Smithy Head Credits

Total Page:16

File Type:pdf, Size:1020Kb

Smithy Head Credits (Above: NFSA VHS release only) (Above: NFSA DVD only) Columbia proudly presents - animated logo "SMITHY" copyright MCMXLVI by Columbia Pictures Pty. Ltd. The Immortal Story of Sir Charles Kingsford Smith With Ron Randell Muriel Steinbeck as Mary Powell Charles Ulm played by John Tate Kay Sutton Joy Nichols Nan Kingsford Smith Nan Taylor Harold Kingsford Smith John Dunne Capt. Allan Hancock Alec Kellaway Sir Hubert Wilkins John Dease Arthur Powell Marshall Crosby Beau Sheil Edward Smith Tommy Pethybridge Alan Herbert Keith Anderson John Fleeting Stringer Joe Valli Warner G. J. Montgomery-Jackson Lyon Gundy Hill In Person: The Rt. Hon. William Morris Hughes Capt. P. G. Taylor • John Stannage Screen Play by John Chandler and Alec Coppel (Chandler was the pseudonym used by producer director Ken Hall) Based on an adaptation by Ken G. Hall and Max Afford Director of Photography George Heath Second Cameraman H. L. Nicholas Art Director J. Alan Kenyon Asst. Art Director George Hurst Assistant Director William Shepherd Film Editor Terry Banks Sound Engineers Clive Cross and Arthur Smith Special Effects Jack Gardiner Interior Decoration Joyce Brown Music and Musical Direction by Henry Krips Pacific Score by Alfred Hill Recorded by The Sydney Symphony Orchestra Research Norman Ellison Gowns Designed by Mavis Ripper Gowns Made by David Jones Ltd. Uniforms by Wardrop, Melbourne R.A.A.F. Liaison Officers: Wing Commander John Kingsford Smith Squadron Leader G. R. Chaseling Produced by N. P. Pery Directed by Ken G. Hall Title: Grateful acknowledgment is tendered to the Royal Australian Air Force and the Department of Civil Aviation for their generous help and co-operation. Title: South West Pacific 1943.
Recommended publications
  • Australian Radio Series
    Radio Series Collection Guide1 Australian Radio Series 1930s to 1970s A guide to ScreenSound Australia’s holdings 1 Radio Series Collection Guide2 Copyright 1998 National Film and Sound Archive All rights reserved. No reproduction without permission. First published 1998 ScreenSound Australia McCoy Circuit, Acton ACT 2600 GPO Box 2002, Canberra ACT 2601 Phone (02) 6248 2000 Fax (02) 6248 2165 E-mail: [email protected] World Wide Web: http://www.screensound.gov.au ISSN: Cover design by MA@D Communication 2 Radio Series Collection Guide3 Contents Foreword i Introduction iii How to use this guide iv How to access collection material vi Radio Series listing 1 - Reference sources Index 3 Radio Series Collection Guide4 Foreword By Richard Lane* Radio serials in Australia date back to the 1930s, when Fred and Maggie Everybody, Coronets of England, The March of Time and the inimitable Yes, What? featured on wireless sets across the nation. Many of Australia’s greatest radio serials were produced during the 1940s. Among those listed in this guide are the Sunday night one-hour plays - The Lux Radio Theatre and The Macquarie Radio Theatre (becoming the Caltex Theatre after 1947); the many Jack Davey Shows, and The Bob Dyer Show; the Colgate Palmolive variety extravaganzas, headed by Calling the Stars, The Youth Show and McCackie Mansion, which starred the outrageously funny Mo (Roy Rene). Fine drama programs produced in Sydney in the 1940s included The Library of the Air and Max Afford's serial Hagen's Circus. Among the comedy programs listed from this decade are the George Wallace Shows, and Mrs 'Obbs with its hilariously garbled language.
