student to learn mrudangam from him.
After observing Peter, Iyer had understood that he has talent but rejected him due to lack of discipline and consistency. To prove Iyer wrong, Peter tried hard to change himself which constoned by his mother and worried about his future. Finally Iyer allowed Peter as his student. |
95_2 | Later Peter was mistreated by Iyer's Assistant Mani because of his lower caste. It was noticed by Iyer, who warns him to be good with his students. Mani confesses his dissatisfaction over him saying he did not support his career as mrudangam player and used him. This angered Iyer, who sacked him from the job in front of Peter, so Mani swears revenge on Iyer and Peter for his humiliation.
Later Peter became good friend with Nandagopal 'Nandu' a NRI and a Harvard University PhD dropout who came to learn Mrudangam from Iyer. Meanwhile, Mani joined as a Judge in a classical music instrument reality show called 'Sangeetha Samrat' with the help of his younger sister Anjana who is a crooked socialite and works as a VJ. Peter was very passionate about the beats of Mrudangam and became one of the favorite students of Iyer. Meanwhile, Saara realized her love for Peter and they start dating. |
95_3 | Anjana sets a trap to humiliate Iyer. She invited Nandu to perform on her reality show and makes him believe that it was telecasted only in the USA. Nandu came along with Peter, who consistently warns him to not perform without their teacher's permission. After knowing that it was a trap to humiliate them Nandu leaves the place without any warning to Peter. Without knowing the facts, Peter enters the studio to find Nandu, but he was focused on "live". Then with no option left, Peter gets ready to play mrudangam which gets severely humiliated by Mani and Anjana, making him seem useless and directly criticize Iyer. After knowing the issue, Iyer questions Peter on why he went to perform on the stage. Peter takes the blame on himself to save Nandu. The angered Iyer bangs Peter out saying it is a real humiliation for his musical knowledge for believing in such a useless student. |
95_4 | Later at Nandu's home, Nandu blames Peter for his mistakes and Peter challenges Nandu he will be overpowered by him one day. After these events, Peter became depressed and started having drugs, which worries his parents. Then it was noticed by Saara and takes him to her home and later she makes him realise that the music is everywhere which is built in nature and encourages him to explore the world to learn Thaalam(beats). Then Peter had inspired those words and started a journey on his own way to learn different types of beat instruments.
Meanwhile, The Sageetha Samrat show became successful after completion of 2 successful seasons and all the Iyer's students including Nandu fascinated over the popularity and leaves him. Finally he understands that he needs to mend his ways according to the world or else he cannot transfer his musical knowledge to the further generations and he realized that Peter is his heir for his knowledge of music and calls him back. |
95_5 | Peter happily joins him back to continue learn mrudangam for to win the show and to gain his teacher's respect back. Meanwhile, Nandu Joined hands with Mani and started taking training from him to win the show. After knowing that Iyer is also showing interest in this show and Peter was also participating in this show the duo became cautious. However Peter and Nandu managed to come on the finals in the program, before starting the show Peter forgot the beat which Iyer had trained but surprisingly it was answered by Nandu to Iyer. Then Mani comes in front of them and challenges Iyer that he will prove him that he is the best teacher than him and humiliates both in front of people for his humiliation as his revenge that's why he trained Nandu well of Iyer compositions to counter them. After hearing this Iyer advises Peter to stay on the same strategy. |
95_6 | In the show while countering Nandu, Peter remembers different beat instrumental music he has learned from and applies all the beats in Mrudangam which gets joy to the Audience. No option left Mani decides to declare Peter as the winner in the show which constoned by Nandu. Later Iyer left the stage which Peter makes fear that his teacher will get angry on him for not followed his strategy. But Iyer feels proud of him and happily claims Peter as his student. Finally the film ends with Peter now a celebrity giving performance along with his teacher Vembu Iyer. |
