John Ewart was an Australian actor of radio, stage and film. Ewart won an AACTA Award for Best Actor in a Supporting Role, he was married to children's host Jane Fennell. Ewart, born in Melbourne began, his acting career when he was cast at the age four in a radio production of Snow White. At the age of 18 he made his film debut in the lead role of Mickey O'Riordan in Charles Chauvel's production of Sons of Matthew. Ewart appeared in hundreds of Australian radio, theatre and television productions. To many thousands of Australians who grew up in the 1950s and'60s he will be remembered as'Jimmy', boyishly cheeky co-presenter of the ABC Radio Children's Session, in the title role of its long-running serial The Muddle-Headed Wombat, he was well known for his role in the film Sunday Too Far Away, his ongoing role in the Australian TV series The Restless Years in 1980–81, his lead role opposite Nicole Kidman in Bush Christmas. In 1976 John Ewart was nominated for the AACTA Award for Best Actor in a Supporting Role for Let the Balloon Go.
In 1977 he won the AACTA Award for Best Actor in a Supporting Role for The Picture Show Man. John Ewart on IMDb
Malcolm is a 1986 Australian cult film comedy, written by the husband-and-wife team of David Parker and Nadia Tass, directed by Nadia Tass. The film stars Colin Friels as Malcolm, a tram enthusiast who becomes involved with a pair of would-be bank robbers, his co-stars are John Hargreaves. The film won the 1986 Australian Film Institute Award for Best Film, seven other AFI awards including Best Script and Best Director. At the start of the film Malcolm is working for the Metropolitan Transit Authority. Awkward and shy, Malcolm is obsessed with trams, but he is a mechanical genius whose modest inner-city cottage is fitted with a variety of remarkable gadgets; when his boss discovers that Malcolm has built himself a cut-down tram during work time and using work materials, has taken it out on the tracks, Malcolm is sacked. With his mother dead and no other income, the local shop-owner advises him to take in a boarder, Frank. Frank's brassy girlfriend Judith soon moves in with him, Frank reveals that he is a petty criminal, released from gaol.
Despite their differences, the trio develop an awkward friendship, when Malcolm learns of Frank and Jude's plans to stage a robbery, he decides to use his technical ingenuity to help them. In his first demonstration, he shows Frank the "getaway car" he has built, which splits into two independently powered halves, they use this to elude police after Frank steals some cash from a bank customer. For his next demonstration, Malcolm stages a near-successful hold-up of a payroll delivery, using a radio-controlled model car and trailer, fitted with a video camera, a speaker, a gun loaded with blanks with which to threaten the guards. Frank walks in on Malcolm's bedroom "control centre"; the trio devises an audacious plot to steal the weekly $250,000 cash delivery from a major bank, Malcolm collaborates with Frank and Jude to create a set of ingenious inventions. They plant a set of armed, remote-controlled motorised robot rubbish bins inside the bank, which are secretly manoeuvered up to an overhead walkway between the two bank buildings.
When the guards cross the walkway with the cash on a trolley, they are bailed up by the robot bins. With Frank's specially modified Ford Transit delivery van, stationed below, a spring-loaded arm fitted with a hammer swings up, breaks the glass of the walkway window, the robots push the cash into a chute fitted into the roof of the van; the trio make their escape, stopping in a lane to disguise the van as an ice-cream truck. They manage to elude the pursuing police, but they are nearly caught when two officers on a routine patrol pull up beside them and ask them for an ice-cream. Frank speeds away, with the police in hot pursuit, they now employ their backup getaway plan, they dump the van in a suburban street and decamp on foot, but when the police arrive moments and scan the area for the fugitives, they see only the back of a tram, pulling away into the distance. However, when we see the front of the tram, it is revealed to be Malcolm's custom-made mini-tram, with the trio and their loot aboard.
In the final scene, Frank is leaving a bank in Lisbon, Portugal where he has just deposited the proceeds of the Melbourne robbery. He meets up with Malcolm and Jude at a local cafe, as the film concludes they lay plans for another daring robbery; as revealed in the closing credits, the character of Malcolm was inspired by Nadia Tass' late brother, John Tassopoulos, who died after suffering an epileptic seizure after being hit by a car in 1983. As portrayed by Friels, Malcolm exhibits many traits that are characteristic of someone with high-functioning autism or Asperger syndrome, including a peculiar walk, reluctance to make eye contact, poor social skills and a deep-focus, obsessive interest. David Parker had never written a script before and he did it while working on location of Burke and Wills as a stills photographer. Raising money was difficult. Channel Seven agreed to provide $175,000 as a pre sale, Film Victoria came in for $100,000 and the rest of the movie was raised from Parker and Tass mortgaging their house and via 10BA.