    [Show full text]
  • Back of Beyond Music Credits
    Music: Sydney John Kay Sydney John Kay (1906-1970) was born Kurt Kaiser and after fleeing Germany in 1933, changed his name in honour of his new home town. He became the new composer on the block for Australian film scores in 1946 when he worked on A Son is Born. Kay has a wiki here. His score for The Back of Beyond is amongst his finest. The National Library of Australia holds various works by Kay, and his papers, see here. (Below: Sydney John Kay). The National Library of Australian provides this brief CV for Kay: Born in Germany as Kurt Kaiser, Kay studied engineering in Berlin, where in 1927 he became a member of the Jewish-German showband, the Weintraub Syncopators. With this leading German jazz group he appeared in the film The Blue Angel, accompanying Marlene Dietrich. As a victim of the racist policy of the Nazis, he had to leave Germany in 1933 and went on a world tour with the Weintraubs. Kaiser played trombone, clarinet, saxophone and wrote arrangements for the group. In 1937 they arrived in Australia and decided to stay. Kaiser settled in Sydney and changed his name by deed poll to Sydney John Kay. After the beginning of the war he and other members of the band were interned as enemy aliens. As a consequence the Weintraub Syncopators was dissolved. After his release, Kay became musical arranger for the Colgate-Palmolive radio unit and wrote musical scores for documentary and feature films in the late 1940s and early 1950s. He ran the Theatre for Children in Sydney (1944-45) and then became Managing Director of Mercury Theatre Pty Ltd and producer-director of the Mercury Mobile Players, which brought classic comedy to wide audiences.
    [Show full text]
  • Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
    ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers.
    [Show full text]
  • Theatre Australia Historical & Cultural Collections
    University of Wollongong Research Online Theatre Australia Historical & Cultural Collections 11-1977 Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Robert Page Editor Lucy Wagner Editor Bruce Knappett Associate Editor Follow this and additional works at: https://ro.uow.edu.au/theatreaustralia Recommended Citation Page, Robert; Wagner, Lucy; and Knappett, Bruce, (1977), Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977, Theatre Publications Ltd., New Lambton Heights, 66p. https://ro.uow.edu.au/theatreaustralia/14 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Theatre Australia: Australia's magazine of the performing arts 2(6) November 1977 Description Contents: Departments 2 Comments 4 Quotes and Queries 5 Letters 6 Whispers, Rumours and Facts 62 Guide, Theatre, Opera, Dance 3 Spotlight Peter Hemmings Features 7 Tracks and Ways - Robin Ramsay talks to Theatre Australia 16 The Edgleys: A Theatre Family Raymond Stanley 22 Sydney’s Theatre - the Theatre Royal Ross Thorne 14 The Role of the Critic - Frances Kelly and Robert Page Playscript 41 Jack by Jim O’Neill Studyguide 10 Louis Esson Jess Wilkins Regional Theatre 12 The Armidale Experience Ray Omodei and Diana Sharpe Opera 53 Sydney Comes Second best David Gyger 18 The Two Macbeths David Gyger Ballet 58 Two Conservative Managements William Shoubridge Theatre Reviews 25 Western Australia King Edward the Second Long Day’s Journey into Night Of Mice and Men 28 South Australia Annie Get Your Gun HMS Pinafore City Sugar 31 A.C.T.
    [Show full text]
  • Googie Withers and John Mccallum Brian Mcfarlane
    CLASS ACT: GOOGIE WITHERS AND JOHN MCCALLUM BRIAN MCFARLANE s I talked to the McCallums in May this year, I had to keep reminding myself that they are both in their nineties and that they’ve been in the business of entertaining us for over seventy years. Anyone who saw them in any of the films or plays in which they co-starred will know how well they Aplayed together professionally. As you watch them together now, complementing (and complimenting) each other, you can’t help wondering how much of their professional success was a spin-off from a stimulating partnership off-screen or off-stage. It seems timely to pay tribute to them for what they achieved in the performing arts in Australia and elsewhere. googie Googie Withers came to prominence in British films in the 1940s, when British cinema was enjoying its finest hours and when there was a flurry of memorable women stars. If they are not well known today, they certainly were then: Sally Gray with the eloquent voice and slightly melancholy mien; patrician Valerie Hobson; Ann Todd of the ambiguous, chiselled blonde features; Phyllis Calvert, so much smarter than the goody- goody image that was foisted on her; Margaret Lockwood, flaring her nostrils and baring her cleavage in a refined version of passion; sexy bad-girl Jean Kent getting into a lot of entertaining trouble; and Anna Neagle being so ladylike that you wanted her to slip 103 04_Essays.indd 103 29/7/09 3:36:53 PM on a banana skin. But Googie Withers was something else.
