The Story of the Kelly Gang (1906) & the Taits
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Contents
- Introduction
- Production
- Cast and crew
- Historical material
- Viola Tait's account 1971
- Gibson's film?
- Comments
- References
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1. Introduction
Who made The Story of the Kelly Gang (1906), the world's first full length feature film?
According to Wikipedia, the first source many would find upon searching Google, the answer is:
It can be seen from this, that the Taits were a relatively close-knit family. There were five brothers:
- Charles (1868-1933)
- John Henry (1871-1955)
- James Nevin (1876-1961)
- Edward "Ted" Joseph (1878-1947)
- Frank Samuel (1885-1965)
The answer would therefore seem to be, in a reading of Wikipedia and other modern sources, that the Taits made The Story of the Kelly Gang (1906). Of course Wikipedia also lists amongst the producers Millard Johnson and William Gibson, plus cinematographers Millard Johnson, Orrie Perry and Reg Perry. But that is all. Yet, based on research by the present author during 2024 contemporary records such as newspaper and magazine reports, including reminiscences by those involved, a picture is revealed which is at odds with the Wikipedia information. Primarily, it points to Johnson and Gibson as the actual makers of the film - termed at the time filmmakers - with Gibson chief camera operator, and in the role which in the present day is deemed director. The Taits appeared to have primarily been involved as producers and providers of resources such as outdoor locations, extras and financial support.
What, then, is the truth - Wikipedia or the contemporary accounts?
In order to obtain an answer to this second question, an assessment of the primary source historical documents which refer to the role of the Taits in the creation of The Story of the Kelly Gang (1906) is necessary. Some of this is present in the blog on this subject first published by the present author on 24 May 2024 and subsequently updated here. The present blog takes information from that source, along with additional research, and aims to present a clearer picture of the Tait family's involvement. It is obvious to one and all that the firm of J. & N. Tait were heavily involved as producers, financiers, and promoters of The Story of the Kelly Gang upon its release. The part they played in the actual creation of this historic film prior to this is not so clear.
Looking back to 1906, it is difficult to equate film making during that period with the present day process and the terminology connected therein. Modern day films, for example, often have ten minutes or more of credits at the end of the film, and significant credits at the beginning. Yet The Story of the Kelly Gang basically had none upon its initial release. Nobody was cited as "director", or "scriptwriter" or "cinematographer" as one, in 2024, would expect. Neither were cast members listed anywhere. There were no "stars" of the film. This was, after all, the first feature film ever produced in the world. Therefore, when we write about it and apply a contemporary lens, there is not always a neat fit. Nevertheless, it is important if we are attempting to undertake such a process, that we go back to any and all original source material to make as accurate an assessment of those involved and responsible as possible. With that said, the following account must be taken with a grain of salt, and recognised as, in part, the biased view of the present writer, who also understands that alternate views could be formed by the information presented herein and/or elsewhere available.
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2. Production
The Melbourne firm of J. & N. Tait was involved in the production of The Story of The Kelly Gang (1906) in what is often referred to as producers, in that they provided money to the project both prior to, and following, its release. They were experience theatre producers, but not experienced film producers in the modern sense of the word. The provision of financial and other resources has always been an important part of the producer's role, whether it be in theatre production or cinema. But the actual role of making a film, or theatre production, has been left to others. The present writer was able to find a number of contemporary references to the Tait's role as producers prior to the release of The Story of the Kelly Gang on 26 December 1906. However, such contemporary (pre-release) references to their involvement in the actual "making" of the film were not found. This included references to activities such as script development, filming, on-set direction, preparation of props, selection of actors and editing.
In fact, any such information relating to the film was scant prior to release, and it was only in the week before that, as promotional activity was ramped up, it was revealed that the film had been in production for some six months and, at one point, up to sixty people were employed on it. And that was the extant of it. Additional information slowly leaked out over the following months and years, but most of the early material only related to the content of the film, as in a description of the narrative and general overview of the scenes shot. The focus was, for at least the six months of the initial premiere season (December 1906 - June 1907), on selling the film, not on revealing specific aspects of its productions, beyond the fact that it cost at least £1,000 to make and was the longest film produced to date.
