Fauna Productions (featuring an on-screen credit of Norfolk
International) was formed in the mid-1960’s by John McCallum, Bob Austin and Lee
Robinson, an association which continued from their involvement in the feature film
They’re
A Weird Mob. Their first television series was Skippy, which achieved much
international success, and was followed by another half-hour adventure series,
Barrier
Reef. Their next series was their first one hour drama, and is regarded by many as
their finest achievement for television - Boney.
Boney is based on the character created by Arthur Upfield -
Detective Inspector Napoleon Bonaparte. Upfield wrote 29 books featuring the half-caste
Aboriginal detective, all of which have been best-sellers around the world, most still
being in print today. His first book was written in 1929 and he was working on the
manuscript of a novel when he died in 1964.
Inspector Bonaparte - known as Bony - was a foundling, born of an
Aboriginal mother and a white father. A matron from a mission station took him under her
care, and, as the novels explain, ‘named him after a born leader, a man of power, of
mystery, of great achievement - Napoleon Bonaparte’.
Bony became an exceptional student and won scholarships to secondary
school and university, but later became conscious of his heritage, midway between the
worlds of white culture and black culture. He returned to his mother’s people and was
initiated into their tribe and lived as one of them. When he later became involved with
the police in solving an outback murder, the authorities recognised his exceptional skills
and persuaded him to join the police force. He quickly rose to the rank of Detective
Inspector with the Queensland Police, and was seconded on assignments in every State of
Australia.
Bony is recognised and accepted by Aboriginals as one of their own, yet
also moves with ease in white-man circles, often not being recognised as a half-caste.
This ambivalence makes him a loner, not belonging in either the white world or the black
world, yet also gives him an enormous advantage in solving near impossible criminal cases.
For over six years the principals of Fauna Productions were convinced
the Bony books would form an excellent basis for a TV series. John McCallum and Michael
Powell (Director of They're A Weird Mob) met with Upfield to discuss the filming of
the Bony novels, and in 1966 Fauna purchased the film and television rights. John McCallum
firmly believed that an Australian television series should be different -
Skippy
featured a kangaroo and Barrier Reef showcased the natural wonder of the Queensland
Great Barrier Reef - likewise, a half-caste Aboriginal detective was considered uniquely
Australian.1
Early planning stages saw various concepts under consideration,
ideas including a series of feature films or a half-hour programme of 39 episodes for
television.
Following Skippy and Barrier Reef, Fauna Productions made
the feature film Nickel Queen in 1970, however although it was moderately
successful it did not immediately recoup its costs. Fauna went back to producing films for
television, and concentrated on producing a one-hour series for a world-wide peak adult
audience. Thus the idea of Upfield's novels as a television series became reality.
Working titles included 'Bonaparte' and
'Napoleon Bonaparte',
before settling on Boney. The spelling was altered from the original
‘Bony’ as used in the books to avoid people pronouncing it as ‘Bonny’.
The biggest obstacle to overcome, and one that would prove the most
controversial, was finding an actor to play the title role. The problem was to find
someone with experience and expertise who could sustain a sole lead role in a series, and
be thoroughly believable as the complex half-caste character - and he had to look the
part. The physiognomic requirement immediately excluded many actors who would otherwise
have been competent in the role.
It is easy to see why Aboriginal
groups were angered that an indigenous actor was not being considered for
the part, as many people consider that the Aborigines have had a raw deal since the white
settlement of Australia. Bob Maza, an
Aboriginal actor who played lawyer Gerry Walters in Bellbird, and who was also
president of the Victorian Aborigines Advancement League, was very outspoken in his belief
that Aboriginal actors were not being given a chance. He cited the ATN-7 serial
The
Battlers, in which Vincent Gil was heavily made-up to play an Aboriginal boxer, and
the film Journey Out Of Darkness, which featured Ed Deveraux in 'blackface'
make-up, as precedents which proved his point.2
A director of the Victorian Aborigines Advancement League, Bruce
McGuiness, said "There are a number of Aboriginal actors in Australia well qualified
for the role - John Newfong, Bob Maza, Harry Williams and Steve Lampton for example. I'd
like Fauna to specify to me exactly what they want, then if I can't give it to them I'll
shut up."3 At the time it was reported that Ron Haddrick was the preferred
candidate for the role, whom McCallum said gave an excellent screen test.4
At
other stages Ron Graham and Ceylonese actor/singer Kamahl were under consideration.
