by Stephen Vagg
Australian television shows of the 1960s are inherently obscure, apart from the icons (eg Homicide, Skippy) and maybe a few mini-series (eg Stormy Petrel, My Brother Jack). One show I would describe as “surprisingly obscure” is Adventure Unlimited.
This was an anthology series of ten half-hour (well, 25 minute) episodes made in 1963 about which very little is known – it doesn’t even pop up in several specialist reference texts. This was despite the fact that it was shot entirely on film and location, with those locations including the Northern Territory, Papua New Guinea, and the Great Barrier Reef, and featuring highly respected people behind the scenes (producer Lee Robinson, writers Darcy Niland and Cecil Holmes, directors Ken Hannam and Robin Lovejoy) and in front of the camera (Chips Rafferty, Len Teale, Ron Haddrick, Gwen Plumb, Murray Rose [left]). The key creative team went on to make Skippy. Yet, that show was an international sensation while Adventure Unlimited is barely seen. What happened?
The series had its origins in a bid for a third commercial television licence in Sydney back in the early 1960s. Various manufacturers got together including John Ratcliffe, Chairman of Bonds Industries, the textile manufactures (you know, the singlet guys), and people from the chemical manufacturer, the Polymer Corporation. They formed the sexily-named Manufacturers Television Ltd which applied for that licence (and if that seems weird, people who made singlets and petrol running a TV station, well, all sorts had a crack at getting a licence back in the day – the RSL, the NRMA, Ampol… and the government eventually gave it to a consortium headed by Reg Ansett, who ran an airline). Anyway, they were unsuccessful – which, in hindsight, was a loss, as Ansett’s gang didn’t do a very good job – but the experience ignited the television bug and some of the people involved in Manufacturers Television decided to give production a crack, forming Waratah Film Productions in January 1963.
This was a very brave/foolhardy move at the time, considering there wasn’t a quota for local programs, so producers couldn’t even guarantee something would sell locally. Nonetheless, a few people had a go – Roger Mirams’ Pacific Films found finance for various shows, and Crawford Productions had managed to sell Consider Your Verdict and would soon break through with Homicide.
Waratah had the benefit of wealthy corporate backers, plus the involvement of two legends of the local film industry, both of whom had been part of the television licence application: Hercules (a real first name) McIntyre and Lee Robinson. McIntyre headed Universal Pictures in Australia for many years and was a great enthusiast of local films, investing in several Charles Chauvel movies. Robinson was Australia’s most prolific film producer of the 1950s (not a wide field, admittedly), making several films in partnership with Chips Rafferty, all of which had a strong location focus that exploited Robinson’s documentary background. For instance, The Phantom Stockman and Dust in the Sun were shot in the Northern Territory while King of the Coral Sea was filmed on Thursday Island, Walk into Paradise in Papua New Guinea, and The Stowaway and The Restless and the Damned in Tahiti. Robinson was also experienced in television, having worked on episodes of the American documentary series High Adventure (1957-59), presented by Lowell Thomas.
The brains trust at Waratah decided to make a television anthology series of adventure tales in and around Australia (remember, Papua New Guinea was an Australian colony until 1975), originally under the title of Australiana.
Robinson told Graham Shirley in an oral history for the National Film and Sound Archive that the show was “a bit of a spin off from the success of” High Adventure “but into a feature area – fictional area.” Episodes would be shot on film and location, which was very expensive (most early television was shot on tape and/or live in a studio) – but Robinson had extensive experience in that field and Waratah no doubt figured this would have increased chances for international sales.
The series was made very specifically with an overseas focus in mind: Robinson had enjoyed as much success selling his features outside Australia as locally and he knew his way around foreign markets. Waratah didn’t even bother getting an Australian station involved early on, figuring (probably accurately) that they’d get more money locally if they sold the show overseas first.
Unlike early ABC television drama efforts, which were mostly adaptations of foreign scripts, Adventure Unlimited was very Australian, emphasising the country’s exotic uniqueness: Aboriginals, deserts, sharks, camels, people smugglers, buffalos, jungles, etc. Scripts were mostly written by local radio writers such as Darcy Niland, Kay Keavney, and Brian Wright, with contributions from film director Cecil Holmes, Robinson himself, and Robinson’s chief collaborator of the time, Joy Cavill.