Despite this lack of what most would consider vital production information, the present author's research between May-August 2024 covering material published up to the 1940s, indicated that the production of the film was primarily in the hands of the St. Kilda based firm of Johnson and Gibson. Furthermore, it was clearly stated as early as 1920 and 1927, prior to the death of William A. Gibson in 1929:
* Mr Johnson and I claim to have made the first long picture in the world. (W. A. Gibson, Theatre Magazine, 1 June 1920)
* Mr. Gibson photographed, directed, developed and finally projected the picture [The Kelly Gang], such a record remaining unequalled even to this day. (Everyone's, 7 February 1923)
* Just after "Living London" had finished putting cash in the several money-boxes, Gibson had his great idea of filming the story of "The Kelly Gang." (L.F. Reynolds, Table Talk, 6 January 1927)
This is obviously in direct conflict with the information provided by the Wikipedia entry. W.A. Gibson was no-doubt a self-promoter, as were others in the industry then and now. But there is no reference prior to his death, or to the death of Millard Johnson in 1946, to Charles Tait specifically playing a significant role in the actual making of the film. It is obvious from the above three quotes, and other sources, that during the 1920s Gibson was putting forward a strong case for the firm of Johnson and Gibson as largely responsible for the making of the The Story of the Kelly Gang, both in 1906 and on through to the updated version released at the end of 1910. How, then, to proceed in assessing the role of the Taits and taking on board comments publish from 1949 onwards, after both Johnson and Gibson had died? What is the truth?
References available pertaining to the role of J. & N. Tait as pre-release producers and post-release promoters and distributors of the film between December 1906 and June 1907, shows that they provided, or received, the following:
- A request for a "new film" following on the successful screening of the English 2-reeler Living London during the first half of 1906 by the two organisatons (Gibson & Johnson and J. & N. Tait). As a result, Gibson subsequently came up with the idea of a full-length feature film based around an adaptation of the Kelly gang story.
- Finance - in addition to the initial £400 put up by Gibson, J. & N. Tait added £600 to the budget, bringing the final spend up to £1,000. This extra funding assisted the production in employing at any one time up to 60 people.
- Locations - once again in addition to those locations and production elements initially supplied by Gibson and Johnson, including both interiors and exteriors, the Taits provided additional resources once production had commenced, utilising their various properties on the outskirts of Melbourne;
- Support for re-shoots, including the provision of additional actors, which also included members of the Tait family, just as a member of the Gibson family also appeared. The majority of these performances (i.e. the actual identification of individual actors involved in the filming) went uncredited at the time.
- Premiere season promotion, distribution and theatre direction of screenings was provided by the experienced theatre production firm of J. & N. Tait. The term "theatre direction" was applied to the film's presentation during its premiere season and the role of the Taits. The latter was necessary as in 1906-7 there were no cinemas as such, and the presentation of films of any length usually took place in local theatres, town halls and other suitable venues, as part of a program of music - often involving an orchestra - and stage performances by dramatic troupes, plus lantern slide shows which were popular at the time. As a result, the use of this term has, over time, been corrupted, to support the argument that the Taits "directed" the film. They did not. They were merely responsible for the "theatre direction" of its presentation.
- Secured from Gibson and Johnson the exclusive copyright to distribute the film The Story of the Kelly Gang (1906) for a limited period, which appears to have expired locally in May 1907, just six months after the premiere. Gibson and Johnson released their own version in 1910, though additional footage by them had been included from the middle of 1907.
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| L. to r., Charles Tait, William Gibson and Frank Tait, outside the Johnson and Gibson Pharmaceutical Factory, St Kilda, Victoria. Collection: National Film and Sound Archive of Australia (NFSA). |
It would appear that when the Taits came on board, perhaps as early as July 1906, though most likely a couple of months later, they supplied additional funding to help support the cost of film, prints off the negative, posters, machinery, production staff, and projectionists in touring the completed film. Some of these costs were also likely to have been born by Gibson & Johnson who had prior experience in these areas of production and presentation, going back to 1901. Further statements regarding the Taits involvement were made during 1907 and are reproduced below
It appears that most of the Tait family claims to the actual making of the film arose late in the day. As such, the present author is skeptical as to the veracity of some of the claims. Unfortunately, they largely persist. In fact, all the major activities in regard to the creation of the film are allocated to members of the Tait family within the Wikipedia entry.
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| The Story of the Kelly Gang, Wikipedia [extract], 2024. |
2. Cast and crew
The study of a variety of sources has revealed the following information about cast and crew involved in the making of The Story of the Kelly Gang (1906-10). It is difficult to pin many rolls down, and this is for a number of reasons:
- Filming took place over an extensive period from July 1906 through to December 1910.
- Actors were used for a variety of roles. For example, more than one actor played the role of Dan Kelly.
