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form y separately published work icon The Immovable Object single work   film/TV   crime   thriller  
Issue Details: First known date: 1968... 1968 The Immovable Object
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AbstractHistoryArchive Description

The script held in the Crawford Collection has neither synopsis nor character notes.

Notes

  • This entry has been compiled from archival research in the Crawford Collection (AFI Research Collection), undertaken by Dr Catriona Mills under the auspices of the 2012 AFI Research Collection (AFIRC) Research Fellowship: see The Writer in Australian Television History.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Note: Neither the script nor the usual alternate sources suggest a director for this episode.
    • Melbourne, Victoria,: Crawford Productions ; Nine Network , 1968 .
      Extent: 50 min.p.
      Note/s:
      • The script does not estimate the length of the episode, but does note that they were unable to estimate the duration of the live timing at the time at which the script was typed.
      Series: form y separately published work icon Hunter Ian Jones , Terry Stapleton , Douglas Tainsh , Howard Griffiths , Glyn Davies , David William Boutland , Melbourne : Crawford Productions Nine Network , 1967 Z1814649 1967 series - publisher film/TV thriller

      Australia's first spy show, made at a time when overseas television networks were investing heavily in counter-espionage programs.

      The titular character was John Hunter, a secret agent with SCU3 (Special Clandestine Unit 3), a division of COSMIC (Commonwealth Offices for Security and Military Intelligence Co-ordination). Operating under the front of Independent Surveys, COSMIC was headed by Charles Blake. Hunter was assisted by female agent Eve Halliday.

      The enemy organisation, CUCW (Council for Unification of the Communist World) was headed in Australia by Mr Smith, whose chief agent was the complicated idealist Kragg. Kragg ultimately defected to the West (and to COSMIC) after a period of disillusionment with CUCW.

      Late in the show's run, John Hunter met an untimely death in front of a firing squad in an Iron Curtain country. He was replaced by a new agent, Gil Martin, but the show only continued for another eight episodes, as Ian Jones preferred to concentrate on his new vehicle for Gerard Kennedy, Division 4.

      According to Moran, in his Guide to Australian TV Series, 'Coming as it did towards the end of the Cold War and indeed the whole breakdown of the hegemony of Australian society, Hunter was an uneasy combination of boys'-own spy adventures, owing something to the popularity of James Bond novels, and the more cynical and seedy variation of the genre associated with writers such as Len Deighton and John Le Carre'. Don Storey, however, writes on Classic Australian Television that it was 'a bold, sophisticated and ambitious venture into slick, professional local drama', the sophistication no doubt aided by the per-episode budget of $20,000 (compared to Homicide's per-episode budget of $7000).

      Number in series: 49
      1968 .
      person or book cover
      Script cover page (Crawford Collection at the AFI Research Collection)
      Extent: 70p.
      (Manuscript) assertion
      Note/s:
      • The script is copied on pink paper and labelled 'Episode D6' on the cover page. '49' has been written next to the episode title in black ink. A notation in blue ink on the top of the cover page reads 'MINUS P. 19', but this has been crossed out, and the script does include page 19. A notation in black ink (a different ink to the one that noted the episode number) in the top right-hand corner of the cover page indicates that this copy of the script was designated for script editor Monte Miller.
      • The script does not include character notes, but the final page does include a list of crew credits:
        Written by Douglas E. Tainsh.
        Edited by Monte Miller.
        Typed by Christine Rook, Pam Petersen, Margaret Younger.
        Checked by Pam Petersen, Christine Rook, Sue Craig, M. Younger.
        Roneod by Doreen Arnold.
        The space below this for 'Producer's Remarks' has been left blank.
      • The script is annotated throughout in lead pencil, blue ink, and black ink.
      • The lead pencil annotations include squares drawn around various sections of dialogue and stage directions. There is no indication as to what these particular annotations are designed for. Some changes to dialogue have also been made in lead pencil (see, for example, page 4).
      • The annotations in blue ink and black ink are the removal of sections of dialogue and stage directions (see, for example, page 19 for the annotations in blue ink, and page 27 for the annotations in black ink). The black ink annotations also include some alterations to dialogue (see, for example, page 37).
      • The black ink annotations postdate the lead pencil annotations (see, for example, pages 41–44).
      • Between pages 13 and 18 are some altered pages. The first has both a header and footer reading 'Additional page 17A'. This is followed by, in order, 'Amended Page 16', 'Amended Page 17', 'Amended Page 15', and 'Amended Page 14'.

      Holdings

      Held at: AFI Research Collection
      Local Id: SC HUN : 49
Last amended 30 May 2013 16:02:00
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