Alan Cram Alan Cram i(A56859 works by)
Gender: Male
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1 y separately published work icon Take The Knock : A Three Act Play Alan Cram , (Manuscript version)x400775 Z854479 single work drama
1 The Harrisons Alan Cram , 1980 extract drama
— Appears in: Move It 1980; (p. 90-99)
2 form y separately published work icon Diversion Alan Cram , 1974 (Manuscript version)x400774 Z854476 1974 single work film/TV
2 form y separately published work icon Cup Fever Alan Cram , 1972 (Manuscript version)x402356 Z1921498 1972 single work film/TV crime

The script held in the Crawford Collection in the AFI Research Collection includes the following character notes:

'BARNEY WHITE: Aged about 28-30. Trotting driver. Energetic personality. Reckless gambler. Quick tempered but should be likeable. Has to drive a car.

'JOE SIMPSON: About 60. A quiet, calm, trotting trainer. Been in the game all his life. Lives for his horses. Is concerned when he gets threatening phone calls demanding that he scratch his horse from the Matlock Cup.

'KATE WHITE: Aged about 28. Barney's wife. She should be attractive. Lived in the country all her life. She does not fit in with Barney's world of racing and gambling. She is concerned for Barney and their future together.

'POP THOMPSON: Aged about 70. Kate's father. Retired. Tight with his money, which he has plenty of. Has a dry, impatient attitude towards Barney who he doesn't understand or approve of.

'LENNIE WILLIAMS: Aged about 35. A big heavy. Not very bright. Has to handle himself in a fight. Has to drive a car.

'DARKIE DAVIS: A big time S.P. Bookie. Confident - well dressed. Calm and strong personality. Probably of Italian extraction.

'ROY MARSHALL: Aged about 40-50. Well dressed, successful Melbourne punter and crook. Lennie's boss. He has knocked around and knows what two and two make. Has to drive a car.

'URGER O'BRIEN: About 50-60. A shabbily dressed alcoholic who makes a buck doing small jobs for Darkie Davis, and by keeping his ears open. A rather harmless soul.

'MORRIE: About 60. Joe Simpson's stable hand. Has an easy come easy go nature.

'BARMAN Barman of Matlock pub. Established.

'1ST TROTTING DRIVER: About 40. An experienced driver.

'RACING COMMENTATOR: Male.

'TROTTING DRIVER: Extra.

'BAR EXTRAS (3)'.

Note: The apostrophes in the possessive nouns in this list have been added in pen, not typed.

2 form y separately published work icon The Hermit Alan Cram , 1971 (Manuscript version)x402358 Z1921544 1971 single work film/TV crime

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'DUDLEY ROBERTS (BROWN) A hermit. Aged about 40. Shortish, perhaps somewhat stout. Wears glasses and a moustache (if possible). Quietly spoken - rather cunning. A sensitive man who considers himself unattractive and unlikeable. Easily offended and can hate with a bitter intensity. Eager to please those he fears or those he's attracted to. Always very serious. Nervous. Has to ride a bicycle.

'BETTY SCOTT A young forty. Rather attractive. Likes herself and competes with her 20 year old daughter. Dresses tastefully and is reasonably intelligent. Well spoken. Has to drive a car.

'KEN ANDERSON Betty's de facto husband. About 40. Well presentable. Good looking. Is the father of Cindy's unborn child. Has little love for Betty. Big of build but weak of spirit. Unemotional. Has to drive a car.

'CINDY SCOTT Aged 20. Same hair colour as mother. Rather unfeeling. Attractive in a cold sort of way. Does nude modelling as a means of making extra money. Bored with her job and life in general. Is killed in second segment. Must wear glasses.

'MARIO Any age. Meek Italian who can't speak English. A night cleaner at Police Headquarters.

'A STRANGER (MALE) Very distinguished company director. About 45-50. Well dressed -well [sic] spoken. "Confident" man of the world. Masks an inner feeling of loneliness and insecurity.

'JACK Shopkeeper. About 40. Pleasant. Average intelligence. Two film scenes onl [sic]

'ERNIE His younger brother. About 30. Rather ordinary. Pleasant enough but not over bright.

