'A narrative non-fiction picture book about the life of Ned Kelly and the Kelly Gang, Australia's most infamous bushrangers. Backed by detailed research, the story focuses on Ned as a young man and the little known story of the green sash. The text also includes brief biographies and fact files on the Kelly Gang, the true story behind the green sash and a detailed list of sources.'
Source: Walker Books Australia, website, www.walkerbooks.com.au (sighted 21/06/2010)
'WWII American Army Medic Desmond T. Doss, who served during the Battle of Okinawa, refuses to kill people and becomes the first Conscientious Objector in American history to be awarded the Congressional Medal of Honor.' (Production summary)
'Based on the novels of Australian author Kerry Greenwood. Our lady sleuth sashays through the back lanes and jazz clubs of late 1920s Melbourne, fighting injustice with her pearl handled pistol and her dagger-sharp wit. Leaving a trail of admirers in her wake, our thoroughly modern heroine makes sure she enjoys every moment of her lucky life.'
Source: Inside Film and Television website
'On a three-quarter moon, a bell tolls, marking the minutes to midnight, and a rotted timber backbone slowly rises from a watery grave".
This is the story of the ship Fortuyn in the year 1724 which vanished after leaving the Cape of Good Hope, bound for Batavia. She was laden with gold ingots and bullion.
'Fortuyn's Ghost imagines that fateful voyage to its likely end on Western Australia's treacherous Ship Wreck Coast, a place well known for nautical hauntings.' (Publication summary)
'A foal is born at midnight, on the homestead side of the river. Coal black. Star ablaze. Moonlight in her eyes. On October 31, 1917, the 4th and 12th Regiments of the Australian Light Horse took part in one of the last great cavalry charges in history. Among the ﬁrst to leap the enemy trenches was Lieutenant Guy Haydon riding his beloved mare, Midnight. This is their story.' (Publisher's blurb)
'...We have been privileged to hear the stories from great authors like Tony Birch, Sofie Laguna, Amie Kaufman and Jay Kristoff, John Marsden, Kerry Greenwood, Anita Heiss and Christos Tsiolkas. They are all writers of immense talent and scope. They have several things in common, one of which is that you can buy their books at Readings bookstores.
'Readings has been a great supporter of The Garret podcast since its beginning. It’s also the world’s number one independent bookstore. Its Managing Director is Mark Rubbo, and I spent time with Mark recently and learned how a former medical student became an accidental bookseller.' (Introduction)
'In 1848 the famous explorer Ludwig Leichhardt sets out on an epic journey. His aim is to cross Australia from east to west, but he never reaches his destination and no one from his expedition is ever seen again. Countless search parties set out to look for the expedition but no trace is ever found. Until a young boy is given an artefact with an incredible story . . .' (Publication summary)
'In 1936, hunted and trapped by European farmers, the last few Tasmanian Tigers take refuge in the forests of Tasmania. But even after the last-known Tiger dies alone and neglected in a zoo, people claim to have sighted this amazing creature. No one can prove it still exists, until a determined searcher and modern science provide a glimmer of hope.' (Publication summary)
'It’s 1929, and a man named Howard Lasseter claims to have found a massive gold reef in Central Australia. In the excitement that follows, he attempts to find it again. On his journey across the desert he buries maps and secret messages beneath the ashes of his campfires. Until at last he takes its mysterious location to the grave… ' (Publication summary)
'In March 1942, an aircraft prepares for a desperate midnight escape, taking refugees to safety in Australia. Just before take-off, the pilot is entrusted with a mysterious, wax-sealed package.But when the plane is shot down by the enemy and crash lands on the Kimberley coast, the package is forgotten. Until someone stumbles across the find of lifetime . . .' (Publication summary)
Carnival is coming, and the villagers of John John, Trinidad, are getting ready to jump up and celebrate with music, dancing, and a parade. Best of all, the Roti King has promised free rotis - tasty fried pancakes filled with chicken, herbs and spices - for the best in the parade. Publisher's blurb.
'The first Australian cricket team to tour England was a group of Aboriginal stockmen. This is their story.
'In 1868 a determined team of Aboriginal cricketers set off on a journey across the world to take on England's best.
'Led by star all-rounder Johnny Mullagh, and wearing caps embroidered with a boomerang and a bat, they delighted crowds with their exceptional skill.
