Cirrus@Austlit

A farcical romance set in Sydney high society.

Reviews of it as a film rather than as a fund-raising exercise were not particularly positive:

Cupid Camouflaged has certainly succeeded in swelling the Red Cross funds ; but it is a poor advertisement for the acting talent of the nobility of Sydney. Cupid used to be a lively little cherub ; this camouflaged Cupid has taken a sleeping draught, and can't stay awake. The slight plot is effectively smothered under about a thousand feet of uninteresting fox-trotting and ungraceful acrobatic dancing, under another thousand of garden party, and an endless amount of tea-drinking.

Source:

'At the Movies', The Mirror, 7 June 1918, p.11.

For the Honour of Australia was made for British audiences, by compiling footage from two films (For Australia and How We Beat the Emden) and constructing a new over-arching narrative that presented the protagonists of the two entirely separate films as brothers, living out asynchronous war experiences that only briefly overlap.

Australian Screen Online (see link below) points out that the two films were made by rival companies (J.C. Williamson's and Australasian Films), and there is no current information on who spliced the two films into this new release.

Advertised as a 'sensational drama of Australian life on the goldfields in the early days'.

Source:

'Pictoria', The Maitland Daily Mercury, 3 May 1915, p.7.

'The famous revolt of the miners against the excessive license fees is made the central incident in a story of romance and intrigue. It commences in England with the departure of Stan Gifford for Australia, to make a fortune that will enable him to marry Violet Howard. Pellow Owen intercepts the letters from Stan, and pressing his attentions on Violet, is present when her father shoots a man in a quarrel at cards, and he uses the incident as a lever to force her to marry him. The marriage is, however, bogue [sic], and Owen throws her off. The scene shifts to the Ballarat diggings, where Stan and Violet again meet, and Owen continues his nefarious practices. The scenes on the goldfields are splendidly pictured, and aroused enthusiasm that reached a high pitch when Peter Lalor is shown leading the uprising of the miners, and the fight In the Stockade takes place. The history of the incidents of the period and the uprising are closely adhered to, so that the picturisation is interesting from this, as well as the spectacular aspects, and the fact that it is an essentially Australian subject.'

Source:

'Imperial Pictures', Newcastle Morning Herald and Miners' Advocate, 7 January 1916, p.6.

'It was a realistic picture, beginning with the training ship Tingara, on which Australian Jack Tars are made; there is a transfer of a draft from the training ship when war breaks out to the Sydney and Melbourne. One of the lads, coming home wounded from the Emden encounter, re-visiting the Tingara, tells the story of how the Emden was conquered, and the pictures which illustrate this yarn are true to the narrative, and undoubtedly afford a good idea of the fight. Pictures of the Emden after the fight which show how the pirate was smashed, were the last part.'

*Source:'

'Crown Pictures', South Coast Times and Wollongong Argus, 7 January 1916, p.12. (Via Trove Australia)

'The story, is of a hero who enlisted, and his brother, who thought so little of his liberty that he would not defend it. In a series, of wonderful visions, scenes striking him while at the races, surfing or cricket, he saw what thousands were suffering because of those who, like himself, had shirked. Many of the big scenes were taken at Liverpool, and - the men who participated were real soldiers–members of the First Australian Expeditionary Force, now at the Dardanelles. During the screening of this film at the Monarch Pictures to-morrow night Mr. Goodwin will sing "Your King and Country Need You" and "It's a Long Way to Tipperary."'

Source:

'Will They Never Come?', The Dubbo Liberal and Macquarie Advocate, 13 July 915, p.2 (via Trove Australia).

'The film is entitled "The Hero of the Dardanelles," and is the second of a series of pictures designed to assist the inducing men to enlist. The life of the soldiers in Liverpool camp is depicted, their subsequent entrainment and embarkation for Eygpt is shown, and "The Hero of the Dardanelles" is followed through the landing on the beach and over the rocky ridges right up to the time of his being wounded. Then he is seen back in Sydney at his wedding.'

