Cirrus@Austlit

Leaving her car when it breaks down in a remote area, a woman is whisked back in time forty years, to 1944, where she witnesses a murder. Back in the present, when no one will believe her story, she begins to investigate the crime herself.

King's Men was originally conceived as a fairly straight television police drama centred on a crusty, middle-aged, old-school police officer based in Sydney's Kings Cross area (and modelled in part on actual Kings Cross policeman 'Bumper' Farrell). But the studio, inspired by the success of American television program The Mod Squad, modified the concept, instead basing the program around a group of young police officers working undercover (albeit under the guidance of a crusty, middle-aged, old-school police officer), where each episode contained a standalone scenario involving the adoption of different undercover identities.

According to Don Storey, in his Classic Australian Television,

King's Men was not as good as Homicide or Bluey or any of the other police series from the Crawfords stable, but it wasn't bad either. The late change of direction to incorporate the undercover squad was a significant factor in the show's demise. If more time had been allowed for development, King's Men could have been a successful, polished product.

Instead, the program was pulled from the air in both Sydney and Melbourne after only a handful of episodes had been shown, and plans for a second series were cancelled.

Albert Moran, in his Guide to Australian TV Series, is less optimistic about the program, describing it as 'a very routine police series despite a veneer of dash and style.'

A spy series set, according to Moran in his Guide to Australian TV Series, 'very much in the same locale and situation' as Contrabandits. The two spies work for FIASCO (Federal Intelligence and Security Control Organisation), run out of Canberra by the never-seen and rarely heard Dave Shannon.

Moran notes that Shannon's Mob was glossier than Contrabandits, but also mundane:

In its own eyes the company had made a fundamental mistake in not coming up with a formula that used some real point of Australian difference. Many other countries had harbours, boats, and water. For that matter the special investigation team headed by Shannon was very ordinary indeed.

In his Classic Australian Television, however, Don Storey suggests that 'The spectuacular scenery, particularly of the Harbour, is fully exploited.'

Shannon's Mob received poor treatment from the network (which persistently delayed its televisation) and was widely panned by critics when it did air, perhaps in part because the popularity of spy stories had peaked some decade earlier. Storey concludes:

It would be easy to suspect that the treatment of Shannons Mob, coinciding as it did with the cancellation of the three Crawford cop shows (Homicide, Division 4 and Matlock Police), was part of the plot to sabotage Australian production. However, there is no evidence or even speculation to suggest that anything was deliberately done against the series - although it would be safe to assume that in the prevailing climate nothing positive would have been done to help the series either.

In an early report on the series, The Australian Women's Weekly noted, 'All writers for the series will be Australian, and among them will be some of those who produced the most successful of the "Boney" scripts' (Wed. 10 October 1973, p.10).

Grigor Taylor's first role after leaving the highly rated Matlock Police, Silent Number focuses on Dr Steve Hamilton, a doctor working for the New South Wales Health Department. Hamilton has chosen this path because he couldn't afford to start his own practice, and thought, even before he is seconded to the NSW Police as a police doctor, that this would be more rewarding than work as a GP. This situation causes some tension with his wife, who would rather he worked shorter hours for higher pay in private practice.

According to Don Storey in his Classic Australian Television, Silent Number suffered somewhat from the close attention of censors after early episodes were deemed too violent, which led to the Australian Broadcasting Control Board decreeing that all episodes must be submitted to them for assessment prior to screening. Storey also notes that Silent Number was screened in Melbourne opposite Matlock Police, which seriously damaged its ratings.

Nevertheless, Storey concludes that 'Silent Number was quite a good series. If you allow a certain suspension of disbelief for the premise - real police doctors rarely, if ever, get involved with criminal detection the way Steve Hamilton does - the only valid criticism that could be levelled against it is the "cheap" look that using videotape gives to the interior scenes.'

Moran, in his Guide to Australian TV Series, concurs with this assessment, noting that 'producer Roger Mirams and writer Ron McLean put their heads together to come up with a successful formula for the crime variation. They reasoned that because both medical and police series were popular, a series about a police doctor had to very popular. It wasn't. Again, though, the series is very watchable. Never profound, it does succeed as entertainment.'

A children's television series in which the child protagonists (Catch and Kate Kandy) go into hiding, believing that they've accidentally killed their abusive uncle (and guardian).

According to Moran's Guide to Australian TV Series, 'Each episode was self-contained although in the final episode the overall story was brought to an end. Catch Kandy was an attractive series, visually pleasing, with a suitably engaging narrative in each episode'.

A ten-part television mini-series adapted from the 1894 novel Seven Little Australians by Ethel Turner (q.v.). Set in Sydney in the 1890s, the stories concern Captain Woolcot, an English widower with seven children, who has recently married again. The family lives in their large home 'Misrule,' which lies along the banks of the Parramatta River. As an officer in the New South Wales Regiment, Woolcot attempts to implement regimental discipline but is constantly harassed and embarrassed by the antics of his seven mischievous children: Meg, Pip, Judy, Nell, Bunty, Baby, and 'The General.' Since he is unable to control them, it is his new wife who invariably takes on all the trials of bringing up the children, with the most difficult child being the ring-leader Helen, commonly known as Judy.

