Cirrus@Austlit

'Although born in New Zealand, Cecil Holmes is nevertheless one of the most significant and ambitious filmmakers to work in Australia between the 1950s and the 1970s. A dedicated leftist, in fact a communist, his work consistently demonstrated a humanitarian commitment to the socially disenfranchised, ranging from the underlying capitalist conditions that force decent citizens into bushranging and stealing, to the social, political, cultural and economic conditions confronting Indigenous communities in contemporary Australia. After starting his career with New Zealand’s National Film Unit – where he made the Grierson-like short, The Coaster (1948), and Golden Bay (1949), amongst others – Holmes instigated the first public-service strike in his homeland, and not long after fled to Australia. His initial work in his new country was completed under John Heyer at the Shell Film Unit, hardly the most apt or nurturing environment for a filmmaker of Holmes’s overriding political, social and cultural allegiances. Moving out from under such corporate and governmental patronage was certainly the making of Holmes as a filmmaker, even if he then often struggled to get his subsequent films of the 1950s into the marketplace and onto screens.' (Introduction)