All of the gadgets in Malcolm's house and the ingenious inventions used in the robbery sequences were devised by writer David Parker. The scenes of the exterior of Malcolm's house were filmed at Collingwood; the house has since been redeveloped with apartments. The interior scenes were filmed at a house in John Street, Flemington, an inner city suburb of Melbourne. A façade was constructed in Napoleon Street for the exterior scenes of the Milk Bar; the interior scenes were filmed at the former milk bar located on Peel Street near Napoleon Street. The Leinster Arms Hotel, located in Gold Street, was used for filming the inside scenes at the pub Frank frequents; the scenes of the headquarters of the fictional Anglo Swiss Bank were filmed at two locations. The building where Frank and Judith deliver a number of ashtrays is the Commonwealth Bank in Collins Street near the intersection with Queen Street. All signage related to the Commonwealth Bank was removed for the purpose of filming; the overhead bridge featur
National Film and Sound Archive
The National Film and Sound Archive of Australia is Australia’s audiovisual archive, responsible for developing, maintaining and providing access to a national collection of copies of film, television and radio audiovisual materials and related items. The collection ranges from works created in the late nineteenth century when the recorded sound and film industries were in their infancy to those made in the present day; the Archive was formally established as the National Historical Film and Speaking Record Library in 1935, becoming an independent cultural organisation in 1984. On 3 October, Prime Minister Bob Hawke opened the NFSA’s headquarters in Canberra; the work of the Archive can be dated to the establishment of the National Historical Film and Speaking Record Library by a Cabinet decision on 11 December 1935. After being part of the National Library of Australia, its predecessors, for nearly 50 years, the National Film and Sound Archive was created as a separate Commonwealth collecting institution through an announcement in Parliament on 5 April 1984 that took immediate effect.
At that time, an Advisory Committee was established to guide the institution. On 21 June 1999, the name was changed to ScreenSound Australia, the National Collection of Screen and Sound, changed again in early 2000 to ScreenSound Australia, National Screen and Sound Archive, it reverted to its original name, National Film and Sound Archive, in December 2004. Meanwhile, consequent on amendments to the Australian Film Commission Act which took effect on 1 July 2003, it ceased to be a semi-autonomous entity within the Department of Communications, Information Technology and the Arts and became an integrated branch a division, of the Australian Film Commission, a funding and promotional body. In 2007, the Liberal Government announced the creation of a new agency to be called Screen Australia which would incorporate the main functions of the Film Finance Corporation, the Australian Film Commission, Film Australia. Following elections in November 2007, the new Labor Government implemented an election promise to allow the NFSA to become a statutory authority, similar to other major cultural institutions including the National Library of Australia, the National Gallery of Australia and the National Museum of Australia.
The NFSA Act became law on 20 March 2008 and came into effect on 1 July 2008, with celebrations held that day. The Archive's first Board as a Statutory Authority comprised: Professor Chris Puplick AM Associate Professor Deb Verhoeven Professor Jill Matthews Ms Grace Koch Ms Catherine Robinson Mr Andrew Pike OAM Mr Philip Mortlock Ms Gabrielle Trainor Mr Wayne Denning Ms Toni Cody Mr Paul Neville Mr Peter Rose Ms Fiona Scott Mr Kim Ledger Ms Caroline Elliot The National Collection includes more than 2.8 million items, encompassing sound, radio and film. In addition to discs, videos, audio tapes, phonograph cylinders and wire recordings, the Collection includes supporting documents and artefacts, such as personal papers and organisational records, posters, lobby cards, scripts, props and sound, video and film equipment. Notable holdings include: The Cinesound Movietone Australian Newsreel Collection, 1929-1975: comprehensive collection of 4,000 newsreel films and documentaries representing news stories covering all major events in Australian history and entertainment from 1929 to 1975.
Inscribed on the Australian Memory of the World Register in 2003. The Story of the Kelly Gang, 1906: directed by Charles Tait, is the first full-length narrative feature film produced anywhere in the world, was inscribed onto the International Memory of the World Register in 2007; the earliest Australian sound recording,'The Hen Convention', a novelty song by vocalist John James Villiers, with piano accompaniment, recorded by Thomas Rome in 1896. A 2010 study compared the curatorial practices of accessioning and cataloging for NFSA collections and for YouTube with regard to access to older Australian television programs, it found the NFSA to be stronger in current affairs and older programs, YouTube stronger in game shows, lifestyle programs, "human interest" material. YouTube cataloging was found to have fewer broken links than the NFSA collection, YouTube metadata could be searched more intuitively; the NFSA was found to provide more useful reference information about production and broadcast dates.