95_7 | Cast
G. V. Prakash Kumar as Peter Johnson
Nedumudi Venu as Vembhu Iyer
Aparna Balamurali as Sara (Saramma)
Dhivyadharshini as Anjana
Vineeth as Mani
Kumaravel as Johnson
Ravi Prakash as Krish Gopalakrishnan, Nandu's father
Sumesh S. Narayanan as Nandagopal ('Nandu')
Aadhira Pandilakshmi as Theresa Johnson
Santha Dhananjayan as Abhirami
Sikkil Gurucharan as Vedaraman
Director Marimuthu as Police Officer
Srinivas Moorthy as Thupakki Thyagu
Raj Kamal as Hari
Spike John as Velu
Krish Haran as Kumar
Bala Singh as Gokul Raj
Puneeth Rajkumar as himself
Kunchacko Boban as himself
Shalini Pandey as dancer
Kriti Sanon as dancer
Poonam Bajwa as herself
Aishwarya Devan as herself
Janhvi Kapoor as herself
Guest appearances
Sandy as Himself
Unni Krishnan as Himself
Srinivas as Himself
Karthik as Himself
Bombay Jayashri as Herself |
95_8 | Production
In March 2016, it was widely reported in the media that Rajiv Menon would begin work on his third directorial venture, after he had taken a sabbatical from the profession following the release of his previous film, Kandukondain Kandukondain (2000). Titled Sarvam Thaala Mayam, G. V. Prakash Kumar was signed on to play the lead role of a percussionist in the film, while A. R. Rahman was selected to compose the film's music. Pre-production work took place in mid-2016, and the team finalised Sai Pallavi to play the female lead role. Other actors including Nedumudi Venu and Cheenu Mohan were also approached to play key roles in the film, but production failed to take off in November 2016 as planned and the project was delayed. |
95_9 | In March 2017, Menon denied that the film was dropped and noted that a promotional photo shoot with Prakash Kumar was imminent. Prakash Kumar revealed that the story was set in two states and was inspired by incidents from the lives of real musicians. During the period, Prakash Kumar also took professional mridangam lessons from percussionist Umayalpuram Sivaraman to equip himself for the character. After further brief delays, the film was officially launched on 29 November 2017 and the shoot began thereafter. Sai Pallavi's unavailability meant that the team replaced her with Aparna Balamurali, after Menon was impressed with her performance in the Malayalam film, Maheshinte Prathikaaram (2016), and called her for a successful audition. An ensemble cast of Nedumudi Venu, Santha Dhananjayan, Vineeth, Kumaravel, Sumesh and Athira was also announced with the launch, while Ravi Yadav and Anthony were confirmed as the film's cinematographer and editor respectively. Actress Dhivyadharshini |
95_10 | also later joined the film during the first schedule, which carried on until the end of 2017. |
95_11 | Music
Awards and nomination
MSF Nalli Film Award For Best Actor, G. V. Prakash Kumar
Provoke Magazine Award For Best Actor, G. V. Prakash Kumar
References
External links
Sarvam Thala Mayam Official Merchandise by Fully Filmy
2010s Tamil-language films
A. R. Rahman soundtracks
Films about music and musicians
Films scored by A. R. Rahman
Films shot in Chennai
Indian films
Indian musical drama films
2010s musical drama films
2019 films
2019 drama films |
96_0 | Blackmagic Design Pty Ltd. is an Australian digital cinema company and manufacturer based in Port Melbourne, Victoria, Australia. It designs and manufactures broadcast and cinema hardware, most notably high-end digital movie cameras, and also develops video editing software, such as the DaVinci Resolve and Blackmagic Fusion applications.
History
The company was founded in 2001 by Grant Petty and produced their first product in 2002, a capture card for macOS called DeckLink that was the first to offer uncompressed 10-bit video. The company later released newer versions of the product and added color correction capabilities, support for Microsoft Windows, and full support for Adobe Premiere Pro and Microsoft DirectShow. |
96_1 | In 2005 the company released several products, including the Multibridge family of PCIe bi-directional converters and the FrameLink family of DPX-based software.
