Cirrus@Austlit

'The Hon. Hubert Montmorency Ralston("Monty") is a "good for nothing" son of an English lord, who packs him off with his valet, Thompson, on a steamer bound for Australia. This proves a judicious move, for the young Englishman has good in him and Australia is thc place to bring it out. His father has made arrangements for the Rev. Arthur Stanhope to meet him on the wharf. Monty, however, is determined that the parson will not see him if he sees the parson first. By a strange coincidence he meets and builds up a friendship with the McBrides, a typical Australian bush family, in Syd-ney for thc Sheep Show, and great friends of the Rev. Arthur Stanhope himself. The "Flying Padre'' as the latter is called, makes an immediate appeal to the two Englishmen and they become intensely interested in his ambitious plans for entering a self-constructed plane in the forthcoming Centenary Air Race. Thompson is a particularly capable mechanic, and he works hard alongside Stanhope in building the "Koala," as the All-Australian plane is to be named. "Monty" succeeds in getting his father to finance the project, and soon everything is ready for the race. "Monty" and Thompson are the co-pilots, the "flying parson" not being able to leave his far flung parishioners.

'lt would be unfair to divulge further the plot of this exciting screen production for the interest is brilliantly sustained right up to the final smashing climax.'

Source:

'Splendid Fellows', Morning Bulletin, 11 July 1936, p.11.

'The story opens on "Dad's" farm, when a crowd of hikers enter his pastures and disturb his cattle, on a Sunday. After "roaring" them up, Dad strikes up a friendship with "Pa" Townleigh, who before leaving invites Dad and the family to spend a holiday with them in Sydney. Joe and Pansy get married, and the whole family come to town with them on their honeymoon, and then the fun becomes fast and furious. Dad is amazed that such a "bonzer" grazing paddock as Hyde Park is not fenced off, and that such a grand G.P.O. is built "just by selling penny stamps." The picture is complete with music and elaborate settings in bush and city, and is really first-class entertainment.'

Source:

'Alpha Theatre', Queensland Times, 9 March 1934, p.4.

'As the plot goes, Algy inherits a farm in Taranaki which is reputed to bear oil. His cousin has tricked him out of the better property, but Algy falls in love with the daughter of the manager. The girl, to help her father, goes on the Sydney stage, but the cousin acquires an interest in the show, and discharges her when she refuses to marry him. Things look black for both Algy and the girl, but in the nick of time word comes through that oil has been struck, and happiness comes to them both. Playing in the leading feminine role is Bathie Stuart, a New Zealand actress and a credit to her country.'

Source:

The Evening Post, Saturday 21 November 1925, via the New Zealand Feature Project (http://www.ngataonga.org.nz/feature-project/pages/Algy.php). (Sighted: 15/8/2014)

'Marmaduke is an English remittance man with an Oxford manner and a thirst, both of which are kept within bounds by his faithful valet, Hugget. Marmaduke plays cards with a gang of card-sharpers on the Osterley.,and on his arrival in Sydney he and Hugget proceed to camp out in the Sydney Domain until they receive the first remittance from England. When the money arrives they decide to go prospecting, and there is plenty of pathos as well as honor in the adventure of these amateur swagmen. Marmaduke acquires a pretty little girl as ward after a dramatic episode in which her mother is killed when facing a couple of burglars, one of whom is her own husband. The Englishman strikes gold, and spends a fortune on his little ward, whom he has grown to love. In addition to the pretty love story which follows, there are many exciting scenes, and finally Margie is taken prisoner and kept on board a dismantled battleship by a lunatic who has determined that they shall both go down with the ship. The rush to the rescue in a high-powered motor boat, with the spray flying high into the air as the tiny craft skims over the surface of the water, recalls the excitement of the motor boat races at the Outer Harbor, and the final plunge of the battleship is an impressive moment.'

Source:

'An Australian Picture', The Advertiser, 15 December 1924, p.11.

