While the Australian film industry was virtually non-existent during the 1950s, Hollywood and Britain occasionally paid it a bit of attention. This was Hollywood’s attempt to illustrate early Australian history, based on a novel by Nordoff and Hall, the team responsible for the Mutiny on the Bounty books and The Hurricane.
It starts in a Newgate Prison in 1787 where a bunch of inmates find out that their death sentences have been commuted to transportation to New South Wales. Among them are Alan Ladd, as an American falsely accused of highway robbery – actually, come to think of it, he was guilty it’s just that he had the right to commit the robbery. Most of the story concerns the trip out; among the other passengers are a dodgy highwayman (Jonathan Harris), an actress who always seems to have plenty of lipstick and mascara (Patricia Medina), a sympathetic parson (Murray Matheson), a whiny child and his mother, and a top criminal (Hugh Pryse). There’s also a tyrannical captain (James Mason, in excellent form).
Once on board Medina gets a hard time from some cackling old crones. Just before the ship sails (it’s going out on it’s own, just after the first fleet) Ladd finds out from Pryse that he’s been given a pardon but Mason won’t let him go, Mason offers Medina special treatment if she “behaves”. Ladd tries to escape but is caught and flogged and plots to escape.
The parson has a scene with Medina where he tells her the prisoners are mostly “Unfortunates who’ve fall foul of unjust and harsh laws” who mostly stole loaf of bread and tries to cheer Medina up saying in Sydney she will “be given a wonderful chance – cooking, washing, making clothes”. And if she’s married she’ll get land. So she sets her cap at Ladd, gets him appointed ship’s surgeon, he makes a crack about her relationship with Mason so she slaps his face. Then there’s an almight cat fight on the deck between Medina and a bunch of crones (Mason orders floggings and head shavings as a result – but he had to do something).
Mason tries to seduce Medina but she blackmails into him leaving her alone (she knows his relatives). Ladd tries to escape again but is recaptured again, and is keel-hauled. The young child is busted trying to take a compass back into Mason’s room and is thrown in gaol where he dies, whining incessantly.
Then the ship arrives in a studio backlot Sydney – cue the odd koala and sounds of cockatoos. Gov Phillip gives a speech to Ladd saying how Australia is full of fertile soil waiting to be tamed, etc, but can’t intervene when Mason arranges to take Ladd back to Australia. Ladd tries to escape, Mason catches him, then some deux ex machine aboriginals intervene and kill Mason. Ladd spots an outbreak of scurvy just in time, is given a pardon… and elects to stay in Australia with Medina. Why? Australia was a hole in 1788 – better to go back to London.
The film is fascinating viewing for Aussies but doesn’t really work as a drama –the story is far too “bitsy” (another escape, another punishment). I’m sympathetic to Mason’s “villain” – sure he’s a bit tough, but he’s trying to keep order and most of the convicts are nothing but trouble (and they over act to boot). Ladd is alright – his hair is a bit bouffant – and Medina not very good, though it’s a decent enough role. Still you can't help wondering why they just didn't make a version of For the Term of His Natural Life instead.
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