In 2006 the company released Blackmagic On-Air television production software.
In 2009 the company acquired the American based Da Vinci Systems, best known for their colour-correction and colour-grading products.
In 2010 the company acquired the intellectual property of Echolab and the ATEM line of production video switchers.
At the 2012 NAB Show Blackmagic announced their first Cinema Camera.
In 2014 the company acquired eyeon Software Inc, known for the Blackmagic Fusion compositing software.
In September 2016 the company acquired Fairlight. |
96_2 | In 2018, Blackmagic became a participant in Netflix's all four categories for its Post Technology Alliance which includes both URSA cinema cameras and DaVinci Resolve. In the same year, Blackmagic Design also partnered with Apple to create the Blackmagic eGPU which was sold exclusively through the Apple Store for its first 6 months upon release. This was followed by the Blackmagic eGPU Pro which was also solely sold through the Apple Store. |
96_3 | Products
List of all products developed by the company.
Digital Film Cameras
Micro Cinema Camera
Cinema Camera 2.5K & 4K
Pocket Cinema Camera 1080p, 4K, 6K, and 6K Pro
URSA Mini Pro 4.6K G2, and 12K
Live Production Cameras
Micro Studio Camera 4K
Studio Camera HD and 4K
Blackmagic Studio Camera 4K Plus, and Blackmagic Studio Camera 4K Pro
URSA Broadcast
URSA Broadcast G2
Editing, Color Correction and Audio Post Production
DaVinci Resolve and DaVinci Resolve Studio (Video Editing)
Blackmagic Fusion Studio (Visual Effects, VR, 3D and Broadcast Graphics)
Audio/Video Controller Consoles (Editor Keyboard, Speed Editor, Micro Panel, Mini Panel, Advanced Panel, Fairlight Console Channel Fader, Fairlight Console Channel Control, Fairlight Console LCD Monitor, Fairlight Console Audio Editor, Fairlight Desktop Audio Editor, Fairlight Desktop Console, Fairlight Audio Interface)
Cintel Film Scanner |
96_4 | Live Production
Home Streaming: ATEM Mini, ATEM Mini Pro/ISO, ATEM Mini Extreme, ATEM Mini Extreme ISO
TV Studios: ATEM Television Studio Pro 4K, ATEM Camera Control Panel, ATEM 1 M/E Advanced Panel, ATEM 2 M/E Advanced Panel, ATEM 4 M/E Advanced Panel, ATEM Production Studio 4K, ATEM 1 M/E Production Studio 4K, ATEM 2 M/E Production Studio 4K, ATEM 4 M/E Broadcast Studio 4K, ATEM Constellation 8K
Recording and Storage: HyperDeck Studio 12G, HyperDeck Studio Pro, Duplicator 4K, MultiDock 10G, HyperDeck Extreme 8K HDR, Video Assist 7” 12G HDR
Capture and Playback
UltraStudio HD Mini
UltraStudio 4K Mini
UltraStudio 4K Extreme 3
DeckLink (PCIe cards): Mini Recorder, Mini Monitor, Mini Monitor 4K, Mini Recorder 4K, Duo 2 Mini, Duo 2, Quad 2, SDI 4K, Studio 4K, 4K Extreme 12G, 8K Pro, Quad HDMI Recorder |
96_5 | Broadcast Converters
Micro Converter: BiDirectional SDI/HDMI 3G wPSU, HDMI to SDI 3G wPSU, SDI to HDMI 3G wPSU, BiDirectional SDI/HDMI 3G, HDMI to SDI 3G, SDI to HDMI 3G
Mini Converters: Audio to SDI, Optical Fiber 12G, SDI Multiplex 4K, Quad SDI to HDMI 4K, SDI Distribution 4K, SDI to Analog 4K, Audio to SDI 4K, SDI to Audio 4K, HDMI to SDI 6G, SDI to HDMI 6G
Teranex Mini: SDI Distribution 12G, SDI to HDMI 12G, Audio to SDI 12G, SDI to Analog 12G, SDI to HDMI 8K HDR, SDI to DisplayPort 8K HDR
See also
DaVinci Resolve
Digital cinema
History of film technology
List of digital camera brands
References
External links
Official website
Electronics companies of Australia
Manufacturing companies based in Melbourne
Movie camera manufacturers
Technology companies of Australia
Video equipment manufacturers
Video editing software
Software |
97_0 | Marcus Bontempelli (born 24 November 1995) is a professional Australian rules footballer playing for the Western Bulldogs in the Australian Football League (AFL). He has served as Western Bulldogs captain since the 2020 season, and was previously the vice captain from 2018 to 2019.