When production of the series was definite, the search for a suitable
actor intensified. Initially the producers looked all over Australia for a half-caste
Aborigine, and when no-one suitable was found they again searched the country for a white
man to play the role. Still no-one could be found and in desperation the search shifted to
England. Eventually after many auditions they settled on Jon Finch (who
would later play the title role in the 1975 ABC mini-series Ben Hall).
Finch was adequate but
not exactly what was needed; however, it was felt that his impressive acting performance
would compensate for his lack of physical attributes. Two weeks before filming was due to
commence Finch asked to be released from his contract so he could take up an offer of a
lead role in the Hitchcock film Frenzy.
The producers agreed to release him, which as it turned out was a
fortuitous decision. Auditions continued for another two days, more in hope than
expectation, and just when production was about to be postponed, a Scottish TV producer
brought a New Zealand actor working in London to the attention of John McCallum: James
Laurenson.
Acclaimed as a superb actor by his colleagues, Laurenson, with his
heavy brow, wide cheekbones and broad nose and mouth, looked and sounded right for the
part. It was important that Boney did not look completely Aboriginal, as Upfield made it
clear that he was able to move freely in both worlds - white and black.
James Laurenson said that McCallum was being "frightfully polite
and gentlemanly" when they were settling the final details. "He was saying, 'We
do think you're absolutely right for the part with your wide cheekbones and your, ahh,
nose is the, umm, right shape, ahh, and your, er, lips...' and he began to dry up,
obviously feeling very embarrassed."5
Once again there was much criticism from Aboriginal groups who were
upset because a white man was chosen to play the role. Faith Bandler, General
Secretary of
the Federal Council for Advancement of Aborigines and Torres Strait Islanders, said
"This has caused a lot of bitterness. I can understand that because money is involved
and profits are foremost, they have to have a professional. Laurenson's a first class
bloke, a good person, a very good person. But you're very conscious of the dark
make-up."6
Charles Perkins, manager of the Foundation For Aboriginal Affairs,
stated that Aboriginals were being discriminated against, and cited the inappropriate use
of an American Negro instead of an Aboriginal in the soap opera Number 96 as a case in point. He
said the Boney series was a wonderful opportunity to use an Aboriginal actor:
"But what did they do? They brought over a New Zealand fellow and painted him up. If
someone like John McCallum says 'Right, we've got to get an Aborigine, let's find him',
and they really want to find him, they'll find him all right. They just didn't make any
attempt to do that at all."7
John McCallum refuted this: "We took 18 months travelling
Australia looking for one. Obviously, you start off looking for a half-caste
Aboriginal-European - as Bony was portrayed, as Upfield envisioned him. And we saw many,
many people - from Broome, to Darwin, to Alice Springs, to Adelaide, Melbourne, Sydney and
Brisbane. I spent days at Hermannsburg (Aboriginal mission). I don’t know how many
Aborigines we saw; it would run into hundreds. It is humanly impossible to find a
half-caste, or a full-blood Aborigine to play this part. We tried hard and sincerely. We
spent a lot of money searching for one, and a lot of time."8
James Laurenson was unaware of the controversy when he accepted the
role. Upon arrival in Australia he stated he had very mixed feelings about what he saw as
a complicated issue, and understood the reaction of Aboriginal actors feeling snubbed by
the whole deal.9 "I agree that the situation for an Aboriginal actor in this
country is difficult," Laurenson said. "But I think an actor has the right to
play any part if he believes he can do it, and that goes no matter what colour he is. And
in that sense I have a right to have a go at playing Boney who is, after all, a
half-caste, so as a white I’m half-way there in terms of blood."10
John McCallum: "Had Boney been a full-blood and we painted up a
white man to play the part, then I’d say they’re absolutely right. But, as