The show used two main directors: Ken Hannam, years before he made Sunday Too Far Away but already one of the best television directors in the country, and Robin Lovejoy, who had never directed film or television but was a top theatre director under contract to the Elizabethan Theatre Trust (who are credited whenever Lovejoy is). Hannam went on to have a long career behind the camera, but Lovejoy did not, focusing on the stage. Robinson directed the odd episode.
Episodes included some of Australia’s leading radio and theatre actors at the time (some of whom appeared more than once, in different roles) – Richard Meikle, Gwen Plumb, Thelma Scott, Leonard Teale, Ron Haddrick, Grant Taylor – plus some newbies like Jeanie Drynan (future mum of Muriel Heslop), Tom Oliver (future Lou on Neighbours), Carmen Duncan (future star of Turkey Shoot), Clarissa Kaye (future wife of James Mason), and Murray Rose (former Olympic swim champ and future fifty worder on Ice Station Zebra). Australia’s only real locally based film star of the 1950s, Chips Rafferty, starred in some episodes, too – and was glad of the gig, as he was unfashionable at the time: from November 1962 until May 1964, the only straight acting jobs Rafferty had were in Adventure Unlimited (he did a lot of variety on television instead).
So, it was not a cheapie job. I’ve heard the series cost two million pounds which is unconfirmed – Robinson said it cost 8,000 pounds an episode, which feels a little low. Waratah used Supreme Sound Studios in Sydney as a base.
In September 1963, Ratcliffe and McIntyre gave evidence at the Vincent Committee, a Senate Committee investigating Australian television production. They referred to ten episodes of the series having been shot, three being “in production” and plans for thirteen more. The National Film and Sound Archive have ten episodes (of which I’ve seen seven), and from my research only ten aired on television. I’m not sure what happened to the other “three in production” – I assume the money tap was turned off and they weren’t finished.
From what I’ve seen, the quality of Adventure Unlimited was pretty good. The locations were terrific, the photography excellent, the acting mostly very strong. The stories weren’t bad – some better than others, which is always the case, but the best were very impressive.
In hindsight, the series lacked a sense of unity apart from its “shot on an exotic location” concept. Some stories were very documentary-like and based on true stories such as The Coastwatchers and The Silver Backed Brushes; others were more melodramatic, like The Witness. These sorts of things happen, and I like to think that would’ve been ironed out for season two – but there wasn’t one.
Overseas sales were disappointing – the series sold to Canada, where it aired in 1965, but that was about it. Robinson says he tried to sell episodes to the legendary showman Joe E. Levine, who had enjoyed great success in the US with Walk into Paradise, but Levine rejected it on the grounds it was in black and wide. “If it had been made in colour now, it would be alright,” Robinson told Shirley.
Adventure Unlimited was picked up for broadcast on Channel Ten in Sydney, but episodes were not shown until 1965 – and even then, it was dumped on a Friday night timeslot and given minimal advertising; it did not air in Melbourne until 1968. However, the episodes were often repeated – so much so, that according to Robinson, in the 1970s Actors’ Equity took the matter to the arbitration court arguing the actors should get residuals.
Waratah made a few other things, like the corporate film The Bond’s Story, as well as the television documentary The Dawn Fraser Story – but the company struggled to keep going after Ratcliffe died in December 1963 (not long after his Vincent Committee testimony). Its investors were unhappy at the lack of income and Waratah wound up in 1966.
I would have thought Adventure Unlimited would have done better in international markets, even in black and white, but clearly it was too late for that. Another factor may have been that anthology series, so dominant in the 1950s, were on the way out by 1963, supplanted by recurring series. Maybe it would’ve helped to have the one host for every episode, to give it some sense of continuity (Chips Rafferty would’ve been ideal) but this didn’t happen.