Film Australia Collection: contains a diverse range of more than 3,000 titles of Australian documentary and educational programs, spanning a century of Commonwealth documentary and docu-drama titles. The Sounds of Australia is the NFSA’s selection of sound recordings with cultural and aesthetic significance and relevance, which inform or reflect life in Australia, it was established in 2007. Each year, the Australian public nominates new sounds to be added with final selections determined by a panel of industry experts. NFSA Restores is the NFSA's program to digitise and preserve, at the highest archival standards and cult Australian films so they can be seen on the big screen in today’s digital cinemas. Oral History Collection Non-Theatrical Lending Collection: Non-theatrical screenings take place on a non-commercial basis and are held by: educational, cultural and religious institutions. Australian Jazz Archive The building to which the Archive mo
The Gallipoli Campaign known as the Dardanelles Campaign, the Battle of Gallipoli or the Battle of Çanakkale, was a campaign of the First World War that took place on the Gallipoli peninsula. The Entente powers and France, sought to weaken the Ottoman Empire by taking control of the straits that provided a supply route to Russia, the third member of the Entente; the invaders launched a naval attack followed by an amphibious landing on the peninsula, to capture the Ottoman capital of Istanbul. The naval attack was repelled and after eight months' fighting, with many casualties on both sides, the land campaign was abandoned and the invasion force was withdrawn, it was a costly and humiliating defeat for the Allies and for the sponsors Winston Churchill. The campaign was a major Ottoman victory in the war. In Turkey, it is regarded as a defining moment in the history of the state, a final surge in the defence of the motherland as the Ottoman Empire retreated. Arabs formed a substantial force in the Gallipoli Peninsula being part of the 72nd and 77th regiments.
According to several sources, Arabs made up two thirds of the 19th Division under Colonel Mustafa Kemal. The struggle formed the basis for the Turkish War of Independence and the declaration of the Republic of Turkey eight years with Kemal, who rose to prominence as a commander at Gallipoli, as president; the campaign is considered to be the beginning of Australian and New Zealand national consciousness. On 27 October 1914, two former German warships, now the Ottoman Yavûz Sultân Selîm and Midilli, still under the command of German officers, conducted the Black Sea Raid, in which they bombarded the Russian port of Odessa and sank several ships. On 31 October, the Ottomans began the Caucasus Campaign against Russia; the British bombarded forts in Gallipoli, invaded Mesopotamia and studied the possibility of forcing the Dardanelles. Before the Dardanelles operation was conceived, the British had planned to conduct an amphibious invasion near Alexandretta on the Mediterranean, an idea presented by Boghos Nubar in 1914.
This plan was developed by the Secretary of State for War, Field Marshal Earl Kitchener to sever the capital from Syria and Egypt. Alexandretta was an area with a Christian population and was the strategic centre of the Empire's railway network—its capture would have cut the empire in two. Vice Admiral Sir Richard Peirse, East Indies Station, ordered Captain Frank Larkin of HMS Doris to Alexandretta on 13 December 1914; the Russian cruiser Askold and the French cruiser Requin were there. Kitchener was working on the plan as late as March 1915 and was the beginning of the British attempt to incite an Arab Revolt; the Alexandretta landing was abandoned because militarily it would have required more resources than France could allocate and politically France did not want the British operating in their sphere of influence, a position to which Britain had agreed in 1912. By late 1914, on the Western Front, the Franco-British counter-offensive of the First Battle of the Marne had ended and the Belgians and French had suffered many casualties in the First Battle of Ypres in Flanders.
The war of manoeuvre had been replaced by trench warfare. The German Empire and Austria-Hungary closed the overland trade routes between Britain and France in the west and Russia in the east; the White Sea in the arctic north and the Sea of Okhotsk in the Far East were icebound in winter and distant from the Eastern Front. While the Ottomans remained neutral, supplies could still be sent to Russia through the Dardanelles but prior to the Ottoman entry into the war, the straits had been closed; the French Minister of Justice, Aristide Briand, proposed in November to attack the Ottoman Empire but this was rejected and an attempt by the British to bribe the Ottomans to join the Allied side failed. That month, Winston Churchill, First Lord of the Admiralty, proposed a naval attack on the Dardanelles, based in part on erroneous reports of Ottoman troop strength. Churchill wanted to use a large number of obsolete battleships, which could not operate against the German High Seas Fleet, in a Dardanelles operation, with a small occupation force provided by the army.