'The cast is filled with Australian players, with Arthur Tauchert in the name part and Constance Graham playing Mary Brand, the young housekeeper at old Black's station, who becomes the wife of Joe, the painter. The couple take up farming, but Joe leaves his farm on a business visit to Sydney, and there becomes entangled in the affairs of his sister-in-law Barbara, who has been instrumental in the destruction of a dress belonging to her employers. Joe pays for the dress and takes Barbara back to the bush with him. A bush fire is the means of effecting a reconciliation between Barbara and Harry Black, who has lately been freed from an unhappy marriage.'

Source:

'Production of "Joe",' The Mail, 13 September 1924, p.15.

'The story opens in 1914, when Australia was sending her men to the war. Among the earliest to join-up was Pte. Bill Jones. The farewell, between that cheery person and 'his girl,' the marching men, and the excited crowds, recalls scenes which hold momentous memories. A glimpse of trench warfare, with Bill and his pals under fire, an assault that failed, and rescues—these provide the introduction. Bill attempts to 'commandeer' brandy belonging to his captain (who has refused to give it to the wounded diggers), is caught, and is put under arrest, but he escapes. That is how he finds himself in London penniless, and aching to get back to his home land. Meanwhile the young Earl -of Margate (Gordon Coliingridge) has decided on a trip to Australia by. sailing ship .in search of new experiences. He ships as a sailor, and Bill, watching the ship with longing, gets hfs chance. 'Will you ship with us for Australia?' says the captain. Bill asks, 'Did you say heaven! Oh well, Australia is heaven for me.' The shipboard incidents on the way out are capitally managed. The young earl takes his share of all that is going. A firm friendship springs up between him and the rough and ready Australian 'digger.' They have faced hardship and danger, together and learned to trust and admire each other. The real test of loyalty comes with the arrival in Sydney Harbour. The coming of the earl is proclaimed in the Sydney press. He sees that his chance of seeing Australia in a normal fashion has gone, unless–? The arrival of a reporter on board eager for news of the eccentric nobleman puts a crazy idea into the earl's head—he introduces Bill as the distinguished visitor and describes himself as secretary. Once started, the scheme has to be carried through. Motoring through Woolloomooloo, the friends find two lady motorists attacked by roughs. There is a lively fight. All goes well with the adventurers, but another strand is interwoven in the tangled skein. Some wealthy Sydney folk come aboard to express their thanks for the rescue of their daughter and ward. Invitations follow. Bill finds himself reluctantly launched in society, while his secretary is too much taken up with the fascinating Miss Betty to be of much assistance to him. However, courage, a monocle, and a title carry him through even when he introduces two-up as the 'latest' game from London. There is humour in plenty in the situations which arise, there is a real thrill when Bill discovers a plot to secure the failure of a horse in a race. It is impossible to outline what follows. There it a race, in which Betty's horse, instead of losing the race as intended by the villain, is ridden by the supposed secretary and wins. There is a regatta, with Sydney Harbour, covered with yachts; a rescue from drowning; and then the climax, when Bill's identity it discovered, and he stands face to face with disgrace and imprisonment. The final scene is intensely, dramatic.'

Source:

'The Digger Earl', The Register, 20 May 1924, p.10.

'The story is novel in conception. A young man, fresh from the university, and cast off by his ladylove in the hour of his misfortune, goes into the distant bush to search for remains of prehistoric man. He Is shown by Dad Hayseed a patch of rough cave country which the old settler believes will reward his labors. And it does, but not in the manner anticipated. A primitive tribe is discovered. Indeed, one of the searchers is of opinion that they have stumbled on the garden of Eden. Diamonds are plentiful amongst these cave dwellers, and a golden girl soon casts the spell of her charms over the town dweller. The wild scenes of the outlying scrub country air exchanged for life in Sydney, and the council of the prehistoric hayseeds at this centre of civilisation supplies a rapid succession of curious and comic incidents. Dad Hayseeds [sic] and the head of the Prehistoric Hayseeds drink "not wisely, but too well" in a Sydney bar-room, and this adds to the strangeness of their behaviour, glimpses of scenery in and round Sydney are graphically introduced, and there are a few views of the harbor. Primitive instincts in some of the men from the cave country supply the material for some humorous and dramatic situations. But the Golden Girl acquires the manners and deportment of the fashionable city dweller with astonishing rapidity. Love themes are interwoven into the story, which, although comedy pure and simple, partakes strongly of the character of a dream.'