Incidentally, television historian Chris Keating pointed out that there were a few local anthology-ish series on Australian television around this time – ATN-7 produced a series of ten minute historical interviews, Tribunal and Time Out in 1963-64, and Channel Ten did a co-production with the Christian Television Association, Moment of Truth in 1965 – but Adventure Unlimited was the first regular primetime Australian anthology drama series (Australian Playhouse on the ABC followed in 1966).
Lee Robinson’s career has been well covered in various books, interviews and so on. He was generally very happy to talk about his various projects (I chatted to him about Rod Taylor once on the phone) but didn’t seem to like discussing Adventure Unlimited that much: Graham Shirley’s interview is the only one I’ve been able to discover that covers it in any detail. Maybe Robinson was embarrassed by the failure of the series to sell. Nonetheless, it contains some of his best work.
Robinson bounced back fairly quickly after Adventure Unlimited. He did some work on the feature film They’re a Weird Mob, where he got to know John McCallum, the actor-producer who was interested in getting involved in television production. Robinson and McCallum helped establish a company, Fauna Productions, which went on to make the spectacularly successful series Skippy: The Bush Kangaroo. In making Skippy, Robinson benefited considerably from his early experiences with Adventure Unlimited – he kept what worked (shot on film, exotic locations, “clean” storylines that were exciting but not overly violent, key creative personnel such as Joy Cavill) and improved what didn’t (ensuring it was shot in colour, using recurring characters and sets). Just as it is unlikely that Homicide would have worked as well without Crawfords having previously made Consider Your Verdict, I doubt Skippy would have clicked had Robinson not just made Adventure Unlimited. That show (and the ones it spawned, such as Barrier Reef and Boney) is the true legacy of Adventure Unlimited.
I provide a rundown of Adventure Unlimited episodes below, offering a brief synopsis and credits, plus my thoughts on the ones that I’ve seen. I have listed them in order of their initial transmission in Sydney. The whole series was produced by Robinson, executive produced by McIntyre, and associate produced by Joy Cavill. If you want to check them out, try to arrange a screening via the National Film and Sound Archive.
The Buffalo Hunters (8 October 1965)
Cast: Grant Taylor (Ted Abbot), Jacqueline Knott (Anne Abbot), Gay Hartley (Julie Tamar), Leonard Teale (Don Williams), Alan Stewart (Sam Saunders), Yorkie Tilly (Himself). Written by Cecil Holmes. Produced and directed by Lee Robinson. Produced with the co-operation of the Department of Territories, Canberra; Neville Bell, Darwin Air Taxis. Filmed on location in West Arnhem Land, Northern Territory of Australia.
Synopsis: Ted Abbot is a buffalo hunter struggling to make a living. He decides to go into breeding buffalo but struggles to round them up. His wife’s cousin, Julie, who is visiting, flirts with pilot Don Williams to get him to help.
My thoughts: Grant Taylor is typically good as a tough buffalo hunter and it’s nice to see a strong female presence in the story despite its macho setting. Cecil Holmes made a number of films himself around the time of Lee Robinson, the best known of which is probably Three in One. Buffalo Hunters is professionally done, and the honey trapping of Leonard Teale’s character is quite sweet.
Uncontrolled Territory (15 October 1965)
Cast: Richard Meikle, Reg Livermore, Chris Christensen. Directed by Robin Lovejoy.
Synopsis: In the highlands of Papua New Guinea, a young Australian patrol officer leads his party to search for the survivors of a plane crash near the Indonesian border. He becomes the first white man to contact a tribe of cannibals.
My thoughts: I haven’t seen this. It sounds like a trek story along the lines of Robinson’s Walk Into Paradise and I’m guessing the photography would be spectacular. An early role for Reg Livermore.
Adventure Unlimited (22 October 1965)
Cast: Murray Rose (Snow Johansen), Richard Meikle (Frank Bailey), Alexander Cann (Captain), Peter Williams (Williams), Wal Gibbins (Wally), Ray Teale (Murphy). Directed by Robin Lovejoy. Written by D’arcy Niland.