- There is no contemporary listing of actors as such; the information is gleans from subsequent personal reminiscences.
The following listings bring together names mentioned in a variety of sources, both contemporary (e.g. newspapers and film magazines) and modern (e.g. Wikipedia). The present author has not distinguished within this listing any personal preference and claim as to accuracy. Such matters are addressed in the commentary below.
1906-10
Cast
- Ned Kelly - Frank Mills / Canadian Stunt Actor
- Dan Kelly - Sam Crew / John J. Forde / Mr Marshall
- Steve Hart - Jack Ennis / John Jack Cranston / Mr McKenzie
- Joe Byrne - Will Coyne
- Aaron Sherritt - Norman Campbell
- Kate Kelly - Lizzie Tait (Mrs Charles Tait)
- Head of Police - Charles Tait
- Sergeant - John J. Forde
- Detective - L A O Haslett
- Policeman - Norman Campbell
- Sandy Gloster - Norman Campbell
- Banker - Mr Veitch
- Extras - Actors from Cole's Bohemian Dramatic Company, John Tait, Frank Tait, Harriet Tait, Amy Tait, members of Charles Tait's family
Production
- Producers - Millard Johnson, W.A. Gibson and J. & N. Tait
- Cameramen - W.A. Gibson, Millard Johnson, Orrie Perry,
- Script development: Charles Tait, John Tait
- Director - W.A. Gibson, Charles Tait
- Assistant Director - Sam Crew
- Photographer - Millard Johnson
- Promotion - J. & N. Tait
- Film developer -
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3. Contemporary references to the Taits
1906
* 22 December 1906, The Argus, Melbourne. Reference to the firm of J. & N. Tait as responsible for the presentation of the film in theatres, therein referred to as "under the direction of...." This use of the term "direction" does not refer to the modern use of the term as in the actual creator of the film.
The season will be continued at the Athenaeum, under the direction of J. and N. Tait.
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1907
* 27 January 1907, The Sunday Sun, Sydney. Notice of the Sydney release of the film.
......Messrs. Tait engaged some forty actors, actresses, and children to dress and enact their parts for the purpose of making a correct film, and when these people were fully rehearsed, they were taken to the exact localities where the different events occurred, and thus a replica of the different events was secured.
* 6 February 1907, Referee, Sydney. States that "....nearly £1,000 has been spent...." on the film.
* 9 February 1907, Courier, Brisbane. The film is "....said to have cost Messrs Tait over £1,000. They are now continually adding fresh scenes to the principal film, which is estimated to be over one mile in length. Over 60 people were employed ......"
* 1 March 1907, Mercury, Maitland. The film is "....over 4,000 feet in length and cost the Messrs. Tait over £1,000 to produce."
* 6 May 1907, New Zealand Times, Wellington. "...The whole picture is the exclusive property of Messrs. Tait as the subject was planned and executed under their supervision. The subject was carefully worked out in every detail, so that the moving picture should present a really reliable representation of the daring deeds of the notorious quartet of bushrangers."
* 7 May 1907, Mercury, Hobart. "...Messrs. Tait, who have the exclusive registered copyright of these pictures, have had six of them on tour through the states and New Zealand.
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1933
* 28 June 1933, The Argus, Melbourne.
The death of Mr. Charles Tait, which occurred at Sydney yesterday, ended a romantic and successful career and a life which was enriched by many friendships all over Australia and abroad. Mr Tait, who was aged 64 years, was managing director of Allan and Co. Pty. Ltd . music warehousemen, of Collins Street, with which he had been associated for nearly half a century.
Mr. Tait was born at Castlemaine, and after receiving all the education to be obtained there in those days he entered the employment of a local printer as the "devil". He had not been there long when he accidentally dropped a forme and scattered the carefully composed type all over the floor. The printer chased him down the street and his first place of employment saw him no more. Soon afterward his family removed to Melbourne. Here he tried his ability first at soliciting customers for a cheap photographer and later as messenger for a tailor in the Eastern Arcade. In 1884 he obtained employment with Allan's as a messenger. Allan's were then actively concerned with providing Melbourne with entertainment, and Charles Tait spent several years as a youth selling tickets at theatres and ushering patrons to their seats.