Source:

'Hero of the Dardanelles', Cairns Post, 13 September 1915, p.4. (Via Trove Australia)

Adapted from a patriotic poem by an English railway porter, Henry Chappell (sometimes known as the Porter Poet), was a propaganda film presenting German brutalities in Belgium.

According to Pike and Cooper, actor Johnson Weir, who adapted the play for the screen, would recite the poem during screenings.

See also:

Andrew Pike and Ross Cooper, Australian Film 1900–1977: A Guide to Feature Film Production, Melbourne: Oxford University Press, 1998, p.52.

'The story tells of the love of two brothers for a girl, the younger supplanting his brother in her affections. The younger lad falls in with gamblers, and to recoup himself lends himself to a scheme to nobble his father's race-horse. Later he falls in love with a barmaid, who overhears a plot to rob him. She is caught listening, and held captive, but escapes, and aids the man she loves. In a fight with the robbers, he is wounded, but the care of his barmaid sweetheart restores him. Eventually he marries her, and his brother and former sweetheart are reunited.'

Source:

'Herbert's Pictures', Newcastle Morning Herald and Miners' Advocate, 8 August 1912, p.6.

'Dick Maxwell, a light-hearted young Sydney man, finding the dissipation of a large city beginning to affect his health, secures a position as bookkeeper on Waroonga Station, near Orange, N.S.W. At a farewell supper with his friends, he imbibes "not wisely, but too well," with the result that he becomes the husband of Tilly Farmfield, a young woman of doubtful character; who, infatuated with Dick, lures him to one of Sydney's marriage shops, where the knot is tied, Dick taking it as a joke, Tilly having made Dick hopelessly drunk. After the ceremony, while alighting from their taxi-cab at the Night Birds' Club, Bob Lambert, a friend of Dick's, arrives on the scene, and during the temporary absence of Tilly rescues Dick from her clutches by carrying him off in a taxi. Next day Dick departs for out-back to take up his new. duties, being still in ignorance of the previous night's happenings. On arrival at his destination, Dick becomes greatly enamoured of Clarice Inglehurst, his employer's daughter, who reciprocates his affection, much to the chagrin of Martin Tracey, the manager, who has marked Clarice for his own. While out riding some days after, Dick comes across Geebung, an aboriginal (who has been bitten by a snake), lying by the road side. Dick ties a ligature round Geebung's leg, and sends him home on his horse. Geebung arrives at the homestead immediately after Clarice's rejection of Tracey, who vents his wrath on Geebung by whipping him. Dick arrives and rescues Geebung. Tracey is about to rush on Dick when Clarice interferes, asking for an explanation. Dick and Tracey remaining silent, Geebung volunteers the information. Tracey swears to ruin Dick, and watches for an opportunity, which soon comes. Some sheep being despatched to Flemington Saleyards, Dick enters the consignment in the railway book, which Tracey finds a way to alter, faking the entry to make it appear that Dick has stolen 200 sheep. He is seen by Geebung, whom he shoots, on the principle that "dead men tell no tales." Eventually Tracey arrives at the homestead, and informs Mrs. Inglehurst of Dick's dishonesty, Tracey producing apparent proof of Dick's guilt, who is arrested, but Geebung, who has been found by Clarice, arrives in time to free the innocent and convict the guilty. On the way to the police station, Tracey escapes and goes to Sydney, where he meets Tilly, who is an old friend. She and Tracey resolve to ruin Dick and Clarice on their wedding day. With that purpose in view, they leave Sydney for Orange. On the way an accident occurs, Tilly being seriously injured. Tracey escapes, and continues his journey, with Tilly's marriage certificate. Tilly, dying, repents of her evil doings, and writes a confession, which she persuades a nurse to take to Dick. The nurse arrives at the church in time to set everything right. Geebung recognises Tracey through his disguise, and he is rearrested. Tilly having died a minute before the commencement of the ceremony, Dick and Clarice are legally man and wife.'