'From the creators of Jandamarra, this is the remarkable story of the real first eleven.' (Publication summary)
'Welcome to the world of HUSH ... a world of magic, wonder and mystery...Created for the Hush Music Foundation, famous for its original music albums used in hospitals all around the world, this book is a treasure trove that will delight and entertain the whole family...A glorious collection of stories, poems and pictures from thirty favourite storytellers:..Nick Bland, Karen Briggs, Kevin Burgemeestre, Michael Camilleri, Jackie French, Jane Godwin, Bob Graham, Jacqui Grantford, Mark Greenwood, Ann James, Danny Katz, Fran. Lessac, Alison Lester, Chris McKimmie, Doug McLeod, Glenda Millard, Stephen Michael King, Tohby Riddle, Victoria Rohan, Judith Rossell, Paul Seden, Craig Smith, Shaun Tan, Jane Tanner, Karen Tayleur, Mitch Vane, Julie Vivas, Anna Walker, Bruce Whatley, Margaret Wild.' (Publication summary)
'From childhood, Angela Rule was destined to become a pop singer. As the eldest of nine girls growing up in Perth, she stood out for her beautiful voice and songwriting talent. Her father, Kevin, was an artist and traditional dancer who inspired Angela to follow a path of creativity. However, life turned upside down for the Rule family when their father was killed in a shocking one-hit punch incident.'
'At the tender age of 17, Angela sacrificed her musical ambitions and took on the responsibility of supporting her grieving mother and eight sisters. The grief spurred Angela to express her own feelings through songwriting. Now, ten years later, she is making her mark in the pop world. Drawing deeply on the life experiences of her sisters and herself, she has created a repertoire of catchy and moving songs, which she performs in a gutsy, engaging style to big crowds around Perth. Angela's Rules is a poignant and upbeat story of resilience and courage and is a testament to the healing power...' (Source: IMDb website)
'Murder is the ultimate crime. It touches the lives of ordinary people, casting its long shadow over the glossy cityscape and glamorous haunts of the sprawling metropolis. For homicide detectives Steve Hayden and Tessa Vance, solving a murder is a journey from darkness into light. An urgent, vicious confrontation with evil, a walk through the devil's own world.
'Tessa and Steve are the elite new face of homicide. She is young and brilliant, he is logical. She is instinctive, he goes by the book. She's complicated, he's down to earth. Together this powerful partnership must confront and overcome the intrigue, fear and shattered lives which murder leaves in its wake.'
Source: McElroy All Media (http://www.mcelroyallmedia.com.au/index.php?page=murder-call). (Sighted: 19/4/2013)
The authors above are those credited as script-writers for the series. A number of other authors were also credited with 'story': Jennifer Rowe is the most frequently credited, but other authors credited with 'story' are Leanne Williams, Duncan Ball, Kel Richards, Jenny Pausacker, Kerry Greenwood, Richard Hall, Peter Gawler, John Banas, Jean Bedford, Karen Petersen, and Helen Robinson.
A musical Ruritanian romance.
In the New York Times, the piece is described as 'a play about the exiled king of a mythical country who comes to America and finds romance' (8 June 1955, p.59). Later, the New York Times expanded on this to describe him as 'a deposed king of a frantic country called Brandovia where the inhabitants spent their time exporting bologna and fighting off assaults by their aggressive neighbors, the Carps and the Gloats' (23 August 1955, p.49).
Adams, Val. 'TV Show to Stage an Original Play', New York Times, 8 June 1955, p.59.
Dunckley, Dorothy. 'Cyril Stars in Lavish TV Show', The Argus, 7 September 1955, p.9.
Hastings, Peter. 'One of Broadway's Top Ten', Australian Women's Weekly, 12 May 1954, p.13.
Shanley, J.P. 'TV: Hail, King Ritchard!', New York Times, 23 August 1955, p.49.
False Witness 'is set in present day  Sydney,Tajikistan and London against the back drop of bickering intelligence agencies, fallible police forces and international tensions and was inspired by real life incidents including the 1997 theft of five Soviet built nuclear 'suitcase bombs' and explores a scenario that could lead to the West's worst nightmare - a nuclear attack.