The theatre attracted him strongly, and he showed such a keen understanding of the business side that when still a young man he was chosen to manage various theatrical enterprises for his employers. One of the early shows with which he was associated was Paine's fireworks, imported from England by Mr. G. L. Allan founder of Allan and Co. The fireworks entertainments were given on the area which is now the Motordrome. In the years which followed Mr Tait was entrusted with the management of the Australian tours of many famous musicians, including Sir Charles Santley, the baritone; Ovide Musin. the Belgian violinist; Camilla Urso, another great violinist; Emma Calve, the operatic soprano; and Antionette Sterling the contralto.
In the late nineties Mr. Tait wait his younger brothers, Messrs. J.H., E.J., Nevin and F.S. Tait, founded the firm of J. and N. Tait, which was the first organisation in Australia to take up the cinema commercially. The first picture was "Living London". The firm also made the first Australia picture "The Kelly Gang."
Mr. Charles Tait was never a director of J. and N. Tait, but his guiding hand was invaluable to the firm in its early years as when it entered the theatre business on a large scale about 1912 and presented such successful shows as "Peg o' My Heart" and "Tiger Rose' and bought to Australia Dame Clara Butt, John McCormack, Emilie Poloni, Kreisler, Paderwski, Moisewitsch, Peter Dawson, and many other distinguished musicians, actors and actresses. Mr. Tait read a great deal, and he travelled extensively in Britain, on the Continent of Europe, in the United States, and in the East.
Mr Tait leaves a widow, who before her marriage was Miss Elizabeth Veitch, of Heidelberg: a son, Mr Geoffrey Tait, who is in the employ of Allan's, a married daughter, Mrs. Donald Forbes, who lives in the East, and two unmarried daughters, the Misses Cecil and Marie Tait.
The body was bought to Melbourne last night for burial. A service will be conducted at Sleight's Chapel, Flinders street, by Canon Crotty, at a quarter past 2 o'clock this afternoon. The funeral will leave for the Springvale Cemetery at half-past 2 o'clock. In consequence of Mr Tait's death the warehouse of Allan and Co Pty. Ltd. Will be closed today.
* 28 June 1933, The Age, Melbourne.
MR. CHARLES TAIT.
Death Occurs at Sydney.
Mr. Charles Tait, managing, director of Allan and Co. Pty. Ltd., and for many years a prominent figure in the concert and theatrical world, died at Sydney yesterday, at the age of 62. The late Mr. Tait was born at Castlemaine. He was one of several brothers who distinguished themselves in the theatrical world. As a boy he secured employment with Allan's, where his geniality, shrewdness and quickness of perception were at once appreciated. In 1895 he accompanied Mr. G. Allan to England on a business trip, and in the following year he was made a director of the company. In 1900 he became managing director. As manager of the music department he was brought into contact with celebrated artists who visited Melbourne and from these contacts arose the firm of J. and N. Tait, concert managers, an independent organisation controlled by brothers of Mr. C. Tait. This firm eventually became theatrical producers and in 1911 it built the Auditorium Theatre, and engaged Clara Butt, the celebrated contralto singer, to open it.
As the firm of J. and N. Tait progressed, Mr. Charles Tait's active connection with it diminished, but he was always a power in the counsels of the organisation. Thus he acquired a voice in the policy of J. C. Williamson Ltd. when that company became associated with J. and N. Tait. To the end of his life he retained a full-time connection with Allan's. He was a man who threw his whole energy into business, and found no time for sporting or other public activities. One of his many ventures resulted in the production of the first moving picture made in Australia, The Kelly Gang. A man of kindly and genial nature, he made a host of friends, and will be widely mourned.
Mr. Tait leaves a widow, three daughters and one son. Mrs. Tait lives at Clarendon-street, East Melbourne, and Marie, one of the daughters, also lives there. Another daughter, Gwen, is married, and living in China, and the third daughter, Cecil, is in London; The son, Geoffrey Ivan, is on the staff of Allan and Co.
Allan's. Warehouse Closed To-day.
Allan and Co. Pty. Ltd. announce that owing to the death of Mr. C. Tait their warehouse will he closed to-day.
Charles Tait's will left a estate valued at £19,400 and left in trust for his children.
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1937
* 2 January 1937, The Daily Telegraph, Sydney. Arnold L. Haskell, Why Neglect the Theatre in Sydney. Includes an interview with E.J. Tait.
Big money in the entertainment! business, with comparatively few risks, is not to be made in the legitimate theatre, but in the film, and the Taits were in on the ground floor, for in 1905 they presented a moving picture, "The Kelly Gang," that for the first time provided an entire evening's entertainment. The scenario for this picture was written by Charles Tait, and Mrs. Tait played Ned Kelly's sister. Taits still have vast interests in the films, with a circuit of over sixty theatres in New Zealand, and interests in Australia not so wide, but still very considerable. E. J. Tait's position is anomalous, for he is a born theatre man, 50 years in the game, and still tremendously in lore with the legitimate stage. He devotes but little of his time to the more lucrative movie.
