THE JOHN SULLIVAN STORY

Australia, 1979, 100 minutes, Colour.
Andrew Mc Farlane, Olivia Hamnet, Frank Gallacher, Ronald Lewis, Jonathan Hardy, Roger Oakley, Carol Burns.
Directed by David Stevens.

The John Sullivan Story is a 1979 telemovie made by Crawford Productions for the Nine Network. For several years The Sullivans had been a very popular television serial playing on week nights at prime time. An ordinary family from Melbourne involved in the period of ~-he late '30s and involved in World War II had enormous appeal in the late 170s - the nostalgia for the past, memories of the war or understanding of the war for later generations. Many of Australia's top actors and actresses had permanent or temporary roles in the serial. Crawford Productions decided to make this telemovie as part of a boost for audiences watching the serial but also for overseas sales as an independent telemovie for a wide audience.

With a large budget and technical expertise, it is a very well-made telemovie. Andrew Mc Farlane (pictured), who had disappeared from the serial as missing, becomes the central character and a Yugoslav partisan story (akin to the styles of story of Morris West or Thomas Kenneally's 'Season in Purgatory') is the setting. The appeal is for the various European groups in the Australian audience as well. The film uses many of the conventions of the British war films of the '50s and is very popular because of it. An accomplished and entertaining telemovie.

1. An interesting and entertaining telemovie? Qualities of production? The audience the film was geared to: those interested in the television serial, those not knowing the serial? Australian audience, overseas audience?

2. The Australian production qualities: colour photography. Australian locations for Britain. Yugoslavia? The creation of a European atmosphere? The recreation of the '40s. the atmosphere of the war, of the Yugoslav partisans?

3. The use of the conventions of the British war film - especially of the '50s? The conventions of the partisan war films? Audience familiarity, presuppositions, enjoyment?

4. The focus on John Sullivan as hero? An Australian hero and the explanations of his Australian background, an ordinary man,, his Melbourne suburban back ground and training? His medical background and his becoming a doctor by necessity? His explanation of his past in terms of politics, the Left, pacifism? His involvement in the war and his presence in the Mediterranean? The importance of his life being saved and his gratitude for this? His becoming involved with the Chitniks? With the partisans? The initial recovery, his skills as a doctor, trying to save his associate and his reaction to his being killed? His working with the troops, living in the village.. identifying with the people? The people regarding him as a hero and as a saint? The importance of the encounter with Nadia, her escape, her saving his life., his marrying her? Being sold with her to the partisans? Moving from one cause to another yet doing the same work? The encounter with Barrington - and audience knowledge of Barrington's mission? His importance in the war effort and a British need for his presence and rescue? Andrew McFarlane's style and personality, a character with which the audience could identify, whom they could admire? Real? Heroic?

5. The presentation of the Mediterranean and the war? The Slavs and their boats? Their own special war and the Chitniks working for monarchy? Language Ruthlessness in killing? The way that they waged the war? Their hopes for British help? The decisions they made?

6. The British and their involvement, using the Yugoslav situation for the war, the establishing of the characters Barrington and Meg. their initial clash, the background of Meg's wariness and grief, their getting used to each other, liaison? Meg's comments about death and not wanting to commit herself? The training sequences. their presence in Yugoslavia? Barrington's death? Meg's presence., landing again and the rescue mission? The presentation of the British officers and their style? A convincing presentation of British Intelligence and the war?

7. The Chitniks and their cause, their presence, language, bearded? Their religious faith and rituals? The way of life in the village, toughness, attitude towards the Germans? Clan relationships transcending political attitudes? The raids, the killing of the S.S., the capturing of Nadia? How well did the film present the Chitniks and their cause, their personalities? The leader, the various associates? Their suffering for their cause?

8. The contrast with the partisans, the repute of Tito, their not being bearded? The membership of the clan and its being transcended? The importance of Stipra as a character, his place with the family, his buying John and Nadia? The role of the commissar and his toughness? Everybody expected to be a soldier? John and his decision to marry Nadia and the immediate celebration? The partisans holding on, their forces being decimated, their experience of cruelty and their own cruelty?

9. How well did the film present the Yugoslav situation, within Europe? The importance of the German invaders, the role of the British? The film's presenting both sides of Yugoslav causes, Nadia as a Jewish Croatian? The impact on Yugoslav audiences, Yugoslavs outside their own country, Yugoslavs in Australia?
10. The film's comments on the way of life in Australia in comparison? The contrast of location, towns, cities, opportunities, beliefs, religion?

11. The character of Nadia. her explanation of her Croatian background, Jewish background, the family suffering,, her being a whore to the S.S.? Her becoming a soldier and working with the partisan women? The importance of her marriage and its joy? Her support of John,, her leaving him at the end so he could achieve his mission?

12. The presentation of the war, the immersing of the audience in the war, the Yugoslav fights, the British and their raids, Barrington and his dying and communicating the message, the rescue raid and its difficulties?

13. The build-up to the climax, Britain's need for John Sullivan. Meg and her return, the death of her associates. Stipra and his resistance. the killings, the scene at the airfield, the German involvement? The excitement, an appropriate climax to the film?

14. The importance of the technical aspects – editing, engaging the audience in the emotions, in the war? How satisfying a telemovie experience, war film, human drama?