Source:

'Prehistoric Hayseeds', The Advertiser, 24 December 1923, p.11.

'When Hayseeds come to the city they are reputed to do, or say, some funny things, and city dwellers laugh heartily at them. But when Townies go to the country they are equally as funny to bush people.

'In fact Beaumont Smith shows them as greater comedians than the Hayseeds ever were in his new and original film satire, Townies and Hayseeds.

'The City Family consists of Pa Townie, Ma, and the bunch of children named after Australia's capital cities — Masters Sydney, Melbourne, Miss Adelaide (named Adelaide because she was so cultured), Brissy, and the youngest kids, Hobart and Perth. They stay with Dad Hayseed for a month as 'paying guests,' and afterwards Dad and Mum go to town to stay with them at Potts Point. The humor Is original and quaint, and the film is one of unusually witty titles, clever topical illusions, and it has been made to be laughed at.

'One of the main comedy situations is the attempted suicide of Pa Townie at the Gap; of course the 'suicide' is frustrated, but it is one of the funniest scenes put on the screen for many a day.'

Source:

'Townies and Hayseeds', Sunday Times, 8 July 1923, p.23.

'The camp-fire in the prologue showed the two mates yarning over their evening meal, when the story was forthcoming that immediately was filmed. Tom Wall, on the death of his wife, strove to do double duty to his young, sons, Jim and Dick, at Murraburra Station; but only a mother could have understood the fineness of Jim's nature. Consequently when the lad was found studying and dreaming amid the lonely beauty of the great gums, Wall quarrelled with him and turned him out. Dick remained on the station and grew up to be a weakling in character, but Jim, who took the name of Bob Brothers, was beloved throughout the country. He returned to the Redclay district and took service on his father's property, with One-Eyed Bogan, one of the finest characters in the story. The little 'pub' at Redclay, owned by the 'Widder' Shiffner, was the scene of many humorous episodes; and when the hands were on their way to the Murraburra roll call there was a stampede for the hotel as 'last man to reach the pub shouts!' A gentler influence was introduced when Ruth, Wall's niece, came to live on the station, and both brothers fell in love with her; but Jim, with characteristic unselfishness, believing that Ruth loved Dick, did not obtrude his own claims. A barmaid arrived at Redclay apparently to take a position at the hotel, but in reality to blackmail Dick. A robbery on the station and one at the bank, provided sufficient sensation, and numerous bouts of fisticuffs, as well as a long chase on horse back, added to the excitement of a story that ended entirely to the satisfaction of the audience.'

Source:

'While the Billy Boils', The Register, 1 November 1921, p.6.

'The drama concerns a man who has a liaison with a Maori maid. Returning to New Zealand in after years, a chief palms off upon him a young girl as his own daughter. Believing the story to be true, he takes the girl to Sydney, has her educated, and introduces her to society. This Maori maid falls in love with her benefactor, but the complications which ensue are finally solved by the discovery of the chief's deception and all ends with wedding bells.'

Source:

'Hoyt's De Luxe', Table Talk, 17 March 1921, p.28 (via Trove Australia).