'... British diplomat, Ian Porter (Dougray Scott) is apprehended at Heathrow Airport in possession of 30 kilos of heroin. Porter's unwillingness to cooperate leaves Scotland Yard Inspector Julie Hales (Rachael Blake) believing he is doing business with Russian arms and drug trafficker Sergei Krousov (Don Hany). Unaware that Krousov has intentions to sell a suitcase bomb, Scotland Yard offers to cut Porter a deal to turn on Krousov. In return they'll grant him immunity from prosecution and entry into their international witness program.
'Hales accompanies Porter and his estranged wife (Claire Forlani) to Sydney where chameleon Porter believes his handler at MI6 (Richard Roxburgh as Van Koors) can manipulate the Australian Federal Police protection team to allow him to complete his mission. AFP agent Wilson (Jeremy Lindsay Taylor) and Hales have no idea of Porter's MI6 links so, when their security is breached, all hell breaks loose.'
Source: Screentime website, http://www.screentime.com.au/
An ABC anthology television series that played single-episode television programs from overseas, but also produced and promoted new Australian works.
The individual works had no explicit thematic connection to one another, and the term 'theatre' was applied loosely: some instalments were adaptations of stage plays, but many appear to have been written directly as 'television plays'. The series also semi-regularly aired operas.
In some instances, the productions were imported wholesale from other countries: 'Collect Your Hand Luggage' (aired 20 October 1965), for example, is a re-titled broadcast of ITV Television Playhouse episode 'Collect Your Hand Baggage' (originally aired in 1963).
In other instances, the episodes are Australian productions of international works: 'Tartuffe' (aired 13 October 1965), for example, is an Australian production of the Moliere play, produced Henri Safran and with an Australian cast. These productions are only indexed individually on AustLit if there is a discernible Australian script-writer and/or localisation of the production.
Wednesday Theatre followed a common pattern for anthology series on early Australian television, in that the Australian content rapidly dropped away and the series became primarily re-screenings of British productions: see also Stuart Wagstaff's World Playhouse.
For a full listing of episodes and airdates, see under Film Details.
(Biography in progress.)
British feature film production company.
In 1902, Will (William George) Barker bought the Lodge in Ealing Green, London. Barker had been making films on a hand-cranked Lumiere camera since 1901, but didn't bring the Ealing property into use until 1909, when he wanted a space in which to film on set stages, to counteract any inclement weather. Both the Lodge and an adjacent property (called the West Lodge, and purchased in 1904) were fitted with stages and tall windows, to provide as much light as possible. According to A History of the County of Middlesex, the studios were 'said to be the largest in England'.
Ealing Studios moved through various owners between their beginning and the 1930s. They were acquired from Barker's Barker Motion Picture Photography Ltd by General Film Renters in 1920, and leased to various production companies. In 1929, Union Studios purchased them, but promptly failed. (see A History of the County of Middlesex.) In the same year, they were purchased by Associated Talking Pictures, which built a sound-stage in 1931.
In 1938, Michael Balcon became head of production at what was now called Ealing Studios, beginning the studio's most successful period: Ealing comedies began in the 1930s, but the best known (including Kind Hearts and Coronets, The Lavender Hill Mob, and The Ladykillers) were produced in the post-war period, and before the studios were sold to the BBC in 1955. Among the films produced during this peak period were Saraband for Dead Lovers, based on the novel of the same name by Helen Simpson and Australian epic The Overlanders.
Between 1946 and 1950, Ealing Studios filmed three films in Australia, all three from original screenplays. (Ealing Studios also adapted the work of Australian writers, including a 1957 adaptation of The Shiralee.) The first of these, The Overlanders, was an adventure story set in the very recently ended war: at the beginning of World War II, Australian cattlemen, fearing a Japanese invasion but resisting the urge destroy their cattle, undertake an epic cattle drive halfway across the continent.
Harry Watt, the English film director responsible for The Overlanders (and later Ealing productions Eureka Stockade and The Siege of Pinchgut), began negotiations with Commonwealth officials on the film deal in January 1945 ('Mr Harry Watt'). By mid-January, he had announced his male star, Chips Rafferty (fresh off significant roles in Charles Chauvel films Forty Thousand Horsemen and The Rats of Tobruk, but otherwise early in his career), and planned early shoots in Kempsey (standing in for Wyndham) in March 1945 ('"Chips" Rafferty as Boss Drover'). Technicians were sent out from England to 'remedy what is customarily the weakest spot in Australian production' ('News about Movies'): they included producer Jack Rix, cameraman Osmond Borrodaile, and editor E.M. Inman-Hunter, who supplemented an otherwise Australian crew ('Great Cattle Trek Filmed').
