FOR THE TERM OF HIS NATURAL LIFE

Australia, 1927, 115 minutes, Black and white.
George Fisher, Eva Novak, Dunstan Webb.
Directed by Norman Dawn.

For the Term of His Natural Life is considered a landmark in Australian film-making. However, an important aspect of the landmark was that the director, Norman Dawn, and the stars, George Fisher and Eva Novak, were imported from the United States. Australians were in the supporting cast.

The film was based on Australia’s first classic novel by Marcus Clarke which was written in the latter part of the 19th century. It is a story of convicts, of Van Diemen’s Land, of oppressive treatment of a prisoner, of his escape and vindication. The title refers to the sentence, the life sentence for convicts.

The film was made just at the end of the silent era and bears the hallmarks of film-making in that style. The sets are quite lavish, a large cast, especially extras. Some of the sequences were tinted for release.

The film is interesting in its delving into Australia’s convict past, the characters of the convicts, the brutal treatment, the anti-authoritarian attitudes that developed as well as a grim picture of many of the warders. However, there is also a group of characters who show kindness and understanding to the convicts.

The story was made as a television miniseries in the 1980s starring Colin Friels.

1. The film's place in Australian cinema history? In the mid-20s? Biggest budget of the time? Imported American director and stars working with Australian crew and cast? One of the last of the major silent films? Its being lost with the advent of sound? Its reconstruction? Indication of cinema in the '20s? Its impact in the '20s in Australia, overseas? The value of the restoration of this kind of film?

2. The status of the film in its time, its scope, photography and special effects especially for using glass plates for scenic effects, the tinting? Sets, location photography? The specially composed score?

3. The novel and its reputation? Australia's interest in its convict past? The role of the British in using Australia as convict settlement? The adaptation of the novel - its sweep, romance, 19th. century style, coincidences and contrivances? The elimination of much of the strong convict material? The style of visuals in the '20s in comparison with the impact of the printed word?

4. The emphasis of the film on characters rather than on background, society? The silent style of acting, gesticulating and posing? Its impact in its ti me, now?

5. The many captions - so much of the action of the film taking place in the captions? Original captions? Reconstructed captions?

6. The initial English setting - the atmosphere of the 19th. century, English aristocratic families, secrets and their preservation.. nobility and poses, coincidence, self-sacrificing decisions? Their aftermath in later decades? Audience acceptance of this kind of 19th. century writing?

7. The portrait of Lady Devine? Her secret, her love for her son, the preservation of her secret? Her longing for her son and communication with him in the colonies? Rex and his impersonation, his being unmasked? Audience response to themes of noble mothers with illegitimate children and secrets? The importance of Reverend North and his knowledge of what had happened?

8. Richard and his place as Lady Devine's son, his life at sea, his return home, the knowledge of the truth. the encounter with Lord Belassis and the irony of his thinking he had killed him? The arrest and his nobility in court? The hardships of the voyage, his informing on the mutineers and the repercussions later? Van Diemen's Land and his imprisonment, his being considered a recalcitrant convict, his isolation? The hostility of Maurice Frere? The irony of his rescuing Sylvia and Frere? His being punished by Frere? The oppressive nature of his suffering.. the long years, Norfolk Island? His being betrayed by Rex? Sylvia’s loss of memory and the hopelessness of his imprisonment? Reverend North not telling the truth? The build-up to the final climax - Sylvia and her memory, Norfolk and the truth? The sketch of a suffering hero? The film's comment on justice and injustice, punishment, heroism - 19th. century style?

9. John Rex and the murder of his father, his being the leader of the mutineers? His relationship with Sarah? Vindictive towards Rufus Dawes, his escape, using his letter? His return to England and exploiting Lady Devine? Sarah's arrival and the pressure for getting the money? His spendthrift attitudes and Lady Devine's final exposure of him?

10. Sylvia as heroine, as a little girl, growing up, love for her parents, her being rescued by Dawes, the ordeal and her loss of memory, her marrying Frere, his cruelty and her alienation, the discovery of the truth and the reconciliation?

11. The contrast with Sarah - on the ship, her background, relationship with Rex, helping him in the colonies and her relationship with Frere, coming to get her due share of the money in England?

12. The Governor and the portrayal of authorities - his attempts to be just? The contrast with Maurice Frere and his villainy, violence, being saved by Dawes and yet being cruel, behaviour on Norfolk Island. his being finally repulsive to Sylvia?

13. The range of convicts presented - especially Gabot and his role in the mutiny, the escape in Australia?

14. The presentation of the ministers of religion - 19th. century piety, the ambiguity in North's background, his not telling the truth,, infatuation with Sylvia, drinking? His final taking the Place of Rufus Dawes and taking the punishment on himself?

15. The atmosphere of conflict cruelty in the colonies, the treatment by authority and the guards? The escapes?

16. How well did the film present in 1927 the basic Australian themes of heritage, the convict background? The melodramatic treatment? Its impact in its time, now?