South of Ealing: recasting a British studio’s antipodean escapade

Abstract

ABSTRACTThe five films made in Australia by Ealing Studios in the 1940s and 1950s have largely been analysed and ‘reclaimed’ (by figures like Bruce Molloy) as key works of Australian National Cinema, movies that occupy and populate a period of meagre feature film production while reworking popular genres such as the Western and the crime film. Although these films can be read symptomatically in terms of their ‘localised’ renderings of landscape, character and narrative situation, they have seldom been discussed in relation to the broader patterns of Ealing film production, the studio’s preoccupation with interiorised communities, work, Britishness and small-scale settlements on the geographic fringes of Britain and the Empire (such as Whisky Galore!), and the various other films (such as the Kenya shot and set Where No Vultures Fly and West of Zanzibar) that light upon far-flung or peripheral locations and settlements. This essay re-examines the Ealing ‘adventure’ through a transnational lens that focuses attention on the largely unacknowledged parallels and production symmetries between films such as Eureka Stockade and those that sit within the ‘mainstream’ of the studio’s output (e.g. Passport to Pimlico). It also places these five films (The Overlanders, Eureka Stockade, Bitter Springs, The Shiralee and The Siege of Pinchgut) in relation to the broader commercial fate of the studio throughout the late 1940s and 1950s.