he’s half white and half Aboriginal, then what we’ve done is reasonable and
logical."11
McCallum earlier stated: "He (Laurenson) is just perfect for
the role. Those critics who suggested a white man shouldn’t play Boney will be
quietened as soon as they see him in it."12
James Laurenson said that Boney was the most challenging role of his
career. "He is a strange mixture," he said, "two different cultures,
backgrounds and characters brought together. It's a brilliant part and I've worked hard at
bringing out both sides of Boney."13 In his book
Life With Googie, John McCallum praised
Laurenson's performance: "James Laurenson, in my opinion, was as next to an ideal
Boney as we could get - he looked right, sounded right, and gave an excellent performance
in the part, completely in character, and sustained the playing of the part with absolute
integrity over the twenty-six episodes."14
Laurenson had not read any of the Bony books when he accepted the role.
"On the way over to Australia I had a whole pile of the Upfield books and I read one
after the other," he said. "It was too much for the little old lady sitting next
to me. When we got to New Delhi she asked could she borrow some and we both read all the
way here. The role is a beautiful one. The scripts have been great and I'm fascinated with
the character of Boney. And I've loved the location work we have done."15
Asked to elaborate on the character of Boney, Laurenson said: "He
is different from the normal run-of-the-mill detectives. He is a half-caste, doesn't
belong in either the Aboriginal or white society and is not attached to any police
station. So he is a complex character for an actor. And he is cerebral - he is not the
bash-and-find-out-afterwards type - and uses his knowledge of Aboriginal lore, and this
often confuses the locals who expect to see a typical Australian police Inspector. I think
Australian and overseas viewers will enjoy Boney. He does much to communicate the
Aboriginal way of life to whites, and this sort of understanding must be good."16
After owning the rights for five years, pre-production for the series
finally got under way and took a full 12 months. Many of the creative team who worked on
Skippy
and Barrier Reef also worked on Boney. John McCallum was Producer of the
series, Lee Robinson and Bob Austin were Executive Producers, and Joy Cavill was Associate
Producer.
Script Editor for Boney was top British writer Eric Paice, who
worked on many English plays and television series including The Avengers and
Z
Cars. John McCallum, who had spent many years previously working in England in films
and theatre, was on a return visit to London - while there he approached Paice and asked
him to work on Boney. Many well-known directors and writers were also recruited
both from Australia and England. Directors included Peter Maxwell, Eric Fullilove and Ron
Way, and Scriptwriters included Tony Morphett, Peter Yeldham and Britain's Ted Willis.
The script panel of John McCallum, Lee Robinson, Eric Paice and Ted
Willis decided that some aspects of the novels should be modified for the television
series. Consequently, the series was set in contemporary time, rather than reflecting the
period in which each book was originally written, which covered a span of 35-odd years.
This setting did not fundamentally alter the nature of the novels, as each book stood
alone in it’s own time frame. There was also little continuity and development
between novels, this mainly being limited to references to Bony’s growing
sons. Therefore, as the period lapse was relatively short and nothing had changed very
drastically in the outback, a contemporary time setting made production much cheaper and
easier.
Bony in the novels was aged in his fifties, was married with three sons
and smoked very poorly constructed roll-your-own cigarettes. Boney in the television
series was in his early thirties, and unmarried. It was thought a younger and single Boney
would have wider appeal, and the cigarettes were considered unnecessary - by the early
1970’s popular opinion increasingly regarded smoking as foolish and anti-social.
James Laurenson spoke about the changes: "I hope the Bony cult
people won't be disappointed because there are differences in the TV series, necessarily.