    [Show full text]
  • 1961-62 Year Book Canadian Motion Picture Industry
    e&xri-i METRO-GOLDWYN-MAYERtl WITH THESE CURRENT AMD CANADIAN OPENING! TORO NTO—October 2t UNIVERSITY THEATRE MONTREAL—November 2 ALOUETTE THEATRE Metro-Golduyn-Mayer present. VANCOUVER-Dec. 21 Samuel Bronston's Proaua STANLEY THEATRE IRAMA TECHNICOLOR JEFFREY HUNTER'■ SIOBHAN McKENNA • HURD HATFIELD-RON RANDELL • VIVECA LINDFORS-RITA GAM • CARMEN SEVILLA • BRIGID BAZLEN HARRY GUARDINO • RIP TORN • FRANK THRING • GUY ROLFE • MAURICE MARSAC • GREGOIRE ASLAN • ROBERT RYAN^n,^. Screen Play by PHILIP YORDAN * Directed by NICHOLAS RAY • Produced by SAMUEL BRONSTON METRO GOLDWYN MAYER PRESENTS METRO GOLDWYN MAYER presents a JULIAN BLAUSTEIN production <cMy\KMFY HI</\NI)C) Starring AS FLETCHER CHRISTIAN ri<i-\OR Howard GLENN FORD AS CAPTAIN BUGH INGRID THULIN CHARLES BOYER RICHARD HARRIS AS JOHN mills IN AN ARCOLA PRODUCTION LEE J. COBB PAUL HENREID co starring QMUTluvy qjvT ui'HTt BcyujViy PAUL LUKAS YVETTE MIMIEUX KARL BOEHN co-sTunim HUGH GRIFFITH RICHARD HAYDN »»»TARITA screen play by ROBERT ARDREY and JOHN GAY BASED ON THf NOVEL BVCHARLES NOROHOff AND JAMS S NORMIN HAH based on the novel by directed by omcnm.LEWIS MILESTONE PRODUCE 0 BY AARON ROSENBERG VICENTE BLASCO IBANEZ • VINCENTE MINNELLI TECHNICOLOR • FILMED IN ULTRA PANAVISION in CINEMASCOPE and METROCOLOR 19 CONTINUES ITS SUCCESS STORY COMING BOX-OFFICE ATTRACTIONS! BRIDGE TO THE SUN BACHELOR IN PARADISE CARROLL BAKER, James Shigeta, BOB HOPE, LANA TURNER, James Yagi, Emi Florence Hirsch, Janis Paige, Jim Hutton, Paula Prentiss, Nori Elizabeth Hermann. Don Porter, Virginia Grey, Agnes Moorehead. A Cite Films Production. A Ted Richmond Production. ★ In CinemaScope and Metrocolor SWEET BIRD OF YOUTH ★ PAUL NEWMAN, GERALDINE PAGE, TWO WEEKS IN ANOTHER TOWN Shirley Knight, Ed Begley, Rip Torn, KIRK DOUGLAS, Mildred Dunnock.