Newspapers settled down for a regular stream of news about the production. In mid-March, the news was that valuable horses were being nursemaided from Sydney to Alice Springs for a role in the production ('Valuable Sydney Horses'). The horses were later the subject of some controversy when, on the return journey, they were said to have dropped cattle ticks in Orange, in contravention of the Tick Act: production manager Archie Spears was fined £10 for transporting infected stock ('Cattle Ticks').
In late March, the primary female role was cast: twenty-year-old Daphne Campbell, lately a lance-corporal in the Australian Army Medical Women's Service (AAMWS) and, according to the papers, ambitious to become a professional pilot ('AAMWS in Film Role'). Campbell never made another film: she met her future husband (himself a pilot) during filming, and had her first child just before the film premiered.
Newspapers also pointed out the casting of Aboriginal actors Clyde Combo and Henry Murdoch ('Great Cattle Trek Filmed'): both went on to uncredited roles in Kangaroo and Clyde Combo to a role in Bush Christmas, while Henry Murdoch also appeared in Bitter Springs, The Phantom Stockman, The Shiralee, Dust in the Sun, and a four-episode run on Whiplash. Both Combo and Murdoch had come from Palm Island ('Cast for "Overlanders"').
By June 1945, plans were in place for filming cattle across 2000 miles (3200 kilometres) of stock route, from Wyndham, Western Australia, to the Barkly Tablelands in Queensland, to get footage of cattle in all stretches of the country. Film crews followed the cattle in trucks, while specially equipped RAAF planes took overhead footage ('Filming Great Cattle Trek'). Attached to the unit was Dora Birtles: having done most of the original research for the film, she was also tasked with writing up an account of the trek for publicity purposes ('Around the Town'). Birtles spent five months on location with the crew and later wrote the novelisation of the film.
The film presented a number of logistical challenges, including simulating a plane landing near the cattle, which required a skilled RAAF pilot to mimic landing by skimming six inches above the ground ('Unusual Sequence'), and a spectacular crossing of the Roper River, filmed in one take, with 600 head of cattle that had not been handled since their branding ('Crossing the Roper'). The crossing was managed with the assistance of Harold Giles, manager of Elsey Station (made famous by Mrs Aeneas Gunn in We of the Never-Never, and his Aboriginal drovers, with camera crew camouflaged to avoid spooking the cattle. Watt also later said that the film suffered 'from production under wartime conditions', and regretted that it could not have been filmed in colour: 'The vivid colours of the Macdonnel Ranges [sic], with their blood red rock, bright yellow grasses, white trunks of trees, excelled anything he had seen in America' ('Australian Actors').
Harry Watt, who had been in Australia since 1944, departed for England in December 1945, after the rough cut of the film had been flown to the London studios under the stewardship of the chief sound engineer, Eric Williams ('Australian Film'). Already the film, which would not be released until the following year, was being heralded as 'a new era of successful film production in Australia', and J. Arthur Rank of Ealing's parent company, the Rank Organisation, was discussing making Australian films: the Rank Organisation went on to make A Town Like Alice and Robbery Under Arms in the mid-1950s ('"Overlanders" Heralds New Era in Australian Films').
The final shots of the film were taken in Leeton in January 1946: Australian cameraman Axel Poignant, who had worked as assistant to Osmond Borrodaile, was sent to take photographs of galahs in flight ('Last Shot of "The Overlanders"'). In total, the film was said to have cost £100,000 and took two years to produce ('The Overlanders', April 1946). The 1946 Federal budget showed that the Commonwealth's contribution, which came from the Department of Commerce, was £4369 ('The Overlanders', Nov. 1946).
The film, originally slated for an April 1946 release, premiered at the Lyceum Theatre in Sydney on 27 September 1946, in the absence of both Chips Rafferty (in London under contract to Ealing Studios) and Daphne Campbell (who had become engaged during the film shoot, and had a newborn daughter at the time of the premiere) ('Stars of "The Overlanders"'). The premiere – outside which a crowd estimated at 5000 waited for guests to arrive – was filmed by newsreel cameramen and broadcast on the ABC shortwave program ('Gay Scenes'). Ealing Studios released a colour booklet to accompany the film's release, including portraits of the stars and shots of the locations ('Booklet').