'HELEN FOX 28. Inspector Fox's daughter. Attractive very pleasant personality. Qantas Air Hostess.

'UNIFORMED CONSTABLE. Speaking part.

'UNIFORMED POLICEMEN (A & B)'.

1 3 form y separately published work icon Matlock Police Terry Stapleton , Ian Jones , Everett de Roche , Ian Jones , Terry Stapleton , Keith Hetherington , Patrick Edgeworth , Tom Hegarty , Douglas Tainsh , Graeme Koetsveld , Peter A. Kinloch , Sonia Borg , Don Battye , Robert Caswell , George T. Miller , Gwenda Marsh , Cliff Green , Vince Moran , Luis Bayonas , David William Boutland , Phil Freedman , Keith Thompson , Denise Morgan , C.F. Barnes , Robert Bruce , Alan Cram , Vern Perry , Martin Robbins , John Dingwall , George Mallaby , Jim Stapleton , Simon Wincer , ( dir. Colin Eggleston et. al. )agent 1971 Melbourne Australia : Crawford Productions Network Ten , 1971-1976 Z1638563 1971 series - publisher film/TV detective crime

The Matlock Police series (originally simply titled Matlock) was commissioned from Crawford Productions by ATV-0, in response to the popularity of rival-network police dramas such as Homicide and Division 4. Crawford's was initially reluctant to create another police series, but ATV-0 pressured the company for some time. Eventually, Ian Jones and Terry Stapleton devised the concept of a regional (Victorian) police series to provide viewers with something different. The more relaxed atmosphere of the country-town setting also allowed the writers to delve into the private lives of the main characters, rather than focusing heavily on big-city organised crime. In this respect, the series was situated somewhere between Homicide/Division 4 and Bellbird. The series did, however, cover typical rural policing, including such issues as break and enters, domestic issues, itinerant workers, brawls, petty crime and robberies, road accidents, the occasional homicide, and cattle rustling. On other occasions, the Matlock police also assisted Melbourne police in locating criminals on the run (among other problems). The idea behind the show was to reflect the causes of crime in a small community and show the effects on both the community and the officers themselves.

The fictional town of Matlock (loosely based on Shepparton in Victoria) is situated inland on the Central Highway, approximately 160 kilometres north of Melbourne. Although the town's population is only seventeen thousand, this increases to around seventy-five thousand when the district is included. The Matlock Police Station is typical of a Victorian country town, with a Uniform Branch and a Criminal Investigation Branch (CIB). The CIB is headed by Detective Sergeant Vic Maddern, who grew up in the Matlock district and is an accomplished bushman. Second in command is Detective Allan Curtis, aged in his mid-twenties. Previously from Melbourne, Curtis has just been sent to his first country posting (against his will) when the series begins. Head of the Uniform Branch is Sergeant Bert Kennedy, an Englishman who migrated to Australia in 1950. A thorough but also easy-going man with a good sense of humour, Kennedy is married to Nell and enjoys the country life in Matlock, so much so that he has knocked back promotion to avoid moving to Melbourne. Several constables are attached to the Uniform Branch, but the most prominent is a motorcycle cop, Constable Gary Hogan, who performs a wide variety of duties. Hogan is about thirty, a friendly, easy-going person who grew up in the country and is always willing to help in whatever work is going.

2 form y separately published work icon In the Dark Alan Cram , 1970 (Manuscript version)x402357 Z1921527 1970 single work film/TV crime

The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'SUSAN SCOTT. Aged 22. An introverted psychopath. Shows little or no outward emotion. Her ability to communicate with others is limited and she considers herself an "outsider". She probably has latent lesbian tendencies. She has had little to do with men and they represent a frightening strangeness to her. They are a symbol of her unhappiness. The only people she feels any closeness to are her psychiatrist (Clare) and her room mate (Patti). Her association with these women is threatened because of the intervention of their respective menfolk (David and Fred). She feels she must hit back at them. Susan should be dark haired, cold eyed and able to handle a rifle. Must be able to drive.

'CLARE TURNER. Aged about 34. She is Susan's psychiatrist and is not unaware of Susan's adoration of her. She goes the "extra mile" in her work .... taking a beyond normal interest in her patients. This is a strong source of unhappiness to her husband, David ... especially when she adopts the unorthodox procedure of having patients in her home. She conveys a professional air towards her patients but inwardly she is quite sensitive and, perhaps, slightly neurotic herself.