Synopsis: Two divers, Snow and Frank, are commissioned by a steel company to survey the sands of a section of the Great Barrier Reef for limestone. The area is full of sharks and divers go on a shark killing spree when a strange boat turns up with armed men on board. The men steal the divers’ boat and proceed to hunt them. However, the divers ambush the men on their own boat and take them prisoner. It turns out they are bringing in illegal aliens.
My thoughts: This episode is marked by its excellent underwater photography (some done by the legendary Ron Taylor) and an acting appearance from Olympic champion Murray Rose, who is fine, although outperformed by his (admittedly far more experienced) co-star Richard Meikle. Another person in the cast is Wal Gibbins, a famous diver himself. This was a rare television script from Darcy Niland (The Shiralee) who knew Robinson for years – Niland even wrote a feature script for Robinson to direct and to star Chips Rafferty, Staircase, that was never made. The story feels similar to King of the Coral Sea, i.e. divers get mixed up with people smugglers but it looks terrific and feels authentic. There’s lots of footage of sharks being speared to death which is a tad upsetting. Like, the body count really adds up.
Crocodile (29 October 1965)
Cast: Chips Rafferty (Mick Larkin), Sophie Stewart (Helen), Bonnie Walker (Ethel), Gwen Plumb (Louise), Ted Hepple (Bob Katter). Written by Lee Robinson. Directed by Robin Lovejoy. Produced with the co-operation of the Department of Territories, Canberra, in West Arnhem Land, Northern Territory of Australia.
Synopsis: For weeks, two crocodile hunters are on the trail of Melangie (“the evening star”), a giant crocodile valued at £500, if it can be captured alive for a zoo. The plans go astray when three American female tourists arrive in Arnhem land to record the mating call of the crocodile. Local Aboriginals tell the women to leave as they are trespassing. The crocodile hunters refuse to help, but advise the women to “give them (the Aboriginals) things.” Bob is attracted to Ethel.
Behind the scenes: Gwen Plumb wrote in her memoirs: “we were told it was a rich man’s safari camp where brave sportsmen from all over the world, and particularly America, shot crocodiles, water buffaloes, kangaroos – anything that moved. So Sophie [Stewart] and I packed a couple of cocktail frocks. It was the biggest dump you could ever imagine.” Plumb says conditions were unsanitary, water buffalo would wander through the camp at will, and the camp “was run by a looney called Alan Stewart who wore a pistol in his belt.” A crocodile was brought in from the aquarium in Darwin and Plumb says it passed out in the heat. She enjoyed filming at a lagoon, and a plane that flew in beer every night. “One night it didn’t, and we mutinied till they sent another,” wrote Plumb.
My thoughts: this is a fun episode, a surprise considering Robinson’s other feature film output, which almost entirely lacks comedy – I didn’t think he had it in him.
Incidentally here’s a 1949 doco from Robinson about crocodile hunters.
The Witness (5 November 1965)
Cast: Owen Weingott (Det Sgt Hamilton), Janette Craig (Sister Francesca), Robert McDarra (Father Raymond), Don Phelps (Inspector Carter), Beryl Meekin (Sister Ignatious), Mike Maxwell (Patrol Officer Jennings) Written by Joy Cavill, directed by Robin Lovejoy. Filmed in Marienberg and Madang, New Guinea.
Synopsis: Detective Sgt Hamilton is sent to Papua New Guinea to escort the witness to a murder in Sydney years ago by a gangster called Benson. She’s a nun, Sister Francesca, working at a Roman Catholic mission on the upper Sepik River. Hamilton brings her back to a small town where she’s met by Father Raymond who is going to accompany her for the rest of the trip. Raymond works for Benson, who has been paying bribes to Hamilton for years. Raymond tells Benson to look the other way.
My thoughts: (SPOILERS) This is more a straight up drama with a great twist – Hamilton is corrupt – and a fantastic villain: McDarra’s dodgy priest who tries to kill the sister. This concept was strong enough for a feature. There’s some product placement for Ansett Airlines.
The Rivals (12 November 1965)
Cast: Alexander Archdale (Gordon Gillespie), Chips Rafferty (Bob Cole), Nigel Lovell, Lowell Thomas. Directed by Ken Hannam.