A television series based on the twenty-nine novels by Arthur Upfield about fictional Detective Inspector Napoleon Bonaparte. Originally broadcast on the Seven Network in 1972 and 1973, the series was titled Boney rather than Upfield's original spelling ('Bony') in order to clarify its pronunciation [all references to the film character therefore retain the alternate spelling].

As described by Upfield, Boney is a foundling, born of an Aboriginal mother and a white father and raised in a mission. An exceptional student, he won scholarships to secondary school and university, but later abandoned the 'white' culture to return to his mother's people and become initiated into their tribe. The issue of living half-way between two cultures lies at the very centre of Boney's existence and provides his character with a rich complexity of attributes: intellect, cunning, arrogance, compassion, and an inherent understanding of the land and of ancient bushcraft. His career as a policeman began after he helped solve an outback murder. Recognising his exceptional skills, the Queensland Police persuaded him to join the force, and he quickly rose to the rank of Detective Inspector. His talents are such that he is often loaned to other states to help solve outback crimes.

Several significant, though not overly problematic, changes were made to the television adaptation. In the Upfield books, Boney is aged in his fifties and married with three sons. He also smokes his own very poorly constructed hand-rolled cigarettes. For the television series, however, Boney is in his early thirties and unmarried. He also doesn't smoke. Another departure from the Upfield books is the inclusion of a regular female offsider, Constable Alice McGorr, who appears throughout most of the second series. McGorr was brought in to help solve an issue that the screen writers had struggled with during much of the first series: finding opportunities to have Boney talk and particularly to explain his reasoning or concerns. The omniscient writing style of Upfield's novels complemented Boney's solo methods of investigation well, but it created problems for the screenwriters in terms of dialogue. The answer was to provide a companion. The producers eventually decided on the character of McGorr, whom Upfield had introduced in the novel Murder Must Wait. The added advantage in this strategy, too, was McGorr provides a strong feminine perspective and, as Boney was now unmarried, a touch of sexual tension.

Series exploring the covert activities behind Japanese lines of covert operatives working from a secret headquarters in Sydney.

According to Don Storey, in his Classic Australian Television, Mirams determined not to dwell on Japanese treatment of prisoners of war nor to show the Australians as incorruptible heroes, but did intend to counter the idea that the war was won entirely by American soldiers.

According to Storey,

Mirams could only provide money for the pilot. Each episode cost approximately $23,000 for a return of only $18,000, which over 42 episodes amounted to a loss of almost a quarter of a million dollars. At one stage cash flow became so tight that Thompson and Sumner went 'on strike' until they got paid. To cover his debts Mirams sold his rights in the series to Paramount Pictures. Consequently, Mirams made nothing from the show despite excellent overseas sales.

Albert Moran, in his Guide to Australian Television Series, notes of script-writer Ron McLean that 'McLean was never one to get precious about originality and Spyforce cheerfully plundered such stories as Callan, The Spy Who Came In From The Cold, the James Bond stories and The Bridge on the River Kwai for many of its narratives.'

Storey sums up Spyforce as follows: 'The show improved as it went on - the episodes became tighter and faster, and the directing proved more imaginative. The lead cast gave excellent performances, and the special effects got better - all testimony to the short-cuts and improvisation which the series is legendary for.'

Like The Adventures of the Seaspray and Barrier Reef, The Rovers was an adventure series based around a ship (in this case, an island schooner called the Pacific Lady). The concept allowed for a great degree of mobility, so that, in Moran's words (in his Guide to Australian TV Series), they 'drop anchor, go ashore and "have adventures".'

The crew consisted of Captain Sam McGill (called 'Cap'), Cap's ten-year-old grandson Mike, freelance wildlife photographer Bob Wild, and journalist for Wildlife magazine Rusty Collins, 'whose editor agreed to her accompanying the party on the boat as long as it doesn't cost him anything' (according to Don Storey, in his Classic Australian Television).

Moran says of The Rovers that it 'was a bargain basement variation of the Barrier Reef formula' (despite the fact that Barrier Reef didn't air until nearly two years later, in February 1971). But Don Storey similarly notes that

To be fair, The Rovers could not be considered a ground-breaking pinnacle of artistic achievement, following as it does the well-trodden path taken by Seaspray, Skippy and Woobinda. However, for all its predicability and happy ending, The Rovers is a slick, well-produced and entertaining product, with a balance between the dramatic and the light-hearted that appealed to adults and children alike.

A sit-com set in the fictional Kannabri High School, Good Morning, Mr Doubleday focuses on bumbling science teacher Robinson Doubleday, his girlfriend (and home economics teacher) Jenny Hamilton, and his best friend (and history teacher) Wes 'Tobe' Tobin.