At least 350,000 people attended screenings of The Overlanders between its premiere and mid-February 1947: newspapers in Perth reported that three-year-old David Williamson, the 350,000th attendee, received a 5lb. box of chocolates as a prize ('Outlaw'). The figure was an all-time attendance record, and probably due in part to the regular stream of news articles and illustrated supplements that had come out of Australian newspapers and magazines since the announcement of the film. Already, plans were in place for the next Ealing production in Australia.
Before The Overlanders premiered, Chips Rafferty was already under exclusive contract to Ealing Studios: he had already made The Loves of Joanna Godden opposite fellow ex-pat John McCallum and soon-to-be Australian stage stalwart Googie Withers when newspapers began confidently predicting not only that he would be the star of the next Ealing production in Australia, but also that he would be playing Peter Lalor in a dramatisation of the Eureka Stockade ('Britain Beats U.S. on Films').
The film's topic was confirmed by Harry Watt when he arrived back in Australia on 1 November 1946 ('Harry Watt'). The choice of topic was not without controversy: within days of the announcement, Leslie Haylen MP declared his intention of also making a film on the subject: 'Mr. Haylen claims that he wrote a play three years ago and that it was offered to Messrs. Rank and Watt, who are to produce the new film' ('Rivals'). Haylen's play was published in 1948 with the title Blood on the Wattle : A Play of the Eureka Stockade, but no film of it was ever made, and Haylen's initial statement was the last word on the subject.
The success of The Overlanders may have created an undue sense of expectation about the coming production, because Watt sounded a note of caution in the newspapers:
Speaking from Sydney last night Mr. Watt said: "The aim of studios here should, be to produce a few high class pictures, and it is foolish to assume that every film made in Australia will be a financial success.' Mr. Watt said that Ealing's policy would be to make a picture here next year based on the Eureka Stockade. If that were successful another film would be made in 1948. ('Not Every Aust. Film a Success').
Watt was planning to be in Australia for three months to set up necessary local requirements for filming, before returning to England to assemble a crew (ibid).
By late November, when Watt had been back in Australia for less than three weeks, a problem arose, when the Actors' Equity Council placed a black ban on film contracts issues by Ealing Studios (and by Columbia Pictures and Charles Chauvel) ('Actors' Equity'). Actors' Equity maintained that they were seeking a fair increase in actors' wages, but Watt's immediate response was to threaten to cancel the production of Eureka Stockade, a position which was supported by Ealing's Australian agent S.Y. Gresham and echoed by Columbia Pictures.
The discussion became heated enough that Michael Balcon, head of Ealing Studios, felt he had to weigh in from London: gently but publicly chastising Gresham ('Mr. Gresham must have been misquoted because he had no authority to say, as reported, that Ealing would drop plans for producing in Australia'), he nevertheless made it clear that Ealing would not be held hostage:
Mr. Balcon said that Ealing would not be concerned in any strike in Australia because it was not operating there at present. "The Overlanders" film had been completed for 12 months. Mr. Harry Watt at present was in Australia considering the possibility of another production. ('Pay for Film Actors').
Although newspapers lost interest in the 'black ban' by December 1946, issues of fair payment continued to swirl around the production: for example, a particularly bitter article in Smith's Weekly questioned the use of army troops as extras and labourers on the Eureka Stockade ('Australia Will Be There!'). (An even more problematic issue would arise with the production of Bitter Springs, outlined below.)
Meanwhile, Rex Rienits was undertaking serious research, much as Dora Birketts had done for The Overlanders, including visiting Ballarat 'to obtain human interest stories, examine relics in Ballarat Historical Society's museum and look for a possible location for the making of the film' ('Location'). Watt, with supreme indifference for the ongoing dispute with Actors' Equity, also announced his intention to hire an American film-maker, because Rienits' 'work was far too long to be used as a film script':
'I find Australian writers too slow, and far too discursive,' he said. 'The accent is on dialogue probably because they have concentrated too much on radio script writing.' ('Film Director')
(In the end, the film was credited to British script-writer Walter Greenwood and Ralph Smart, the British-born and British-trained son of Australian parents.)
