AustLit

A woman becomes dangerously obsessed with her best friend's husband and seeks to remove all obstacles between them, including his young son.

'A children's action adventure set in the South Pacific islands. The Island Trader is an old steam-driven tug that becomes the centre of a hunt for lost treasure after a plane, carrying gold bullion, comes down on Shark Island.'

Source: Screen Australia. (Sighted: 16/4/2014)

A crime drama devised for Grundy's by Ron McLean (Don Storey suggests, on Classic Australian Television, that it evolved from an earlier concept called The Killer Stalks), Bellamy was not successful when it aired on Australian television.

According to Albert Moran in his Guide to Australian TV Series, the problem was that Bellamy was, by the time it aired, an archaic concept:

Police series production had effectively come to an end in 1975 and women had become a more important part of Australian television, both on screen and in the audience. Yet the Network went against the tide by commissioning this police series starring ex-Homicide star John Stanton in the title role. As conceived and executed by Grundy's, Bellamy and underling Mitch had little or nothing in the way of a personal life and were pitted against monstrous villains, almost invariably murderers who lacked social backgrounds and psychological complexity. As a result many of the episodes had strong similarities, with a two-dimensional Batman and Robin duo pursuing such villains in the threadbare chase narratives.

The program was cancelled even before the first set of episodes had been completed.

A Queensland bush pilot investigates the murder of his brother, who had been involved in diamond mining, and stumbles across the machinations of a group of diamond smugglers.

A private nurse comes to work for a retired opera singer, known as The Diva, who is now confined to a wheelchair. The Diva's daughter resents the appearance of the nurse, though she herself is stealing her mother's art collection, replacing the works with prints, and stopping at nothing (not even murder) to hide the evidence of her pilfering. But the tense mother-daughter relations are soon the least of the nurse's concerns, as she comes to believe that the house is haunted.

Chopper Squad follows the adventures of a helicopter surf rescue team based on Sydney's northern beaches, as they deal with various difficult rescues and occasionally come into close contact with desperate criminals.

The program suffered from long hiatuses between the pilot and series one, and between series one and series two. Furthermore, Don Storey notes, in his Classic Australian Television, that

Unfortunately, the quality of the scripts varied immensely. Some episodes had excellent dramatic narratives, and the viewers would be on the edge of their seats watching the rescue process. Other plots were contrived merely to justify the use of a helicopter, or to show off some other facet of the surf rescue operation, or were just corny. This variation in quality occurred not only from episode to episode, but quite often within an episode.

However, Storey concludes that

If the scripts left a lot to be desired, the same could not be said for the other aspects of the programme. The actors all gave good performances, and the technical quality is excellent by any standards. Extensive external location work was used, with internal sets being kept to a minimum. The camerawork is second to none, highlighting the magnificent scenery of the Sydney coastline to great effect.

Albert Moran, in his Guide to Australian TV Series, notes that 'World distribution rights to the series were bought by Paramount Pictures, which sold the production to Malaysia, Hong Kong, Singapore, Thailand, the Philippines and Britain'.

Like King's Men, Case for the Defence was devised by Ron McLean when he first began work with Grundy's. The program focuses on Sydney defence lawyer John Case and his girlfriend/legal partner Winsome ('Win') Blake.

Don Storey notes, in his Classic Australian Television, that unlike such predecessors as Consider Your Verdict, Divorce Court, and The Unloved, which focused on events in the court room, 'events prior to the cases coming to court were a major part of the storylines, and were backed up by extensive location filming'. Storey summarises the program as follows:

The series consistently followed a tried and true formula. John Case always seemed to get the baffling cases that, on the surface, appeared impossible to defend. Each episode had Case and friends involved in a certain amount of sleuthing, with a myriad of suspects and many plot twists and turns. The real culprit would then be revealed at the end of the show. Although the format was predictable, it was very well written, with competent acting and direction, and had high production standards. The only valid criticism of the show is that it was produced on videotape, rather than film, which gave it a cheap and amateurish look.

Albert Moran, in his Guide to Australian TV Series, notes that the program was 'not particularly successful', though it had 'high production values' and 'was one of John Hamblin's better television roles'.

A relatively short-lived drama series based in a secondary school in one of Sydney's more impoverished suburbs, Glenview High focused on teacher Greg Walker, dividing its attention between his work with his students and his homelife with his brother and two flatmates.

Don Storey, in his Classic Australian Television, notes that 'Glenview High frequently looked at the problems faced by city kids preparing for a world of uncertainty, with less opportunity and high unemployment. It also dealt with the frustration of the education system from the point of view of both teachers and students.' Albert Moran, conversely, notes in his Guide to Australian TV Series that 'Glenview High was mildly concerned with social issues in and around school, kids, teachers and parents but with each episode needing to tie its stories up inside the hour, social problems were mostly solvable and social issues were raised but not explored.'

Storey summarises the program as follows:

Grundy's claimed that Glenview High could not be compared to Class of 74/75, a valid statement with which the critics agreed. Glenview was a better product than Class, but it could not be considered an outstanding series: the scripts sometimes lapse into melodrama, with corny and contrived endings, and being produced entirely on video gives it a cheap look.