'The plot is well laid. Richard Lavender and Kitty Anson (the hero and heroine) are passengers on board a sailing ship bound for Sydney harbor. The vessel is manned by a crew of roughs. Lavender protects the ship's boy (Billy) from the infuriated captain, and in a fight up aloft the latter falls to the deck mortally wounded. Lavender is told by the mate that he will hang for it when the ship gets to port, but on reaching the harbor he makes his escape, taking Billy with him, and they seek the solitude of the bush. Joined by a black-boy [sic], they search for gold. Kitty has taken up her home on a selection and, being born to the saddle, makes many tours of the bush. In one of them she comes across her friend working his mine, just about the time that he has discovered gold. In the meantime the mate of the ship, who has become the landlord of a country inn and employs a gang of bushrangers, ascertains the whereabouts of Lavender, and puts the police on his track. There is £500 reward offered for his capture. Kitty beats the mate in an exciting race over fences to take out a miner's right, and afterwards works the mine, assisted by Billy and the black boy. Lavender is hunted by the police, and numerous 'stick-ups' and the robbery of gold from the mail coach are credited to him. He is even accused of stealing the bones of the Chinaman's [sic] grandfather. In the end The Gentleman Bushranger recovers the stolen gold, unmasks the mate and his gang, and justifies his own actions in the eyes of the law.'

Source: 'The Gentleman Bushranger. The Local Picture.' Robertson Advocate, 3 January 1922, p.2.

A film version of Banjo Paterson's poem, adapted freely by Beaumont Smith and drawing in characters from other Paterson works, including Kitty Carewe and Saltbush Bill.

A comedy that featured many of vaudevillian Barry Lupino 's well-known routines.

'As the title suggests, the play centres round the famous racehorse Desert Gold (which was lent for the picture by Mr. T. H. Lowry), and her owner, John Forsythe, who has succeeded in life through the fortunate discovery of a rich gold deposit. In his weary wanderings over the plains of Australia he is accompanied by his faithful mare, and, with her assistance, overtakes a scheming blackguard who endeavours to steal Forsytne's claim. In after years Forsythe is the owner of extensive racing stables, having a trainer, a true old-fashioned, son of the turf, named Anderson. Marie Ney (well known in New Zealand) appears as the trainer's daughter, and the attractiveness which she gained on the stage is not lost before the camera. The failure of the man who attempted to steal Forsythe's claim in former years, to destroy Forsythe's famous mare, named after his old prospecting companion, allows for many interesting and thrilling situations. The racing and training scenes are exceptionally good.'

Source: 'West's Pictures', Register [Adelaide], 13 November 1919, p.8.

' Dad bought a racehorse and she turned out a world beater. Cornstalk was her name and she cleaned up all the prizes round the country race meetings and finally Dad and Jim took her to Melbourne and bunged her in the Melbourne Cup. Dad said he'd go to Melbourne to look after the horse and Mum said alright and I'll go to look after you, so of course the whole dashed family went. Crooks and shady bookmakers tried to nobble the horse, but what happens to those crooks and books is good to see. Cousin Harold had a tough time getting his weight down. He says that every time he looked at a beef steak and kidney pudding, his weight would fly up half a stone. One night in Melbourne Dad came across Jim taking an actress to.supper, "strewth!" said Dad, "that boys goin' it, first he takes on racehorses, now actresses. Next thing he'll be drinkin' shandy gaffe." But come and renew old acquaintances with all the Hayseeds at the Picture Theatre to-night.'

Source:

'The Hayseeds Melbourne Cup', The Muswellbrook Chronicle, 7 September 1918, p.2.

'Betty Benton, step-sister of Anne Maxwell, discloses to Anne's father that she had overheard Anne agree to proceed an hour earlier than the regular time to receive extra lessons from choir-master Karl Krona, whose sympathies are all with the German cause. Mr Maxwell, with a vestryman and the minister of the church, visit the church and witness Krona embracing and attempting to kiss Anne against her will. Krona is dismissed from his position on the spot, and the stern father orders Anne to leave his home. Anne decides to earn her own living in Sydney. Early In her career in the city, she encounters Satan, typified by Karl Krona, who wants the girl. Anne has been followed to Sydney by her lover, Will Wayburn, by whom she is rescued from a house of evil repute, after a rough up with the bully of the establishment, and also saved from the clutches of the arch-fiend Krona in a Chinese opium-smoking joint. Wayburn heads a squad of A.I.F. boys in khaki in effecting his second rescue. Anne has been lured to that den by a false note from her step-sister, who was in Krona's power, the idea being to prevent her going on service as a nursing sister. Rescued in time to join the transport, Anne reaches the front in France, and one of her first charges in the field hospital is Wayburn. Eventually all ends brightly. Wayburn and Anne marry; Maxwell pere begs his daughter's pardon; the flirtatious Betty mends her ways; Krona, the villain, is interned; and while yet on their honeymoon the happy Wrayburn pair do their bit towards recruiting.'

