John Fernside

It's the start of WWII in Northern Australia. The Japanese are getting close. People are evacuating and burning everything in a "scorched earth" policy. Rather than kill all their cattle, a disparate group decides to drive them overland half way across the continent, from Wyndham in Western Australia through the Northern Territory outback of Australia to pastures north of Brisbane, Queensland.

In 1854, Australian gold rush miners struggle for their rights against an oppressive government.

In Australia, five children pursue horse thieves through the mountains.

A reformed thief (Douglas Stuart) marries a wealthy socialite but is tormented by a former accomplice who tries to frame him for murder.

A white authoress, looking for a story in the outback, is kidnapped by an Afghan slaver, betrothed to a white jungle-man, and menaced by a jealous half-caste rival, a hostile witch-doctor, his crazed-killer son, and opium smugglers!

Shot almost entirely in 'Kelly Country', near the country town of Benalla, The Glenrowan Affair takes us back to the era of Victoria's most notorious bushranger, showcasing thrilling action sequences and horsemanship as time and again the Kelly Gang outwit the law. The film begins with old timer, Dinny (some say he knows too much for an outsider) telling the story of the Kelly Gang to a visiting sketch artist. His tale unfolds as Ned Kelly and Joe Byrne surprise the constabulary in the bar of the Glenrowan Hotel and Ned shoots a constable in the hand. The Glenrowan Affair includes the ambush at Eleven Mile Creek, the hold up at the Jerilderie Bank and the siege at the Glenrowan Hotel where Ned, dressed in a suit of homemade armour, taunts the 'traps' in a hail of gunfire before he is shot and captured.

The story concerns an attempt by fifth columnists to gain control of Australia's supplies of wolfram, a mineral used in the manufacture of munitions, involving a new wolfram field owned by Francis Jamieson (Marshall Crosby).

No Strangers Here is a fictionalised account of a family of "new Australians" arriving in their new home town. The family (mum, dad, girl and boy) are displaced persons from Northern and Eastern Europe. Produced for the Department of Immigration during the migrant boom that followed World War Two, the film's essential message is "We want them. We need them". It presents an idealised Australia, "a happy, smiling land" where people are generally friendly and accepting despite some xenophobia, and echoes the government policies of decentralisation and assimilation.