The flurry of excitement when Chips Rafferty returned to Australia in December 1946 was followed by an active debate about where the film would be made: Ballarat was reportedly 'shocked and indignant' that it wouldn't be filmed there, although newspapers noted that the 'Whole of the area concerned in the story—Soldier's Hill, Camp Hill, Eureka Hill—is thickly housed', while the area of the stockade itself was marked 'with a fine bluestone monument, guarded by absurd cannon' ('No Slight to Ballarat').
By April 1947, plans were set for filming outside Sydney, and both the assistant director (Leslie Norman) and script-writer (Walter Greenwood) had been announced. Significant roles remained uncast, including that of Peter Lalor's fiancee, which, it was hoped, would go to an Australian actor. Daphne Campbell, star of The Overlanders, was even mentioned in connection with the part, but she was disinclined for further film work ('Actress Says Goodbye to Films'). Sydney-based designer Dahl Collins, who had worked on The Overlanders, was hired to make the film's costumes, the months ticked down to the beginning of production in August, and a female lead had still not been cast.
It wasn't until late July that English actor Jane Barrett was announced in the lead role. Harry Watt reported that she had been selected from a shortlist of twelve British and Australian actors, but the dispute with Actors' Equity may have rankled:
'Now that we have started production in Australia we must continue to make films which will be acceptable to world audiences,' he said. 'We must get the best actors and actresses so that our films will be good enough to compete with productions in other countries.' ('English Star').
The news was not greeted with complete enthusiasm by Australian newspapers: The Sun, for example, emphasised that Barrett had only one West End play to her credit ('which flopped'), described her as 'at present ... making a cheap "quickie" ... at a small studio in England with an unknown cast', and finally pondered:
It is possible she may be an outstanding success in the role, but, if a girl inexperienced in films was to be chosen, surely an experienced radio or repertory artist in Australia could have been found to fill the role in this historical Australian film. ('Heartburning')
Nevertheless, the newspapers continued to report on the production, even amid the news in August that Great Britain was imposing a 300% increase in taxes against imported films, generating concern for the Australian-made production. In mid-August, the producers were seeking to cast twelve Chinese characters ('Chinese Needed'); two weeks later, they were seeking enough 1850s muskets and carbine rifles to arm 400 actors for the climactic scenes ('Want to Have a Shot At This?). In keeping with this push for authenticity, a bullock driver from Maitland was cast as a bullock driver ('Maitland Resident') and a sixty-year-old gold prospector was hired to teach plausible gold-panning techniques ('Bearded Miner'). Nearly 1500 people were working on the production, including a number of army recruits, and the cost of the equipment imported from England was said to be £20,000 ('1500 to Work').
By February 1948, the film was an estimated eight weeks behind schedule, due to inclement weather conditions ('Local Plans'), and although early rushes were complete by March, it was not until mid-July 1948 that filming finished on the set at Singleton ('"Eureka Stockade" Finished To-Day'). After nearly two years, Harry Watt left Australia in mid-August 1948 ('"Eureka Stockade" Ready by Christmas'), promising that Ealing would make more Australian films.
Eureka Stockade premiered in London's West End on 26 January 1949, and was a qualified success: the scale of such set pieces as the final pitched battle and the burning of the pub by a mob were praised, but Chips Rafferty's performance (and his beard) was not ('Praise and Criticism'). In all, the film was deemed less 'superb' than The Overlanders, with the Evening News critic averring that 'The way of the pioneer is hard. Only when the explorer becomes the settler does he learn how hard' ('Praise and Criticism').
Nevertheless, Ealing was sufficiently satisfied to announce the making of their next Australian film, Bitter Springs, before Eureka Stockade had even aired in Australia.
After a short flurry of speculation that Ealing would be making a modern comedy, Bitter Springs was announced in February 1949 ('New Australian Film'). As early as May 1949, Ealing had sent out what papers called 'an SOS' for Clyde Combo, the Aboriginal actor who had appeared in The Overlanders, saying that a part was available for him in the new film ('Film Company'). (Newspapers would later print portraits of Clyde Combo with co-star Tommy Trinder ['English Comedian'] and entertaining children on set with card tricks ['film Unit Brings Excitement'].) By June, Henry Murdock, another Aboriginal actor from The Overlanders, had also been cast in the film ('Native Actor').