Synopsis: Set in Mt. Hagen in P.N.G. A regional show takes place and sees a feud between two coffee growers, Gordon Gillespie and Bob Cole with Gordon’s Bossboy as prize. The competition is a draw, and the Bossboy goes off to start his own plantation.
My thoughts: Haven’t seen this. Sounds a little, er, problematic but I’m guessing at the very least Chips Raffety would be good – ditto the location work.
The Coastwatcher (19 November 1965)
Cast: Fred Parslow (Lt Arthur Reginald Evans RAN). Directed by Ken Hannam. Written by Walter Brooksbank from the official narrative of Arthur Reginald Evans. Produced with the cooperation of the Royal Australian Navy, the Department of the Army, the Department of Territories, and the kind permission of Mr J.F. Kennedy, President of the United States of America!
Synopsis: The story of coast watcher Arthur Reginald Evans, who helped save the lives of John F. Kennedy and the PT 109 crew after their boat was sunk by a Japanese destroyer in the Bracket Strait.
My thoughts: Understated, fascinating and very well- directed by Hannam. Parslow is effective in a role that doesn’t offer him that much to do. Evans is mostly depicted as ordering Islanders around – they go out in canoes and risk their life while he stays back at base. I don’t know the name of the actor who plays JFK (who only appears briefly). It’s much better than PT 109, Hollywood’s take on this story.
Camel Patrol (26 November 1965)
Cast: Ron Haddrick, Neil Fitzpatrick (Constable Max Turner), Jessica Noad (Ellen), Tubba Tubba (himself), Shorty (himself). Written by Brian Wright from an original story by Lee Robinson. Directed by Robin Lovejoy. Produced with the co-operation of the Dept of Territories, Canberra, and Mr Clive Graham, Deputy Commissioner of Police for the Northern Territories. Filmed in the Sturt Desert, Central Australia.
Synopsis: In the Finke River district (NT), a young officer, Max, takes over the district from a more experienced one by undertaking a camel patrol. When the camels are stolen, the two men almost die.
My thoughts: A strong entry in the series, benefiting from tremendous location footage and two good actors in the lead roles. Gives an impression of what it must’ve been like to be an outback cop. Robinson made a documentary on this topic in 1952, Outback Patrol.
The Silver Backed Brushes (3 December 1965)
Cast: Mary Reynolds (Margaret Evans), Tom Oliver (Bill Malone), Thelma Scott (Sister Rowe), John Armstrong (Nobby), Geanie Drynan (Ruby), Judith Arthy (Judith), Mike Thomas (Commanding Officer), Olga Blood (Sister Hutchens), Kingsley Jackson (padre). Directed by Ken Hannam. Written by Kay Keavney from an original story by Joyce Spelling (former colonel in chief of the Australian Women’s Auxiliary).
Synopsis: Set in 1942 in Madang, Papua New Guinea. It’s based on a true story about the first front line marriage to take place in New Guinea during the Pacific War. It tells the true story of nurse Margaret Evans of the Army Medical Woman’s Service, and her brief marriage to Air Force pilot Bill Malone which lasted only minutes, as he was killed shielding her with his body during an air raid immediately after the wedding.
My thoughts: This is probably the best in the series – a moving account of an amazing true story. Filming took place in New Guinea on the site of the hospital where the story takes place. It was one of the first professional roles in Australia for Tom Oliver, just out from England. Early role from Jeanie Drynan, here billed as “Geanie”.
Summer Affair (10 December 1965)
Cast: Tom Oliver, Clarissa Kaye, Ron Haddrick, Gabrielle Hartley. Directed by Ken Hannam, written by Michael Plant and Evan Green (possibly this guy).
Synopsis: Set on Hayman Island. A man, Richard, falls in love with a young singer, and knowing that his wife will not divorce him, conceives a plan to murder her.
My thoughts: I haven’t seen this one. It sounds very melodramatic, but if Plant co-wrote the script, it’s probably solid drama and if Hannam directed, it would be at the very least well put-together.
The author would like to thank the National Film and Sound Archive, Graham Shirley and Chris Keating for their assistance with this article. All opinions and any errors of fact are my own.