'DAVID TURNER. Aged about 38. Clare's husband. He's intolerant of Clare's obsession towards her work. He's tired of playing second fiddle to her patients and has just about reached the end of his endurance. He's outgoing and emotional and makes no secret of his feelings. He is a well dressed, professional man and well spoken. Must be able to drive.

'ROY. Aged about 40. David's business colleague. Appears in one film scene. Plays golf with David. He is of reasonably happy disposition.

'PATTI MEADOWS. Aged 22. Gay, attractive. Susan's room mate. She knows of Susan's mental illness and treats her with a certain cautiousness. Nevertheless she genuinely feels for Susan and would like to do what she can for her. She has a pleasing personality and, for contrast with Susan, should preferably be blonde.

'MRS. PHILLIPS. Victim's landlady. A reserved soul of middle age. She's the type who has a soft spot for most of her boarders and is genuinely stunned when she hears of Martin's death.

'MR. SMITH. Middle aged poultry farmer who finds the body. Should be rugged type .. not [sic] very bright. Seems unmoved by his discovery of the body.

'MARTIN WHEELER. Victim. Aged about 28. Good looking. Confident. He picked Susan up in a hotel and tries to make love to her in his car. Gets killed in teaser.

'FRED. Patti's fiance. In his late twenties. Clean cut.

'PHOTOGRAPHER. Flashy dresser. An animated type who takes his work very seriously.

'YOUTH. GIRL. Attractive couple. Lovers in the park.'

1 9 form y separately published work icon Homicide Sonia Borg , Vince Moran , Phil Freedman , Luis Bayonas , Everett de Roche , Peter A. Kinloch , Ted Roberts , Roger Simpson , Charles E. Stamp , Margaret Kelly , Colin Eggleston , James Wulf Simmonds , Keith Hetherington , Michael Harvey , Cliff Green , Patrick Edgeworth , James East , John Drew , John Dingwall , Alan Cram , Ian Cameron , John Bragg , David William Boutland , Jock Blair , Don Battye , Fred Parsons , David Minter , Monte Miller , Ron McLean , George Mallaby , Ian Jones , Maurice Hurst , Barry Hill , Max Sims , Keith Thompson , David Stevens , Amanda Spry , Peter Schreck , Martin Robbins , Della Foss Pascoe , Bruce Wishart , ( dir. Bruce Ross-Smith et. al. )agent Melbourne : Crawford Productions , 1964-1975 Z1813076 1964 series - publisher film/TV crime detective

Running for twelve years and a total of 510 episodes, Homicide was a seminal Australian police-procedural program, set in the homicide squad of the Victoria Police. According to Don Storey in his Classic Australian Television, it represented a turning point for Australian television, prompting the development of local productions over the purchase of relatively inexpensive American dramas. Indeed, Storey quotes Hector Crawford as saying that his production company intended three outcomes from Homicide: demonstrating that it was possible to make a high-quality local drama series, counteracting criticism of local performers, and showing that Australian audiences would watch Australian-made dramas.

As Moran notes in his Guide to Australian TV Series, the program adopted a narrative structure focusing on crime, detection, and capture, rather than on character studies of the lead detectives. The early episodes were produced by a small crew (Storey notes that the crew was frequently limited to four people: cameraman, grip, director, and assistant director), requiring some degree of ingenuity to achieve a polished result (including, in some cases, the actors performing their own stunts). However, the program received extensive support from the Victoria Police (who recognised, in its positive portrayal of police officers, a valuable public-relations exercise) and, as its popularity grew, from the public.

The program's cast changed extensively over its twelve years on the air, though it remained focused on a small group of male detectives, with the inclusion of irregular characters such as Policewoman Helen Hopgood (played by Derani Scarr), written on an as-required basis to reflect the involvement of women in the police force. In Moran's words, 'The other star of Homicide was the location film work. These ordinary, everyday familiar urban locations were what gave the series a gritty realism and familiarised audiences with the shock of recognition at seeing themselves and their milieus on air'.

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