    [Show full text]
  • Film Collection
    Film Collection 1. Abe Lincoln in Illinois, US 1940 (110 min) bw (DVD) d John Cromwell, play Robert E. Sherwood, ph James Wong Howe, with Raymond Massey, Ruth Gordon, Gene Lockhart, Howard de Silva AAN Raymond Massey, James Wong Howe 2. Advise and Consent, US 1962 (139 min) (DVD) d Otto Preminger, novel Allen Drury, ph Sam Leavitt, with Don Murray, Charles Laughton, Henry Fonda, Walter Pidgeon. 3. The Age of Innocence, US 1993 (139 min) (DVD) d Martin Scorsese, novel Edith Wharton, m Elmer Bernstein, with Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Alexis Smith, Geraldine Chaplin. 4. Alexander France/US/UK/Germany, Netherlands 2004 (175 min) (DVD) d Oliver Stone, m Vangelis, with Antony Hopkins, Val Kilmer, Colin Farrell 5. Alexander Nevsky, USSR 1938 (112 min) bw d Sergei Eisenstein, w Pyotr Pavlenko, Sergei Eisenstein, m Prokofiev, ph Edouard Tiss´e, with Nikolai Cherkassov, Nikolai Okhlopkov, Andrei Abrkikosov. 6. The Age of Innocence, US 1993 (139 min) (DVD) d Martin Scorsese, novel Edith Wharton, with Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder, Alexis Smith, Geraldine Chaplin. AA Best Costume Design AAN Best Music; Best Screenplay; Winona Ryder; 7. The Agony and the Ecstacy, US 1965 (140 min) (DVD) d Carol Reed, novel Irving Stone, ph Leon Shamroy, with Charlton Heston, Rex Harrison, Diane Cilento, Harry Andrews. 8. All Quiet on the Western Front, US 1930 (130 min) bw (DVD) d Lewis Milestone (in a manner reminiscent of Eisenstein and Lang), novel Erich Maria Remarque, ph Arthur Edeson, with Lew Ayres, Louis Wolheim, Slilm Sum- merville, John Wray, Raymond Griffith.
    [Show full text]
  • The Wilkins Chronicle a Selection of Wilkins-Related Trove Articles, Incorporating Advertisements and Cartoons from the Day
    The Wilkins Chronicle A selection of Wilkins-related Trove articles, incorporating advertisements and cartoons from the day Please note * indicates that the photo used successfully accomplished the task of back to the Antarctic. I just can’t live in is taken from the Sir George Hubert Wilkins crossing the Andes and charting unknown cities. I catch colds and feel unwell.” Papers, SPEC.PA.56.0006, Byrd Polar and areas. West Australian (Perth, WA), Saturday 12 Climate Research Center Archival January 1946, page 10. Program, Ohio State University Arctic Exploration. https://trove.nla.gov.au/newspaper/article/5 Soon after his return to New York, his 0320340 1946 father financed an Arctic expedition in which young Ellsworth and Amundsen took 22 February 1946 part. In two seaplanes they set off from ONE FOR THE QUIZ KIDS Spitsbergen on May 21, 1925, but were John Dease, well known Master of the forced to land. One plane was caught in the Quiz Kids, will present them with an almost ice and they had to wait until June 15 for its insolvable problem in the “Smithy” picture. release. During that time Ellsworth saved To the question: “Can you find John Dease six men from death. in the cast?” the kids will have to take the A year later he bought from the Italian gong. Ninety minutes of painstaking toil by Government the airship Norge and, with the the makeup man results in Mr. Dease being commander, Colonel Nobile, accomplished transformed into Sir Hubert Wilkins. The the feat in two days of flying right over the resemblance is quite staggering, and likely North Pole after flying from Spitsbergen to to confuse even close friends.
    [Show full text]
  • A Cultural History of Cinema-Going in the Illawarra (1900-1950)
    University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2002 A cultural history of cinema-going in the Illawarra (1900-1950) Nancy Huggett Faculty of Arts, University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Huggett, Nancy, A cultural history of cinema-going in the Illawarra (1900-1950), PhD thesis, Faculty of Arts, University of Wollongong, 2002.
    [Show full text]
  • The Wilkins Chronicle a Selection of Wilkins-Related Trove Articles, Incorporating Advertisements and Cartoons from the Day
    The Wilkins Chronicle A selection of Wilkins-related Trove articles, incorporating advertisements and cartoons from the day Please note * indicates that the photo used 29 March 1941 — Sydney “Daily Mirror” World Cable is taken from the Sir George Hubert Wilkins New York Help for Australia Service. Papers, SPEC.PA.56.0006, Byrd Polar and The Anzac War Relief Fund which is Truth (Brisbane, Qld), Sunday 29 June Climate Research Center Archival controlled by 300 Australians living in New 1941, page 23. Program, Ohio State University York has donated 55 ambulances to the https://trove.nla.gov.au/newspaper/article/2 Australian Red Cross Society. 03207334 1941 The value of these ambulances is estimated at £25,000. Among the well-known Australians on the executive committee are singer Majorie Lawrence, pianist-composer Percy Grainger, and polar explorer Sir Hubert Wilkins. Australian representatives are Mr. C. K. Gamble and Mr. C. H. Tovell, of the Vacuum Oil Co. Daily News (Perth, WA), Saturday 29 March 1941, page 33. https://trove.nla.gov.au/newspaper/article/7 8562504 12 April 1941 WAR BRINGS FORGOTTEN Adventures in Balkans Talking to Mr. T. R. Wilkins the other day about the services of his brother Sir An advertisement from (Truth (Brisbane, Qld), Sunday 29 Hubert Wilkins in the present war, I June 1941, page 23.). Looks like Marshal Wilkins has ridden into town. Photo reminded him that the present phase of the dated 1941. *OSU Polar Archives [wilkins35_11_7]. struggle would probably deepen that 12 July 1941 veteran adventurer's desire to be back in the Bombs Greet Explorer 17 January 1941 thick of things again.