(Note: Moran mistakenly lists Ken James and Rebecca Gilling as playing teachers, rather than their actual roles of Greg Walker's brother Tom and flatmate/air hostess Robbie Dean.)

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.'

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.'

Certain Women began as a short series in 1973 and continued on as a serial until 1977. At the centre of the narrative were six women from three generations of a Sydney family. Dolly has two daughters Freda and Jane. Jane has three daughters Marjorie, Helen, and Gillian.

In a short piece announcing the extension of the series after the broadcast of the first six episodes television critic Valda Marshall said the decision to make further episodes 'should also keep the women's libbers happy ... so far as I know, it's the first TV series made here specifically as a starring vehicle for women'.

Source: Marshall, Valda. 'ABC's 'Women' Given Longer Reign'. The Sun-Herald, 25/3/1973, p. 77.

Ryan focused on the titular Michael Ryan, a private detective with a stringent code of ethics and a background as a soldier, police officer, and social worker. Ryan's work doesn't focus on divorce and domestic problems, but on serious crimes that, for some reason, the victims are unwilling to take to the police. He is supported by his secretary Julie King (who often becomes involved in fieldwork), cab driver and later assistant Tony Angelini, and police liaison Detective Sergeant Dan Cullen.

According to Don Storey in Classic Australian Television,

'The production standards of Ryan are very high -- good writing, solid acting performances, smooth direction and excellent camera and editing work combined to form a polished and professional product. And Ryan was very successful overseas -- proportional to the number of episodes made, Ryan has probably done better overseas than most other Crawford shows. Yet it was the first Crawford show not to do well locally'.

'He [Lief Erickson] is the Rev. Vincent, on the verge of a mental breakdown who is sent to an Aboriginal mission in the desert.

'He finds the doctor of the mission dead in the chapel with a strange mark on his forehead, and the rest of the staff mesmerised.

'He finds out the mission is on Aboriginal sacred ground, and he himself is confronted by a group of Aborigines. Under pressure, he collapses.'

Source:

'Top Stars in New TCN9 Series', Australian Women's Weekly, 20 June 1973, p.10.

An actor who always plays villains finds himself on the receiving end of fear when he is taken in by a couple of fans.

A young bride tries to negotiate a relationship with her husband's seemingly jealous teenage daughter.

'The kidnapping of their young daughter causes Harry and Jean Thompson to seek help from Ryan, and his investigations disclose a tense emotional situation in which the Thompson's [sic] marriage is seen to fall apart under the stress.'

Source: Synopsis held in the Crawford Collection in the AFI Research Collection (RMIT).

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

'JEAN THOMPSON A woman of thirty-nine, who has never had a child of her own. She has a husband who ignores her as a lover, and so has taken a younger man, with whom she plans to get money by extortion from her own husband. During the course of the story she begins to get an insight into her husband, and loses interest in the lover, and the plan, at a time when it is far too late.

'HARRY THOMPSON A man in his 40's. He is frigid, and his marriage has suffered. Despite its temporary horror, the kidnapping of his daughter is probably the best thing that ever happened to his marriage. Harry is tense, talkative, eager to prove himself.

'JODIE THOMPSON Their kidnapped adopted daughter, whose kidnapping acts as a catalyst in the development of their own relationship, and in Harry's final knowledge of his own inadequacy. We see very little of her, but she is the motivation for all the other characters.

'TIM O'BRIEN 20's. A psychotic killer. A period of psychiatric care and shock treatment has just made him worse and more dangerous. Drives a car.

'GEOFF BURNS The young man who professes love for Jean. He is several years her junior, and his love for her is somewhat influenced by the fact that he can get money from her. Drives.

'BILL 50's. A talkative neighbour. Two scenes, one in which he helps Tony.

'WARBUTON 50's. An undertaker with a criminal sideline. Professionally mournful, finds Ryan's health depressing. One cameo scene with lots of lines.

'MECHANIC 20's, early 30's. A surly, unlikeable, uncooperative type who gives Ryan no help.

'OLD MAN 60's. A derelict, pathetic, one important scene when he stumbles on the ransom money and thinks his prayers have been answered.

'DOBSON 40's. A real detective. Few lines, looks capable.

'SECRETARY (MALE) 40's. Secretary to a drag strip club. Helps Ryan, one scene.

'VINCENT 40's. Harry's next door neighbour. Two scenes, few lines - Mr. Ordinary.

'DR. WALSH 50ish. Tim'e ex-psychiatrist who still haunts his twisted mind. Walsh's face will be seen in Tim's subliminals, so it should have an arresting quality. Two dialogue scenes.

'OLD FARMER 60's. No lines. Tim shoots him. A sympathetic face would help.

'PLAIN CLOTHES POLICEMAN Few lines.

'FINGERPRINT MAN No lines.

'POLICE DRIVER Few lines. Drives.

'DUTY POLICEMAN One scene. No lines.

'TRAFFIC POLICEMAN No lines.'

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.'