In April 1950, two months before the film's release, newspapers would report that Ealing Studios had been unable to pay Henry Murdock his full wage: wanting to pay him the same rate as the white actors, they had been told by the Australian Department of Native Affairs that he could only be paid £6: 'the situation', said the newspaper, 'is interesting film people in Britain' ('Aborigine Actor's Bad Deal').
'1500 to Work in "Eureka Stockade",' Singleton Argus, 3 November 1947, p.2.
'AAMWS in Film Role', Sydney Morning Herald, 22 March 1945, p.5.
'Aborigine Actor's Bad Deal', Argus, 15 April 1950, p.6.
'Actors' Equity Seeks Higher Rates', Argus, 18 November 1946, p.24.
'Actress Says Goodbye to Films', Advertiser, 17 April 1947, p.1.
'Around the Town', Sun, 24 June 1945, p.12.
'Australian Actors "Poor", Says Director', Newcastle Morning Herald, 22 December 1945, p.4.
'Australian Film Nears Completion', News, 3 December 1945, p.5.
'Australia Will Be There', Smith's Weekly, 6 December 1947, p.1.
'Bearded Miner to Teach Actors to Pan Gold', Newcastle Morning Herald and Miners' Advocate, 17 September 1947, p.2.
'Britain Beats U.S. on Films but Loses on Salesmanship', Sun, 27 October 1946, p.19.
'Booklet Describes Story of Big Australian Film', Australian Women's Weekly, 28 September 1946, p.32.
'Cast for "Overlanders" Passes through B.Hill', Barrier Miner, 11 April 1945, p.1.
'Cattle Ticks at Orange', Forbes Advocate, 27 November 1945, p.2.
'Chinese Needed for Eureka Stockade Film', Advocate, 19 August 1947, p.3.
'"Chips" Rafferty as Boss Drover'. Sun, 13 January 1945, p.3.
'Crossing the Roper', West Australian, 31 August 1945, p.5.
'Ealing and Brentford: Economic History', A History of the County of Middlesex: Volume 7. London: Victoria County History, 1982. (http://www.british-history.ac.uk/vch/middx/vol7/pp131-144) (Sighted: 14/06/2017)
'English Comedian', News, 7 June 1949, p.1.
'English Star to Lead in Eureka Stockade', Daily News, 26 July 1947, p.11.
'"Eureka Stockade" Finished To-day', Singleton Argus, 12 July 1948, p.2.
'"Eureka Stockade" Ready by Xmas', Singleton Argus, 13 August 1948, p.4.
'Film Company Search for Aboriginal Actor', Advertiser, 11 May 1949, p.1.
'Film Director to Use U.S. Script Writer', Sydney Morning Herald 25 November 1946, p.3.
'Filming Great Cattle Trek for "The Overlanders"'. Sydney Morning Herald, 5 June 1945, p.5.
'Film Unit Brings Excitement, Extra Trade to S.A. Town', Australian Women's Weekly, 23 July 1949, p.24.
'Gay Scenes at Premiere of Aust. Film', News, 28 September 1946, p.6.
'Great Cattle Trek Filmed', Newcastle Sun, 10 April 1945, p.4.
'Harry Watt Plans Eureka Film', Sydney Morning Herald, 2 November 1946, p.3.
'Heartburning Over "Eureka" Selection', The Sun, 31 July 1947, p.16.
'Last Shot of "The Overlanders"', Murrumbidgee Irrigator, 22 January 1946, p.4.
'Local Plans for Eureka Stockade Extend Another Seven Weeks', Singleton Argus, 18 February 1948, p.2.
'Location Sought For Eureka Film', Age, 13 December 1946, p.3.
'Maitland Resident Gets Film Role', Singleton Argus, 20 August 1947, p.1.
'Mr Harry Watt to Address Film Centre', Canberra Times, 9 January 1945, p.2.
'Native Actor Plays Football at Quorn', Quorn Mercury, 23 June 1949, p.1.
'New Australian Film of Sheep Pioneers', Sydney Morning Herald, 9 February 1949, p.4.
'News about Movies', Mail, 27 January 1945, p.8.