It was hoped that an attack on the Ottomans would draw Bulgaria and Greece into the war on the Allied side. On 2 January 1915, Grand Duke Nicholas of Russia appealed to Britain for assistance against the Ottomans, who were conducting an offensive in the Caucasus. Planning began for a naval demonstration in the Dardanelles. On 17 February 1915, a British seaplane from HMS Ark Royal flew a reconnaissance sortie over the Straits. Two days the first attack on the Dardanelles began when a strong Anglo-French task force, including the British dreadnought HMS Queen Elizabeth, began a long-range bombardment of Ottoman coastal artillery batteries; the British had intended to use eight aircraft from Ark Royal to spot for the bombardment but harsh conditions rendered all but one of these, a Short Type 136, unserviceable. A period of bad weather slowed the initial phase but by 25 February the outer forts had been reduced and the entrance cleared of mines. After this, Royal Marines were landed to destroy guns at
3 to Go
3 to Go is a portmanteau Australian film consisting of three stories, each presenting a young Australian at a moment of decision about their future. The film was first shown on commercial television in March 1971 and episodes screened individually in cinemas as supporting shorts. One of the stories, Michael and directed by Peter Weir, went on to receive an Australian Academy of Cinema and Television Arts award. Young people and their personal concerns are the main theme of the segments: Judy, a 19-year-old country girl wants to go to the big city, leaving her country town behind, despite the opposition of her parents and her boyfriend. Judy finds life in Tamworth mundane - her mother's concerns about her welfare, Mike - her unambitious country boyfriend, the daily routine, her plan is to make her own life in Sydney, she seeks advice from her work-friend Margie, wishes her boyfriend was more like David. At the Hoyts drive-in, showing a double-feature, she informs Mike of her plans, he becomes disenchanted, failing to understand her motivations, a few weeks after Judy searches for work in The Sydney Morning Herald, with the help of her boss, the segment ends as she boards a train for Sydney and we see her new home.
A young man, faces a choice between his wealthy middle class parents and their middle class wealthy lifestyle and a group of radicals. The episode starts with close-quarter battle scenes near Sydney Harbour, where radical Youth Quake rebels are fighting against soldiers. We learn that this is only a film-sequence, that everyday life is still normal, meet Michael, living with his parents, but working in the city; the scenes are intercut with an expert Youth Quake panel discussion, discussing topics such as sex and drugs. Trouble with Judy his girlfriend leads to a counterculture montage, Michael becomes bored with his work routine and colleagues. At a pub, he befriends an actor from the film and Georgina his girlfriend, begins to experience their freewheeling lifestyle. Family life becomes mundane as he begins to seek something more, he invites them to gatecrash Judy's 21st party, leading to trouble with his parents and a stronger sense of personal conflict. In it, a young Greek woman falls for an Australian man despite the opposition of her conservative Greek parents and family.
Toula lives in a row house in Sydney with her parents and younger brother Stavros, all of whom arrived in Australia 4.5 years ago. Toula and her best friend Assimina work at a clothes factory, their families meet and socialise together. Assimina has an Australian boyfriend, a university student named Rick, but she is unable to tell anyone except Toula about him - rumours however reach her brother Nick, which leads to a physical altercation in the house. Tension exists at Toula's house too, with Stavros, unemployed and listless, his father's desire for him to go to university; as a community dance, she meets John - the four go on a double-date to see Easy Rider in the theatre. Easter arrives, the community celebrates a midnight mass with candles in the Greek Orthodox Cathedral of St. Sophia in Paddington, the family head off home together. Judy Judy Morris as Judy Serge Lazareff as Mike Mary Ann Severne as Margaret Gary Day as David Penny Ramsey as Heather Wendy Playfair as mother Brian Anderson as father Cliff Neale as Mr VickeryMichael Matthew Burton as Michael Grahame Bond as Grahame Peter Coville as Neville Trantor Georgina West as Georgina Betty Lucas as mother Judy McBurney as JudyToula Rita Ioannou as Toula Erica Crowne as Assimina Andrew Pappas as Stavros Joe Hasham as John Gabriel Battikha as Nick Ther Coulouris as father Ketty Coulouris as mother Yaya Laudeas as grandmother Assistance was provided by the Commonwealth Film Unit.
Filmed in black and white, Michael was shot in late 1969 on 16mm but blown up to 35mm, while the others were filmed in early 1970 on 35mm. The director of photography was Kerry Brown, the producer Gil Brealey, It was distributed by British Empire Films; the music for Michael was written and played by the Cleves, a New Zealand band popular in Sydney at the time, released in January 1970 as an EP called Music from Michael. Released by Festival Records, the tracks were: A1 - To-Day / Don't Turn Your Back / To-Day / Thirties / To-Day A2 - Merivale / Whispers B1 - Nowhere / Down On The Farm / Don't Turn Your BackThe music for Toula included "Mozart Chamber Music" edited by James McCarthy; the three segments in the trilogy had "relatively little thematic or stylistic connection", apart from what might be called an ulterior, "issue-based" motive to draw lessons about life in Australia, a desire to patch together a feature film by using a portmanteau structure. Michael won the 1971 AACTA Award for Best Film.
Judy Michael Toula at NSFA Films on YouTube 3 to Go on IMDb 3 to Go at Oz Movies Michael at Oz Movies Toula at Oz Movies Judy at Oz Movies