Bontempelli was drafted with the fourth selection in the 2013 AFL draft. He made his AFL debut in the 2014 AFL season. He received a nomination for the 2014 AFL Rising Star award in round 13 of the 2014 season, placing second in the overall count at the conclusion of the season. Since then, he has been an AFL Premiership player, three-time All-Australian, three-time Charles Sutton Medallist, and a recipient of the AFLCA Champion Player of the Year Award. He has polled a total of 97 career Brownlow Medal votes. |
97_1 | Early life
Bontempelli was raised in Eltham in the north eastern suburbs of Melbourne, Victoria. He was the third of four children to father, Carlo and mother, Geraldine. He was educated at Marcellin College, and played junior football for the Eltham Panthers in the Northern Football Netball League junior divisions. Bontempelli was the sports captain at Marcellin College in his final year, and he played for both the 1st XVIII football team and the 1st basketball team. He notably had a game where he collected 50 disposals and kicked 10 goals. Bontempelli had a successful time playing basketball before turning to Australian rules football, playing in two winning school basketball premierships and becoming a National School Boys Basketball champion. |
97_2 | Bontempelli played for the Northern Knights in the TAC Cup for the 2013 season. After originally playing as a floating half back and forward, Bontempelli moved into the midfield during his time with the Knights. He participated in 9 games and kicked 15 goals throughout the season, while also being selected in the 2013 TAC Cup Team on the interchange bench. He also played for Vic Metro in the AFL Under 18 Championships in 2013, primarily in the half back and wing positions. While playing for Vic Metro, he had a disposal efficiency of 79 percent. |
97_3 | Initially, it was not clear where Bontempelli was likely to be selected in the 2013 AFL draft. Some sources had Bontempelli ranging from pick four to even as far down as pick 15. There were talks of trying to obtain Bontempelli after it was stated they were prepared to send their eleventh selection and forward Stewart Crameri in exchange for pick four. However, this did not eventuate. Bontempelli ended up getting selected with the fourth selection in the draft, behind Tom Boyd, Josh Kelly, and Jack Billings.