Source:

'Satan in Sydney', Townvsille Daily Bulletin, 28 December 1918, p.3

'It is a story of back blocks life and the rough and ready characters are free-hearted, and bubbling with health and active spirits. It has a peculiarly appealing force to an Australian audience, and episode after episode evoked hearty laughter. Dad Hayseed conceives the idea of an agricultural show, and when he gets the committee together' they decide to go ahead. It is resolved unanimously to invite the Governor, and in order to make sure of him, a deputation travels to Brisbane. They get inside the vice-regal residence, after a lot of trouble, and the Governor decides to open the show. Before the deputation departs the Governor drives them around the capital, which admits of some fine scenic views of Brisbane and its environs. The day of the show arrives at last, and Dads, [sic] his family, and neighbours, for miles around, are in attendance. There is everything that goes to make up the usual country show, and a lot more besides. The Governor and his wife are met with a "brass band," while Dad, in his silk tall hat does the honours. There is a lot of good-natured rivalry and jealousy in the exhibits and the racing, and Stony Creek certainly did put up a fine assortment of jams, and other products, while its live stock is something extra good. The side shows did a roaring business, and the '"spielers" plied their trade. Every minute was full of wholesome fun, or unalloyed pleasure, and there was a tired Governor, and a tired crowd when the day ended. There was also a pretty love story, in which the right man won the right girl. It is a film worth seeing.'

Source:

'Herbert's Pictures', Newcastle Morning Herald and Miners' Advocate, 20 November 1917, p.6.

'Dad has decided to blow up a bit of the £5000 sweep that he has won and he takes his family — the whole mob of them— together with relatives, to the city. Cousin Harold promised to show them round and he led them into scrapes. The Hayseeds go bathing at Manly, and Dad nearly gets drowned. ' My word, that was a big waterhole,' he said, when be recovered his breath. They got into the hands of spielers, who learned the lesson that The Hayseeds were no mugs. They went to the gardens, the barber, the shops, the theatres, the zoo, and every other place till Joe wrote down from the selection to say that Spotty, the cow had a calf and Mum's chickens were hatching. Then all got homesick and hurried back.'

Source:

'Empire Pictures', The Southern Mail, 26 July 1918, p.2.

'There are four films, the first two being devoted to a day's life of the Hayseed family, and the second two deal with Joe Hayseed's wooing of Pansy Duggan, a neighbour's daughter. The photography, which was in the capable hands of Mr. H. Krishock, is most creditable, and the film is splendidly put together. It contains but little plot, most of the scenes presenting incidents of everyday life. Some of the scenes, however, are a little drawn-out, particularly the fight between the Hayseed and Duggan families, as the result of the encroachment of the Hayseeds' cattle on the Duggans' farm. This incident leads up to a bushfire on the Duggans' property, and the end of the fend between the families, as Dad Hayseed quickly resolves to help a neighbour in distress. 'Pansy's Wooing' is the title of the last two reels, which are quite as good as the first two. The hoydenish love making^ of Joe culminates in marriage festivities, and then along come twins. This interesting event is overdrawn, and would be improved by cutting out certain parts.'

Source:

'Australian Motion Pictures', The Mail, 3 February 1917, p.6.

A series of films written and directed by Beaumont Smith and featuring 'The Hayseeds', a rural family. The films range from rural comedy to science fiction.

The films were very much marketed as a series in the early days, with newspapers identifying each new film by their number in the series.

After the first four films, there was a pause of some years before the next two 'Hayseed' films were released. The comparative lack of box-office success of these two led to another hiatus, before the release of the comedy-musical The Hayseeds (essentially a re-boot of the series, and the only 'talkie' among them) in 1933.