'No Slight to Ballarat', Smith's Weekly, 11 January 1947, p.26.
'Not Every Aust. Film a Success', Courier-Mail, 6 November 1946, p.2.
'"Outlaw" Gets Past Censor', Daily News, 15 February 1947, p.14.
'The Overlanders', Lithgow Mercury, 26 April 1946, p.6.
'The Overlanders', Morning Bulletin, 15 November 1946, p.1.
'"Overlanders" Heralds New Era in Australian Film', Mercury, 29 September 1945, p.9.
'Pay for Film Actors', Warwick Daily News, 20 November 1946, p.3.
'Praise and Criticism for "Eureka Stockade"', West Australian, 28 January 1949, p.6.
'Rivals May Film "Stockade"', Sun, 6 November 1946, p.5.
'Stars of "The Overlanders" Had to Miss the Premiere', Sydney Morning Herald, 28 September 1946, p.1.
'Stockade Film Costumes Due This Week', Newcastle Morning Herald and Miners' Advocate, 13 October 1947, p.2.
'Unusual Sequence by Plane in Filming of "The Overlanders"', Army News, 14 August 1945, p.4.
'Want to Have a Shot at This?', Northern Times, 5 September 1947, p.1.
'Inspired by a Kerry Greenwood short story and set amidst the passion and fanaticism of 1929 Australian Rules football. When Phryne is duped into investigating the coach's missing 'lucky cap', she discovers a gruesome murder instead. The local team captain is found hanging by a rival team's scarf and it seems at first a clear-cut case of murderous sabotage.'
Source: Australian Television Information Archive. (Sighted: 26/2/2014)
'Rebecca Keith is the editor of “Taste”, the food and wine supplement in Adelaide’s daily newspaper. Joining a throng of reporters and chefs aboard a local ferryboat called The Popeye to mark the launch of the Australian Food Festival, the gathered crowd is shocked when one of the city’s top chefs is found murdered in a macabre way. Rebecca and the other guests are immediately tagged as suspects to the crime, but in a strange twist of fate, Rebecca is also assigned by her newspaper to cover the murder. Faced with this strange ethical dilemma, she soon finds herself wrapped up in interviews and investigations that put her face-to-face with a host of suspects—and grave mortal danger. For fans of Kerry Greenwood’s Phyrne Fisher Murder Series and Agatha Christie’s Miss Marple and Poirot, The Popeye Murder: A Rebecca Keith Mystery is a lighthearted tale set against the backdrop of the quirky, yet rich culture of one of Australia’s most beloved coastal cities.'
Source: Publisher's blurb.
Saskia (living in Australia) has on online friendship with Noah (living in the UK). Each 'deceives' the other with their online personas, Indy (for Saskia) and Max Hammer (for Noah): Indy and Max allow Saskia and Noah to be the people they hope to be, without any of their own anxieties and uncertainties. Despite this element of deceit, the friendship between the two is presented as genuine and strong. The program received much praise when it first aired for offering a counter-argument to the anxiety that often marks debates about online friendships.
According to Patricia Edgar's account of the creation of this program,
To take such an abstract philosophical concept and create involving stories with appealing characters was a difficult task for any writer. Elaine and I needed smart observers of people and situations who understood the world Noah and Saskia inhabit, who had a flair for sharp, witty dialogue for a modern, pacy story. With the different components in the United Kingdom, Australia and cyberspace, it could be structurally confusing. Chris Anastassiades, who had written the Yolngu Boy script and worked for several other ACTF projects, was the answer, along with Sam Carroll, a young woman who had not yet been spoiled by the demands of writing formulaic drama. She brought her youth and vitality to Saskia; Chris would write Noah.
(Source: Patricia Edgar, Bloodbath: A Memoir of Australian Television, Melbourne: Melbourne University Press, 2006, p.401.)
'Interview with Paul Nichola'. The Making of Noah and Saskia. ABC.(http://www.abc.net.au/rollercoaster/noahandsaskia/behind_the_scenes/making_of/paul_interview.htm). (Sighted: 12/9/2012).
'Interview with Pino Amenta'. The Making of Noah and Saskia. ABC. (http://www.abc.net.au/rollercoaster/noahandsaskia/behind_the_scenes/making_of/pino_interview.htm). (Sighted: 12/9/2012).