My Boney is younger, more modern and in a way more Australian. I feel there's a lack of
blending in the books between chunks of Bony the Aborigine and chunks of the educated
white man speaking very pedantically. No-one in Australia, black, white or yellow, talks
like that. His arrogance has been retained. It's part of his defence. He's a half-caste
and he's going to get knocked from both sides of the racial fence, so he has this
incredible arrogance. At the same time, as a man - I think this is an Aboriginal quality -
he's very gentle, delicate and sensitive. And he has a superior knowledge of the natural
order of things."17
With a view towards a world market,
Boney had a comparatively
large budget ($60,000 per episode), and was produced in colour and entirely on film. As
with Skippy and Barrier Reef, international sales and distribution were
arranged before production commenced. A start-up grant was received from the Australian
Film Development Corporation, and the remaining 90% of the finance was raised between the
Seven Network in Australia, Global Television in London and ZDF Television in Germany. No
money came from the United States, which was hardly surprising as American investors
wanted to impose some onerous conditions on the producers, including not having a coloured
character in the lead role!
In the early 1970's, finance had always been a problem for local
production. Crawford Productions series such as Homicide, Hunter,
Division
4 and Matlock Police were intended for a purely Australian audience and so were financed in
Australia, initially produced in black and white as a film and video integration, and utilised the
studios of whichever network bought the series. By contrast, Fauna Productions always had
an international vision. Boney, with its remote location work which required an
all-film format, necessarily had a higher cost and therefore overseas sales were
essential.
"Roughly, we can reckon on getting only a third of our costs back
from our Australasian market," explained John McCallum. "Germany sold a lot of
Upfield's books. So did England, and so did America. And that's where we went. We raised
half between England and Germany. None in America.
"A producer in America or England can go to a distributor and get
as much as 75 percent of the entire capital for a film, provided he has a script, stars,
directors, and so on that the distributor approves of. But he can't get it in Australia.
Therefore, not only do we have to obtain all, or nearly all our finance from private
sources, it means also that we have problems marketing the films when they are made. Why?
Because, logically, if a distributor invests in a film he's going to ensure that he gets
his money back through his distribution setup. But when you make it with your own money
he's far less likely to get behind it - unless he sees it as a great money-spinner."18
Initially a thirteen episode series was produced. However, considerable
overseas support ensured a second series followed, notification of which was received just
after completion of the first series, making a total of 26 episodes.
Theme and incidental music was specially written for the series.
It was
composed and conducted by Sven Libaek, a leading film and television composer whose
credits include soundtracks for the films Nickel Queen and The Set, and the
television documentary series Nature Walkabout. The Boney soundtrack music
was released on an LP record,19 and the title theme was issued as a single.
Filming of the first series commenced in July 1971 and covered a number
of locations. Five episodes were filmed near Alice Springs in Central Australia, then
moved to Wilpena Pound in the Flinders Ranges of South Australia, where three episodes were
shot. Another episode was filmed at Narridy near Port Pirie, South Australia in December
1971. Filming shifted to New South Wales to shoot four more episodes, where the facilities of Artransa Park Studios in Sydney were utilised. The second series was filmed entirely
within New South Wales, locations including Orange, Wellington, Port Macquarie and Sydney.
Location filming in outback areas brought some problems, including
blazing heat, high winds and sometimes pouring rain, but the most serious problem was
dust, which made servicing of the cameras every day a necessity. Continuity girl Jean Ives
was usually set up in a nearby paddock with a portable typewriter, and make-up girl Peggy
Carter would carry her make-up in an ice-filled esky when the weather was too hot. Power
was supplied by two large battery banks which were recharged each night.
