AustLit

'Much of the humor, and not a little of the pathos, of the outback settlers' life are depicted in the story. Dave and his wife set up housekeeping in a deserted hut, and Dave comes home three or four times a day to borrow' something, until the Rudd homestead is nearly denuded of furniture. There is an uproarious scene when the local band of hope calls on Mrs. Rudd, and Joe half-fills the teapot with rum, and the temperance advocates declare it to be the best tea they have ever tasted. The antics of Joe and the twins kept the audience in a simmer of mirth throughout. Some wonderful bush scenery is shown, and the whole production is a credit to the Australian artists engaged in it.'

Source:

'The Rudd's New Selection', Daily Herald, 8 August 1922, p.4 (via Trove Australia).

'"The Blue Mountains Mystery" is an Australian photoplay that is different. Here is a story of the sunlight and shadows of our own society, of a man shot dead on the night of a vivid storm when thunder drowned the sound of the revolver report, and the guests at a great ball laughed and jested while grim tragedy stalked but a floor above them.'

Source: 'The Blue Mountains Mystery', Advocate [Burnie, Tasmania], 24 October 1922, p.3.

Mostly humorous with occasional farcical moments, the film focuses on the Rudd family and their trials and tribulations living on the land. Murtagh Joseph Rudd, known as Dad, and his son Dave finish a bark hut on their newly established selection. The rest of the family arrive and get to work, clearing the land by hand and planting a first crop of corn. The challenges include wildlife in their beds and no money to buy a horse, but their hard work pays off. In a year or two, the Rudds have a working farm and a more comfortable home, thanks to the domestic labours of Mrs Rudd. A bushfire and several years of drought impoverish them, but they hold on against all adversity. When Kate Rudd returns from her job teaching in the city, she falls for an eligible young farmer, Sandy Taylor. Dave and his sister Sarah also find sweethearts, although Dad tries to shoot one of them. Kate's wedding allows all grudges to be forgotten.

'[T]he truth, the pathos, and the humor of C. J. Dennis' great poems "The Moods of Ginger Mick" and "Doreen" are presented just as the author imagined it. The story of "Ginger Mick" is told in six reels, and follows the fortunes of "Ginger Mick" through his everyday life, his career as a soldier, and his final glorious ending on Gallipoli. The "Bloke" and "Doreen" also figure largely in the picture'.

Source:

'The Story of "Ginger Mick"', Western Champion, 10 June 1920, p.11.

Adapted by Raymond Longford and Lottie Lyell from C. J. Dennis's collection of poems (The Songs of a Sentimental Bloke), the story concerns Bill ('the bloke'), a Sydney larrikin who vows to abandon his life of gambling and drinking when he falls in love with Doreen (who works in a pickle factory). His reformation comes about after he has been released from gaol, having been convicted of assaulting a policeman ('stoushing a John') during a raid on a two-up game.

'It imparts a universal and moral lesson. There are rogues in every land who ruin women, and who regard their exploits with delight, but they adopt a totally different attitude when their own sisters are affected, though, of course, in all cases the women pay the penalty. That is the foundation on which this film is constructed. The teaching is demonstrated in a commendably urbane manner, and even the faintest suggestion of impropriety is not allowed to obtrude itself. Unlike most men of this type, the hero of the story proves that he has good qualities, and though his passionate resolution to revenge his sister's disgrace burned as fiercely as a flambeau, yet when his own discreditable conduct was recalled to him his hatred ceased and was transformed into a love which prompted him try make amends and to marry the girl he betrayed. A happy finale is thus provided to a series of exciting episodes.'

Source:

'The Woman Suffers: First South Australian Film Presented', The Advertiser, 25 March 1918, p.9.