According to Albert Moran, in his Guide to Australian TV Series, 'This series was based directly on scripts written for the American comedy series Good Morning Mr Peepers [Mister Peepers, 1952-1955], which had starred comedian Wally Cox. Australian writer Ron McLean was employed merely to 'adapt' this school comedy about a mild-mannered schoolteacher to Australian conditions.' Don Storey also notes, in his Classic Australian Television, that the program was 'directly based on an American school comedy, Mr. Peepers, of which Fremantle International had purchased the concept' and that the scripts were 'little more than the original American Mr. Peepers scripts, with the relevant details crossed out and altered'.

Storey notes of the central character that 'Doubleday is devoted to his work, with an incessant pride in his school, and although he is a bumbler in his own life, this aspect is not exaggerated and he is actually quite an intelligent person and an excellent teacher. Gallagher showed quite a flair for the role, portraying Doubleday as an interesting and believable character.'

The program also took an unusual approach to the casting of students. Storey notes that 'Doubleday's class was made up of ten students from high schools around Melbourne, with an average age of 16, who were used as "extras." To portray a contemporary school with accuracy and credibility, the producers found the advice of the "extras" invaluable, realising that there had been many changes since their own school years.'

The program was not successful, and production was halted after 26 episodes. Among the reasons for its lack of success, Storey isolates such concerns as the low budget; the constraints in production caused by the production company remaining in Sydney while filming took place in Melbourne (including a lack of contact between the writers and the cast); the 'slow' directorial style; changes in scheduling during broadcast; and an over-reliance in early episodes on broad, stereotypical humour (a problem centred largely on the character of eccentric English teacher Beryl Garney).

The central character in Woobinda is John Stevens, a veterinarian with a practice in the fictitious New South Wales country town of Gattens Creek. A widower, he has a teenage daughter, Tiggie, and an adopted Aboriginal son, Kevin. Stevens is assisted in his practice by Peter Fischer, a German vet, and his friend Jack Johnson, a local bushman. Called 'Woobinda' by local Aboriginals, Stevens has strong compassion for animals and is constantly striving to preserve fauna from what he calls 'senseless slaughter.'

A spin-off from the highly successful My Name's McGooley - What's Yours?, Rita and Wally represented a re-structuring of the original series after Gordon Chater (the titular McGooley) decided not to continue in the role. As Don Storey notes in his Classic Australian Television, McGooley had departed from the series three episodes before the actual final episode of My Name's McGooley (apparently visiting an old girlfriend in Queensland, from which location he sends word that they've decided to elope to the United States). Meanwhile:

Wally has received a promotion to an office job as a 'junior salesman' - in fact, he is the oldest 'junior' salesman in the firm - and he becomes desirous of moving to a more exclusive suburb befitting his new 'executive' status.

Selling the Balmain house, Rita and Wally move to the Sydney North Shore, where the plotlines are focused largely on 'keeping up with the Joneses' scenarios. It was never as popular a program as its predecessor. As Storey notes:

Although Wally had become the focus of the McGooley series, the character of McGooley was nonetheless an important ingredient. And Wally had changed - now he was in a white-collar job, and the emphasis had changed from 'battler' Wally in working-class Balmain to 'fish-out-of-water' Wally in his new 'executive' job and residence on the North Shore. Without McGooley, and with the other characters in a North Shore setting, Rita and Wally began to drift into middle-class dullness.

The program was wrapped up after twenty-three episodes, in a scenario that represented a return to the show's beginnings: to quote Storey, 'Wally had just given himself the sack from his job, and the outlook for the future was looking bleak for the Stiller household. Then McGooley and his mates turn up on their doorstep', facilitating a move back to Balmain (albeit outside the actual program).

Australia's first successful sit-com, My Name's McGooley's - What's Yours? blended domestic and social realism in an exploration of working-class Australian life.

According to Don Storey's summation of the program in his Classic Australian Television, My Name's McGooley - What's Yours? focused on

working class battler Wally Stiller and his wife Rita, who live with Rita's father Dominic McGooley, a crusty old pensioner. Their house is in Balmain, an inner suburb of Sydney that was then still largely working class. In classic sit-com tradition, early episodes centred on the farcical situations that McGooley blundered into, which were exploited for their comedy potential. As the series progressed, Wally Stiller became the protagonist, and the emphasis shifted to social issues within the family structure, with McGooley reacting to Wally's middle-aged ocker outlook on life.

Created by Ralph Peterson, who originally intended the program for British commerical network ITV, My Name's McGooley made use of actors who were already under contract to ATN-7 (both Gordon Chater and Noeline Brown, for example, had been working on The Mavis Bramston Show), as well as attracting John Meillon back from England to take the role of Wally.

Highly successful with audiences from the outset, My Name's McGooley ran for nearly ninety episodes before Gordon Chater left the program (and moved to a new vehicle, The Gordon Chater Show, still on ATN-7). With McGooley absent, the program was heavily re-tooled and re-invented as Rita and Wally.