    [Show full text]
  • Kiss Me, Kate
    ‘A CHANCE FOR STAGE FOLKS TO SAY “HELLO”: ENTERTAINMENT AND THEATRICALITY IN KISS ME, KATE HANNAH MARIE ROBBINS DEPARTMENT OF MUSIC This dissertation is submitted to the University of Sheffield for the Degree of Doctor of Philosophy August 2017 ABSTRACT As Cole Porter’s most commercially successful Broadway musical, Kiss Me, Kate (1948) has been widely acknowledged as one of several significant works written during ‘the Golden age’ period of American musical theatre history. Through an in-depth examination of the genesis and reception of this musical and discussion of the extant analytical perspectives on the text, this thesis argues that Kiss Me, Kate has remained popular as a result of its underlying celebration of theatricality and of entertainment. Whereas previous scholarship has suggested that Porter and his co-authors, Sam and Bella Spewack, attempted to emulate Rodgers and Hammerstein’s Oklahoma! (1943) by creating their own ‘integrated musical’, this thesis demonstrates how they commented on contemporary culture, on popular art forms, and the sanctity of Shakespeare and opera in deliberately mischievous ways. By mapping the influence of Porter and the Spewacks’ previous work and their deliberate focus on theatricality and diversion in the development of this work, it shows how Kiss Me, Kate forms part of a wider trend in Broadway musicals. As a result, this study calls for a new analytical framework that distinguishes musicals like Kiss Me, Kate from the persistent methodologies that consider works exclusively through the lens of high art aesthetics. By acknowledging Porter and the Spewacks’ reflexive celebration of and commentary on entertainment, it advocates a new position for musical theatre research that will encourage the study of other similar stage and screen texts that incorporate themes from, and react to, the popular cultural sphere to which they belong.
    [Show full text]
  • Australian Musical
    ON STAGE The Spring 2004 newsletter of Vol.5 No.4 Is the ‘Australian musical’ an oxymoron? Was there ever such a thing? Or is it a search for the golden boomerang? Frank Van Straten reveals the true history of the Australian musical. hen I started going to the in the ensuing half century. And it also concentrate on stage works: book musicals, theatre the term ‘Australian tweaked my curiosity about what had gone and therefore not revue. That’s an entirely Wmusical’ was an oxymoron. An before, and a keen interest in what followed. different story! Australian musical? An Australian musical? This discourse, then, is a fairly selective And a ramble like this raises the Come on, Australians didn’t write musicals. précis of that sometimes heart-warming, question of what exactly is an Australian There was no point. Nobody would have sometimes heart-breaking history. We’ll musical. I’ve followed the line that we’re wanted to produce one because nobody touch occasionally on musicals on film, talking about shows developed and would have dreamed of going to see one! radio and television, but mainly we’ll produced in Australia by Then along came an extraordinary Australians, although, as you’ll see, character called Edmond Samuels. He’d there are some intriguing hybrids lurking made a fortune selling hangover cures at his in the wings. chemist’s shop in Sydney and he had And if I’ve left out some of your written a musical. The commercial favourites, I’m sorry. managements snubbed him so he decided ‘I wrote FFF to find an outlet for to put up a considerable amount of his own superfluous energy that would result in money to get the thing on stage.
    [Show full text]