Transport and accommodation were also difficult to arrange in remote
areas, and formed a
large percentage of the series’ budget, with many guest actors having
to travel from Sydney or Melbourne. Long lines of communication to Sydney
complicated matters, but despite these problems shooting of the first series was completed
on December 20, 1971, only one working day behind schedule. A fine testament to a
dedicated and committed film crew who, true to the Aussie character, complained
loudly but were
willing to knuckle under and get the job done.
Searching for locations took a fair amount of time and effort, and John
McCallum, Lee Robinson and Eric Paice travelled thousands of miles finding the right
places to film, exploring all sorts of areas from outback tracks to dry creek beds. Three
weeks were spent looking for locations in the Flinders Ranges alone. It was worth the
effort. The excellent results vindicated a decision taken some years previously that for
the series to succeed it would have to be shot against authentic backgrounds, rather than
in country just out of Sydney. Organising properties and homesteads for filming was
comparatively easy, as most owners were very co-operative and very willing to help.
Filming of episode 6, 'Boney And The Reaper', required the burning of a
couple of acres of wheat. The Adelaide Weather Bureau advised the best day for filming and
the local Fire Brigade was standing by. Once the fire was started the wind strengthened
and threatened the property and homestead. The drama passed without consequence, but it
was a typical example of unpredictable weather adversely affecting plans for location film
shooting.
Ron Graham, a guest actor in the episode, said: "Every night back
at the motel Peter Maxwell (the Director) and his assistants plan an elaborate shooting
schedule for the next day. And every day what we do when we get out here bears no relation
to the schedule. This is mainly because of the weather. Peter will play it very much by
ear - snatching an outdoors scene when the sun comes out, doing a shot in the barn when it
clouds over. It says something for his skill that we've lost only one day's shooting
time."20
Make-up for James Laurenson took almost an hour to apply on just his
face and hands, and could take half a day if a scene required the display of tribal
initiation marks on his chest. One scene in episode 17 ‘Boney And The Powder
Trail’ required make-up on most of his body, which must have taken many,
many hours to
apply. A large amount of experimentation spanning over a week took place before the right colour
consistency was perfected. "We finally got it right by adding green," Laurenson
said.21 Second series make-up girl Rina Hofmanis said, "I have to use
five colours to get the right shade. And I have to watch him all the time, all day.
Working in the heat, as we do, the colours tend to run."22 It obviously
worked well as Aborigines working as extras near Alice Springs mistook Laurenson as one of
their own.
In Australia the series was screened nationally on the Seven Network. A
preview episode was shown for the Melbourne press at Emu Bottom Homestead at Sunbury,
where the period adventure series Cash & Company and Tandarra would
later be filmed. Episode 13, ‘Boney And The Black Opal’, was chosen for the
preview, picked at random by HSV-7 as they believed that every episode was as good as
another. Critics were unanimous in their praise for the series, and all agreed that James Laurenson was a wise choice for the title role. Even F.C. Kennedy, the TV Times
resident critic who usually disliked everything, gave the series a glowing report. He
limited his criticism to the portrayal of some bush ‘myths’, which he attributed
to inaccuracies in Upfield’s original novels rather than to a weakness in the series.23
Boney premiered in Melbourne on July 27, 1972,
and in Sydney on August 3, both with the episode
‘Boney And The Claypan Mystery’. The series was not screened in correct running
order in those cities, however in Brisbane the series commenced
sequentially from episode one in late July 1972. In Sydney, the series was preceded by a
45-minute documentary titled
A Man Called Boney, which featured a behind-the-scenes look at the
series, with preview scenes plus interviews with John McCallum, Lee
Robinson and James Laurenson.
One of the results of overseas financing of the series was the
appearance of some international artists. German actors Rodiger Bahr and Brigitte
Kollecker, and Britain’s Honor Blackman, well-known for her lead role in
The
Avengers, had guest parts. Googie Withers, veteran of British stage and screen,
appeared in a couple of episodes, including ‘Boney Hunts A Murderess’ where she
played opposite her husband, Producer John McCallum, who also stepped in front of the
cameras in two other episodes.
