THE ENEMY WITHIN

Australia, 1918, Black and white.
Reg L. 'Snowy' Baker, John Faulkener, Sandy Mc Vea, Lily Molloy.
Directed by Roland Stavely.

The Enemy Within is one of Australia's oldest extant films. Made in the atmosphere of reaction towards World War One, it tells a story of espionage in Sydney. The atmosphere of espionage is against the I.W.U. and their anti-war stances - a fifth column amongst the working classes in the inner city. However, they are being manipulated by the wealthy businessmen.

The action is Boys' Own adventure - interesting in terms of the as yet young development of our industry. We recognise now all the popular ingredients and stereotypes of this kind of adventure. There is the quick delineation of character but a reliance on stereotypes.

The film was of interest as a Snowy Baker (pictured) vehicle - an expert stuntman with personality who appeared in a number of films including The Man from Kangaroo. He was to move to the United States and set up a stunt school. He is able to perform a lot of stunts - including a high dive into the sea. Of interest also, he is assisted by a detective who anticipates Arthur Upfield's Boney - an aboriginal detective, generally very well dressed and city sophisticated; he was played by the aboriginal boxer Sandy Mc Vea.

An interesting example of early film-making - which keeps audience attention.

1. Impact of early Australian film-making? Entertainment, interest? The quality of silent film-making in 1918? Techniques?

2. The development of the silent techniques: black and white photography, fixed camera work, action sequences, location photography? Locations: city, streets, interiors, mansions, exteriors - land and sea? The style of the captions - Boys' Own style? The dramatic and melodramatic acting styles? The reliance on stereotypes?

3. Attitude towards war and espionage in Australia in 1918? Pro and anti-war? Conscription? Loyalties? The upper class Australian society and spies? The dissent amongst working class groups? The possibilities of spies and off-shore submarines?

4. The film's reliance on melodrama and action - effectively?

5. Jack as hero - what stage, screen and novel models for this kind of Boys' Own hero? The character adapted for Snowy Baker's personality and presence? His relationship to authorities, his job, espionage skills? The romance with Myee - and the flashbacks for his memory of her? The clash with Brasels? Claire and her double-dealing? His ability to track the spies? His aboriginal assistant - and humour? Myee's kidnapping? The timing for the kidnapping, Claire's betrayal? The chase, the mansion, the cliffs, the boat? The high dive? A strong Australian silent hero?

6. Myee as heroine - young girl, growing up, attractive, her mother, home, in love, jealousy of Jack, the kidnapping, her final heroism?

7. Brasels and his social position, his associates, their secrecy, the fifth column, the nature of espionage, off-shore vessels, radio? His cover with the mansion and society? The parties? His relationship with the subversive groups? His hold over Claire and his using her in the kidnap sequence? The melodramatic style for the villain?

8. The subversive groups, the cover for their espionage, traitors? The anti-Bolshevik atmosphere? The Domain and the speakers? Sabotage and World War One? International Workers' Union?

9. Claire and victim, her child, her betrayal?

10. The importance of the aboriginal assistant detective - champion boxer, city style, humour?

11. The background of the war, conscription, anti-war - and loyalty and paranoia? The influence of this kind of film?

12. Boys' Own adventure combined with topical interest?