AFL career |
97_4 | 2014–2015: Early career |
97_5 | Bontempelli made his senior debut in the 's 28 point loss to in round 5 of the 2014 AFL season. On debut, Bontempelli collected 14 disposals and 5 tackles, beginning to build his reputation as a high pressure player. He received an AFL Rising Star nomination in round 13 for his 22 disposals and one goal performance in the Bulldogs' win over . In round 15, Bontempelli kicked a remarkable goal tight up on the boundary in the final minutes of the match to give the Dogs a one-goal win over Melbourne. Bontempelli was awarded the Chris Grant best first-year player in 2014, alongside the AFL Players Association best first-year player award. He finished second in the AFL Rising Star in the same year, losing to player Lewis Taylor by a single vote. His outstanding performance in his debut year meant that he was also selected in the 22 Under 22 team, alongside teammate Tom Liberatore. Bontempelli polled 4 votes at the 2014 Brownlow Medal count that year, including three in his standout |
97_6 | performance against in round 15. |
97_7 | Bontempelli continued to improve over the course of the 2015 season, playing all games except for round three and round ten, when he was injured with an adductor strain. In 2015 he picked up a career-high 28 disposals while playing , also kicking 2 goals, taking 7 marks and collecting 7 tackles. Bontempelli collected 24 disposals, 3 marks, 2 behinds and 7 tackles in the ' seven point elimination final loss to . He was named as one of their best on ground. Bontempelli came third in the Charles Sutton Medal, the award for the Best and fairest player for the Western Bulldogs. He was only topped by Easton Wood and Bob Murphy in the count. On top of this, he more than tripled his Brownlow Medal votes from last season, leading the club for total Brownlow votes that season after picking up thirteen votes at just the age of 19. Six of those votes were in the first two rounds after back-to-back best on ground performances, while he collected two other best on ground performances in round 15 |
97_8 | and round 22. He was once again named in the 22 Under 22 team as a midfielder. He signed a long-term contract with the Bulldogs in September, keeping him at the club until 2019. |
97_9 | 2016–2017: Premiership success |
97_10 | Bontempelli had his best year yet in 2016, playing every single game of the season, including the fairytale premiership win. Bontempelli was elevated into the club's leadership group at the beginning of the year. Bontempelli collected a career high 33 disposals in the Bulldogs' round 8 match against . During the 2015 and 2016 period he was often used during ruck contests, getting at least one hitout in 40 out of his 47 games during this period. On 5 June 2016, in the absence of acting captain Easton Wood, who was filling in for injured regular captain Robert Murphy, Bontempelli captained the Western Bulldogs against at Etihad Stadium, becoming the youngest match day captain in the AFL since Jack Trengove in 2012. With the Bulldogs winning the match by eight points, Bontempelli became the youngest player in history to captain a VFL/AFL side to victory at 20 years and 194 days of age. He was instrumental in the Bulldogs' four consecutive finals, including the 2016 AFL Grand Final, |
97_11 | which was the club's first premiership victory in 62 years. His season was rewarded with the Charles Sutton Medal, finishing 71 votes clear of second placed Dale Morris. He also won the John Schultz Community Award. He received 20 votes in the 2016 Brownlow Medal, the highest of any player for the Bulldogs in 2016, and his highest total to that date. He had five games in which he was voted best on ground, and finished 8th overall in the voting. Bontempelli made the 22 under 22 team for the third year in a row, named the captain of the team. He also made the All-Australian team for the first time, named on the interchange bench, alongside veteran teammate Matthew Boyd. |
97_12 | Bontempelli missed the 2017 JLT Community Series after a minor ankle injury at the club's pre-season camp in January. He had season-best games against Carlton in round 2 and Sydney in round 17, kicking 2 goals and collecting 30 disposals in each game. He led the team in total number of behinds, tackles, inside 50s, clearances, contested marks and contested possessions by the end of the season. Former and great Gerald Healy described Bontempelli as someone who 'could end his career as the greatest player in the history of the Western Bulldogs', after his 23 disposal, 2 goal performance against in round 20. After another great season for the Bulldogs, Bontempelli claimed his second Charles Sutton Medal, and was once again named as captain of the 22 under 22 team, his fourth consecutive year being named in the team and second consecutive year as captain. On 20 November 2017, Bontempelli was named vice-captain of the club for the 2018 AFL season, following Murphy's retirement and |