Aboriginal actors featured extensively, and included David Gulpilil
(who is also featured in the corroboree scenes on the opening and closing credits), and
Bindi Williams, who previously played Kevin in Woobinda (Animal Doctor). An
Aboriginal reserve at Papunya (240 kms from Alice Springs) provided several hundred
Aboriginal extras for early episodes. "We have used more Aborigines in this series
than have ever been used before in films," said John McCallum. "The total number
must run into three or four hundred. Almost everywhere we've been we've employed
Aborigines."24 Laurenson said he learnt a lot from the extras on the set: "I
picked up an enormous amount - small details of speech and manner."25
Other Australian guest actors read like a who’s who, and included
many leads from other series, such as John Waters, Rowena Wallace, Rod Mullinar, Serge
Lazareff, Judy Morris, Tony Ward, Terry McDermott, Kirrily Nolan, Nick Tate, Jack
Thompson, Bud Tingwell, Katy Wild and Norman Yemm. Buster Fiddess appeared in his last
dramatic role for television in the episode ‘Boney Takes A Holiday’. Other extras on location were often filled by local people playing
roles similar to their real-life occupations.
The omniscient writing style of Upfield’s novels complemented
Boney’s style of investigation, but it sometimes caused a problem for television
concerning dialogue. This was usually overcome by having Boney liaise with a local
police officer, although in one episode, ‘Boney Buys A Coffin’, he discusses a case
with a stray dog, which was actually handled in a very credible manner. For the second
series it was thought desirable to have an offsider for Boney in order to improve
situation dialogue, and to lighten James Laurenson's workload. Upfield created the
character of policewoman Alice McGorr for the novel ‘Murder Must Wait’, and this
was an obvious choice for a continuing part, having the added benefit of providing some
feminine interest.
James Laurenson’s first preference for the role was Kate
Fitzpatrick, who was summoned to the Fauna Production offices and offered the part, which
she accepted. "At the time I had no idea why the company's directors wanted to see
me," said Kate. "I didn't think it was very important, so I took a casual
attitude, believing that I wouldn't be suitable for whatever they wanted me to do, anyway.
When I was told I had the part it took a while to sink in. Once I had adapted myself to
play the role of Alice McGorr I realised how important the part was."26
Kate subsequently became the second cast member of the show, playing
Constable Alice McGorr for most of the second series. This solved the dialogue problem,
and added extra character development. "By the time we reach episode 18 I'm falling
in love with him," said Kate of Alice McGorr, "although he's not so sure about
me".27 But there were a few hints that Alice's feelings were reciprocated.
Most episodes were based directly on one of Arthur Upfield’s
books, with some variation in how faithfully they were followed - inevitably, adaptation
from novel to film would require a few alterations. As there were a finite number of
books (29), two original scripts were not directly based on any novel; five novels were
therefore not adapted for television, effectively ‘reserving’ them in case a
third series eventuated. Many of the books were reprinted with the spelling altered to
‘Boney’ on the covers (although retaining the original in the text), and
featuring a photo from the relevant episode.
James Laurenson nominated episode 19, 'Boney And The Kelly Gang', from
the second series as one of his favourites. "It was great fun," he said. "I
got to participate in a real wild-west shoot-up, and we had a tremendous time filming
it."28 The same episode also saw a minor accident on the last day of
filming when a car ran off the road. The occupants of the car, guest actors Jack Thompson
and Judy Lynne, suffered minor cuts and concussion. TV Week in a
typical beat-up reported that the two
actors 'narrowly escaped death'! 29
In another incident during filming near Orange, NSW,
a jeep which Kate Fitzpatrick was driving skidded out of control into a
stump. Kate injured her leg, which delayed filming of the episode by a
week, and subsequently caused her to cancel a guest appearance in an
episode of Ryan. Crawford Productions (the producers of
Ryan) released Kate from her
contract when John McCallum explained the situation to them, and Penne
Hackforth-Jones was substituted for the Ryan part.