Source:

Advertisement, Williamstown Chronicle, 10 February 1912, p.3.

'The story opens on Christmas Day at Farmer Morrison's home. William, the son, has been secretly married to Annie, the maid. Old Morrison wishes his son to marry Dora, being unaware of his secret marriage. On his son's confession he turns both he and his wife from his door. Time passes. William becomes the owner of a nice little farm, and his wife presents him with a son. On returning one night from his work, tired and hungry, he has a dispute with his wife, who threatens to leave, and leaves the room. Troubled and worn out he falls asleep and dreams a dream in which he fancies his wife has left him for another man. A mail robbery occurs in the district, and William and three stockmen are falsely accused. After his trial he returns to find his stock and home ruined. Seeking the bush he becomes an outlaw. He is sentenced to death, and as he is placed on the scaffold, the scene changes to where he wakes to find his wife at his side. He becomes reconciled to his father through the man who proved the enemy of his dream.'

Source:

'Love the Tyrant', Port Pirie Recorder and North Western Mail, 2 November 1912, p.5.

'The source of the trouble which makes the drama is the principal man's love of liquor, and the foolish act of a friend who, after he has been two years on the strict Q.T., asks him to come and have a drink. This breaks up the home. Such friends have much to answer for.'

Source:

'Gordon's Pictures', South Coast Times and Wollongong Argus, 26 January 1912, p.11.

'It depicts in realistic fashion a scene in which the blacks steal a child. Fifteen years elapse before the father of the girl discovers her, and in the first instance he does not know who the attractive young woman is. Some stirring incidents are introduced before the final explanations are made, and notwithstanding the pathetic touches all ends happily for the girl and her father.'

Source:

'Central Picture Theatre', The Advertiser, 5 December 1912, p.13.

'The incidents of the story are connected with the adventures of a young Englishman, who is accused of a crime of which he's innocent, and through which he has to leave home and all associations. On the way to Australia he rescues the daughter of a wealthy squatter, who falls overboard in mid-ocean, and is rewarded by a position on the squatter's station. Through the jealousy of the manager, he meets with many adventures, which are realistically portrayed. A prominent feature of the production is a bush fire and an exciting ride for life.'

Source:

'Amusements', The Register, 12 June 1912, p.5.

'The picture is a detective drama showing how a murder mystery was solved through fingerprints.'

Source:

'Lyric Pictures', Barrier Miner, 14 October 1912, p.5.

'This is a sensational detective story of forgery, attempted robbery, and murder, detection being worked out with the aid of finger and hand prints Among other thrilling incidents is the rescue of a young lady by the fire brigade from a building set ablaze by one of the miscreants. Several scenes is this long animated picture were loudly applauded, including the smart turn-out of the motor fire brigade.'

Source:

'Amusements', Mercury, 28 September 1912, p.6.

A lost film, The Crime and the Criminal is obscure enough that even contemporary newspapers have little information on the events of the film. However, a notice in the Sunday Times (18 February 1912, p.2) notes that 'the new picture story has as its working pivot, the hatred of a successful brother by a cowardly criminal'.

A young miner is determined to avenge his brother's murder, while also pursuing the daughter of the mine manager.

'The star attraction was the reproduction of an Australian photo play, "The King of Coiners," which depicted the double life led by Luke Holt in his capacity as a sergeant of police and the head of a notorious gang of coiners. In the latter role he was known as Jean Leroy, and attempted to get Ned Truman, a young engraver, to work for him. The latter refused, and then Leroy employed Biddy Higgins, a disreputable character, to secrete counterfeit coins in Truman's room. Then was seen Truman's arrest, followed by hardship suffered by his wife, and generally things were desperate till Ben Burleigh, a detective, took a hand in the game, and discovering Holt's interest in the coining business, he proceeded to arrest the police sergeant. The scene closed with a flight in a motor car and a crash over a precipice, which ended the earthly career of the coiner.'

Source:

'Amusements' , Advertiser [Adelaide], 20 February 1912, p.9.