Morning of The Earth

Spearheaded by the legendary director and a surfer himself, Albie Falzon, the 1972 movie Morning of the Earth captures the raw spirit of early 1970s surf culture like no other. This groundbreaking movie, starring Chris Brock, Stephen Cooney, and Terry Fitzgerald, elevated the genre and introduced a fresh narrative of aesthetics, philosophy, and lane-filling exploration into the world of surfing cinema.

Morning of the Earth eschews the competitive focus that is common with many modern-day surf films, instead embracing a narrative that represents the previously uncaptured harmony that exists between surfers and their natural surroundings. It's defined by its stunningly beautiful camerawork and imagery, evoking a visual love poem to the sport and its environmental interconnectedness, with the leading roles perfectly embodied by Chris Brock, Stephen Cooney, and Terry Fitzgerald. Correspondingly, these ultimate watermen, who were among the globe's elite surfers of the era, serve as the film's messengers of a different ideology - a life led tuning to the rhythms of nature rather than the indistinct humdrum of societal norms.

The movie is not merely about surfing epic waves, but it also delves deep into an alternative lifestyle centering on the enduring love for the ocean, the joy of living, and that endless search for the perfect wave. The film portrays the lives lived by its protagonists Brock, Cooney, and Fitzgerald off the waves as beautifully as the cinematic mastery of their graceful navigation of an ever-changing canvas of surf, effectively highlighting the interconnected relationship the characters share with the natural landscape.

This isn't a film that solely projects a raw narration of surf culture. Instead, it ventured into shimmering crystal-like aspects of humanity's relationship with nature itself. Morning of the Earth wasn't merely a reflection of a golden era of surfing or a simple homage to a bygone subculture. It went on to shape a perspective within the audiences, raising environmental awareness and shifting one's mindset to value and perceive our inevitable bond with the earth.

Giving life to the incredible visuals is the equally mesmerizing soundtracks, curated and conducted by G. Wayne Thomas, a legendary Australian musician. The tracks were tailored to elevate the viewers' experience to an all-time high, with every riff strummed and note hit adding to the allure of the big wave riding scenes. It enchants the spectator into drifting comfortably into the euphoric and adrenaline-packed scenes with ease.

Moreover, the cinematography is precisely what distinguishes Morning of the Earth from its contemporaries. The camera moves from close-up frames to wide sweeping shots, bisecting waves as they explode into a plume of white foamy surf crashing onto the pristine sandy shores. It's a visual experience that reveals man's seemingly minute existence against colossal wave fronts, magnifying our insignificance compared to the mighty ocean.

Despite being phenomenal athletes, there's a profound subtleness in the performances of Brock, Cooney, and Fitzgerald. They don't play 'characters’ – these surfers present a sense of themselves. They balance in the film with an endearing rawness, each claiming its uniqueness, much like the ever-diverse wave patterns they attempt to master, embodying their characters with true authenticity.

In essence, Morning of The Earth is more than a movie; it's a voyage, a mosaic of perfectly captured moments, and a timeless tribute to a subculture that defined an era. It is a magical blend of simplicity and complexity, illustrating the duality that epitomizes the surf lifestyle. The movie successfully makes the audience feel they are part of the ocean, exuding an aura of oneness with the elements.

Above all, Morning of The Earth continues to have a significant impact. It has inspired and will continue to inspire many surfers and filmmakers alike, spawning countless imitations but no equals. It thrives on nostalgia – a nostalgia for an era of freer, pure, and innocent times, mirrored in the art of riding waves.