Boney is an excellent series, polished with a deft touch. James
Laurenson is thoroughly believable as Boney, and his peculiar accent enhances the
character - one reviewer described him as having a "pleasantly cultured voice, no
‘mine tinkit’ nonsense about him".30 The series treats the Aboriginal
people with great respect, and does much to promote understanding and awareness of their
culture in white society. In spite of the mostly bush and outback settings, bucolic
somnolence is not to be found. The writing, directing and editing are tight,
and the style is one of authenticity. "I'm not one for rushing the unit around to the other
side of a tree and pretending that shot is somewhere else," said John McCallum.
"You've got to do things properly."31
Boney rated quite well both here and overseas, and in fact
became the number one programme in Scotland. An American sale did not eventuate
- the
distributors could not understand why Boney did not carry guns! The series won several
awards, including a 1972 Logie by James Laurenson for Best Individual Acting Performance
in episode 3 ‘Boney Meets The Daybreak Killer’; a 1972 Logie by Frank Hardy for
Best Scriptwriter for the same episode; and a 1972 Penguin by James Laurenson for Leading
Talent In Drama.
A third series of Boney did not eventuate. The Seven Network and
certain European parties were interested in making another series, but James Laurenson was
reluctant. "It's the old typecasting problem," said James. "I've done 26
episodes already and there's a danger that employers will end up saying to me 'Sorry, but
audiences will no longer believe you as anyone other than Boney'. I don't think I want to
get involved in anything for that length of time again."32
James Laurenson returned to England upon completion of the series to
pursue his theatre and film career, while Kate Fitzpatrick has appeared in
many local film and television productions. Fauna
Productions went on to produce one more television series, Shannons Mob, before the
company was voluntarily wound up.
Finally, mention should be made of a 1993 Grundy production titled
Bony,
with Cameron Daddo in the title role. In the pilot episode Daddo played a descendant of
the original Detective Bonaparte of the novels, but following protests from Aboriginal
groups, the role was modified for the series and he became simply a white man who once
lived with Aboriginals. Partly financed by German interests, the only relevance to
Upfield’s novels was reduced to use of the name - it proved to be a very average,
mostly suburban police show, with incongruous scripts and an amorphous central character.
It has absolutely no connection with the 1971-73 Fauna series, which remains an excellent
television interpretation of Arthur Upfield’s work.
BONEY EPISODE DETAILS
1. John
McCallum, Life With Googie (Heinemann London 1979), pp. 109, 239.
2. TV Week, June 20, 1970.
3. Ibid.
4. Ibid.
5. TV Times, Sept 2, 1972.
6. TV Times, March 31, 1973.
7. Ibid.
8. Ibid.
9. TV Times, Sept 2, 1972.
10. TV Times, March 31, 1973.
11. Ibid.
12. Melbourne Listener In-TV, Dec 25, 1971.
13. Melbourne Listener In-TV, July 22, 1972.
14. John McCallum, Life With Googie (Heinemann London 1979), p. 245.
15. Melbourne Listener In-TV, Dec 25, 1971.
16. TV Week, Aug 5, 1972.
17. TV Times, Sept 2, 1972.
18. TV Times, March 3, 1973.
19. Boney - Original TV Soundtrack Recording, Festival Records, FL 34660.
20. TV Times, Jan 15, 1972.
21. Ibid.
22. TV Times, Feb 17, 1973.
23. TV Times, Sept 2, 1972.
24. TV Times, March 31, 1973.
25. TV Times, Jan 15, 1972.
26. TV Week, March 17, 1973.
27. TV Times, March 31, 1973.
28. TV Times, Feb 24, 1973.
29. TV Week, Nov 18, 1972.
30. Melbourne Listener In-TV, Feb 3, 1973.
31. TV Times, March 3, 1973.
32. TV Week, Dec 22 1973.