97_13 | Wood's elevation to captain from vice-captain. Bontempelli had a similar vote count to his previous year in the 2017 Brownlow Medal, with a total of 19 votes, including 6 best on ground games in rounds 2, 6, 7, 14, 17 and 20. He finished in 7th. |
97_14 | 2018–2019: Vice-captaincy |
97_15 | Bontempelli played all but one game in the 2018 AFL season, in a disappointing season for the Bulldogs where they missed finals for the second year in a row. On 10 July 2018, Bontempelli was taken to hospital with severe appendicitis and had surgery to resolve the issue. Bontempelli was then placed on the sidelines in order to allow him to recover from the surgery, and subsequently missed round 7. This meant he missed what was due to be his 100th game. However, he ended up playing his 100th AFL game in the 's 44 point loss to in round 19, where he collected 22 disposals. Bontempelli broke his career high record for disposals twice in two consecutive matches in rounds 21 and 22, against and respectively. Bontempelli came 3rd in the Charles Sutton Medal count, behind Lachie Hunter and Jack Macrae. For the fifth consecutive year, Bontempelli was named in the 22 under 22 team, setting the record as the first player to be named in the 22 under 22 team for 5 consecutive years. He only |
97_16 | polled 9 votes in the 2018 Brownlow Medal, his lowest count since his debut year. Bontempelli signed a three-year contract extension with the Bulldogs in November, after which he stated "I’ve made no secret about the love I have for the Club, and how I want to play a key role in the future success of this playing group,". After questions as to why he only signed a shorter deal than expected, Bontempelli said "There’s a bit of intrinsic value for me to continue to stay accountable to what I want to achieve. As an individual player I think I’ve got a lot of growth ahead of me and it keeps me invested from day to day." |
97_17 | Bontempelli had another successful year in 2019, taking the Bulldogs to the finals series as the team's vice-captain. Bontempelli had 5 games where he collected 30 or more disposals. His 27 disposal, 3 goal performance in round 7 against the future premiers, , was one of his best for the season. A high bump from Bontempelli on defender Nick Haynes in the penultimate round of the season resulted in Haynes getting a fractured larynx and Bontempelli narrowly missing suspension. Bontempelli was heavily tagged in the Bulldogs' elimination final loss to , resulting in a loss for the Bulldogs, adding to the growing rivalry of the two clubs. Bontempelli made the All-Australian squad for the second time in his career. He was named on the wing, as there was fierce competition for the highly contested midfield spots. Bontempelli also won the AFL Coaches Association Player of the Year award, winning with a total of 107 votes, 17 votes ahead of second placed Patrick Dangerfield. He was the first |
97_18 | player to win the award since it was first introduced in 2003, with 312 game Bulldog player Bob Murphy describing him as a "generational player". Bontempelli won the Charles Sutton Medal for the 3rd time, gathering 299 votes, giving him a margin of 29 votes against the second placed Josh Dunkley. |
97_19 | In December 2019, Easton Wood stood down as Western Bulldogs captain, and Bontempelli was announced as the new captain from 2020. Bontempelli tied with fellow Bulldog Jack Macrae to collect 22 votes in the 2019 Brownlow Medal, judged best on field in 5 games – rounds 1, 3, 15, 19 and 20.
2020–: Captaincy |
97_20 | Bontempelli captained the Bulldogs to the finals series in a relatively fruitful year, playing every single game. He was selected to represent Victoria in the State of Origin for Bushfire Relief Match, played in February 2020. He played with teammate Jack Macrae and against fellow Bulldog Jason Johannisen. In the match, he kicked 2 goals. In the main 2020 AFL season, Bontempelli had a stand out game against in round 12, where he had 33 disposals, 2 goals and 12 clearances. Bontempelli was again recognised for his impressive performance throughout the season, and was named in the All-Australian team for the third time in his career, and the second year in a row, this time as a forward. His selection on the forward line caused backlash as Bontempelli, primarily a midfielder, took the spot of forward that 'could have gone to players that primarily play in the forward line'. Bontempelli came runner up in the Charles Sutton Medal voting, losing to defender Caleb Daniel by a mere 10 votes. |
97_21 | He also won the club's Scott West Most Courageous Player Award. Bontempelli polled 10 brownlow votes in the 2020 Brownlow Medal count, placing him at 22nd overall in the count. |
Subsets and Splits