A SON IS BORN

Australia, 1946, 95 minutes, Black and white.
Ron Randall, Muriel Steinbeck, Peter Finch, John McCallum?, Kitty Bluett.
Directed by Eric Porter.

A Son is Born was an ambitious project by director Eric Porter. it was begun before the end of World War Two and completed in 1946.

Eric Porter had his own studios in Sydney, he intended to continue with feature film-making but instead moved to documentaries and commercials. His animated feature, Marco Polo Jr. and the Red Dragon was released in the early '70s.

This film is melodramatic, reminiscent of the plots of so many television series and mini-series of the '80s. In its brief running time, it spans two generations and Australian history from the '20s to World War Two. The cast is strong. Muriel Steinbeck had appeared in Smithy and was to be an important actress in Australian films of the '40s and early '50s. Ron Randall, who had appeared as Smithy, was soon to move to Hollywood and a moderately successful career. John McCallum?, seeming ageless. went to England and had great success both there and in Australia, especially with his wife Googie Withers. Peter Finch, who had been appearing in Australian films since the late '30s, was soon to move to England and then to international fame. The film also has popular radio star Kitty Bluett.

Photography is by Arthur Higgins with material from World War Two photographer Damien Parer. It blends excellently with Porter's recreation of New Guinea warfare.

While the film seems dated in many ways and rather histrionic and melodramatic, it is an interesting example of popular taste during the '40s. The rather ambitious trailer is still available from the National Film Library.

1. The style of popular film-making in the '40s and after World War Two? The tradition of Australian family drams, melodramas? Themes and style? The hopes for this film and the post-war industry?

2. The strong talent in the film? The work of Eric Porter? His stars and their subsequent careers?

3. Black and white photography, locations, atmosphere? Inner city? The Australian countryside? The affluent atmosphere of the '20s to the '40s? Work and industry? The New Guinea sequences and the insertion of Damien Parer's work? Musical score?

4. The building on past styles: the world of the wealthy, high society? Melodrama? The inner city? The stereotypes? Sense of nationalism? The working out of poetic justice and retribution?

5. The initial focus on Paul and Laurette: the opening sequence with the church, the marriage vows, life in the '20s, the romantic relationship, the setting up of home life, the birth of the child? Paul and his being on the road? Friends? His irresponsibility? Laurette overlooking it, suffering by it? His drinking, neglect? His women and Laurette taking the phone calls? The contrast with Laurette and her devotedness, suffering and pain? The passing of the years? David and Laurette’s disciplining him? Paul's spoiling him? The gifts? His turning David against his mother and her strictness? The build-up to the crisis and Laurette's leaving the family? Where did audience sympathy lie?

6. Laurette and her work? The '30s? Seldon and his reliance on Laurette? Her success? The divorce? Laurette’s hurt and not being allowed to see David? His alienation from his mother? Her marrying Seldon? Moving into s6ciety, stability and wealth? The affluent home? Audience response to her change in fortune?

7. The road, the countryside, Paul's accident? The death scene? Laurette’s response? David's hostility? Paul's final wishes?

8. The transition to the '40s and the outbreak of World War Two? The support of the war effort, industry?

9. Laurette and John and their hopes? John's daughter and her return home? The Christmas holidays? David and his arrival? Surliness? The reaction of the staff? The gesture of the gift of the car and David's reaction? His wanting to hurt his mother?

10. Kaye's arrival, meeting David, the swim, the lyrical scenes together and their seeming to fall in love? Shared experiences, the plan for the eloping, the marriage?

11. The background of the staff, the maids - gossip, humour, the giving of information?

12. David and his note, his vengeance on his mother, the cruelty to Kaye?

13. David and his imitating his father, seeking out his old friends, the gambling, the money? The encounter with the army man? Recruiting? Going into the army, training, being sent to New Guinea?

14. The importance of visualising the New Guinea war? At the time? The graphic sequences and their familiarity from newsreels? Damien Parer's photography? The presentation of the Papua - New Guineans? David's experiences, change, heroism?

15. Kaye and her presence in New Guinea? The climactic battle? Kaye seeking out her husband? The reconciliation? His letter - the possibilities for a future?

16. A sense of completion? The generations and the malice working itself out? Pain and suffering, hopes? Scriptural texts uses - unto us a son is born?