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1939
* 18 August 1939, The Age, Melbourne.
When the Kellys Rode
Much amusement, tempered by surprise has followed Mr. Millard Johnson's story, published in "The Age" Film Jubilee Supplement, of the making in 1905 of the world's first 5-reel film, The Kelly Gang. Mr. John Tait related yesterday me origin of the film. He and his brother, the late Mr. Charles Tait who died In 1933, were showing films at the Athenaeum Theatre, and a suggestion was made that the Ned Kelly (story would make a good film. Charles Tait wrote a scenario, and the co-operation of Mr. Johnson and the late Mr. W. A. Gibson was sought to produce the film. The locale selected was that adjacent to Mrs. Charles Tait's property at Ivanhoe. and most of the participants gave their services voluntarily. Actually, the picture cost no more than £500 or £600, and yielded thousands of pound profit. Every Sunday the work continued. John Tait was the schoolmaster who stopped the. train on the Eltham line (by special permission) to save its passengers from being "held up. Charles Tait was a policeman. When the late Sir Thomas Bent said the picture. he exclaimed: "I recognised many of the places shown in the settings." He had no idea the film was made out Heidelberg way.
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4. Gibson's film?
During 1944 and 1945 Australian cinema journalist Dan Mcguire published two articles in The ABC Weekly dealing with the making of The Story of the Kelly Gang 1906. In the first he utilised a 1927 interview by Gibson to tell his story. Nine months later he wrote another narrative which this time told the story from the perspective of a certain Mr. Tait and his family. Both narratives were different and in conflict.
- The first said that members of the Tait family did not star in the film; the second said that they did.
- The first highlighted the significant role of Gibson in the actual making of the film; the second gave to the Taits the role of instigators and creators.
- The first said that Gibson came up with the idea for the film; the second that it was Sam Crews.
- The first said that Gibson was largely the director; the second said that Charles Tait was the director.
This list could go on. What, then, is the truth?
In 1939 John J. Forde presented a version of the making of the film which briefly mentioned the role of the Taits:
The Kelly Gang on location in the Bad Old Film Days.
By Pat O’Neill.
Few, if any, residents of Walker Street, Westgarth, recognise in Mr. John J. Forde, their kindly neighbor, the man who but a few years ago, heavily bearded and still more heavily armed, galloped around the hitherto peaceful countryside at Heidelberg sometimes pursuing, and at others pursued, by men clad in the uniform of officers of the Victorian police. Nor do they know that he and three equally desperate companions were cornered like rats in a two-roomed shack at Kangaroo Ground, a few miles away, and surrounded by a body of men who, after pouring a merciless stream of bullets into their temporary haven, burnt it to the ground. Yet, from this and similar ordeals, Mr. Forde escaped unscathed — only to be blown up by a German shell at the battle of Fromelles in France on July 19, 1916. It will be admitted by all that when Mr. Forde, as a member of the 57th Battalion, took part in the famous battle of Fromelles, he was helping to make history: but how many Australians know that way back in 1917 [1906] among the hills and valleys around Heidelberg he and others performed a similar feat — but in another sphere? They made the first full-length moving picture ever attempted in Australia — or anywhere else. Title — The Kelly Gang. The picture was produced by Messrs. Johnson and Gibson, two enthusiastic young pioneers of the cinematograph industry, behind whose chemist shop at St. Kilda Junction many of the interior scenes were taken. They made the picture in conjunction with members of the Tait family. Mrs. Charles Tait, formerly Miss Veitch, a splendid horsewoman, played the part of Kate Kelly, her husband the head of the police, and Mr. John Tait enacted the role of the heroic school master who ran along the railway line at Glenrowan and warned the occupants of the approaching police train of the disaster which threatened them. Most of the scenes were shot on the property of Mr. Veitch (Mrs. Tait’s father) at Heidelberg. No Drastic Cutting - Among many other things for which the picture was noted there was one which probably stands as a world record: of but 6000ft. of film used in its making, no less than 3,500ft. was actually used in the finished production. But let us hark back to Mr. Forde. . . . A scion of a well-known theatrical family — his lather was Martin Forde, a famous comedian of the day — he was a member of a more or less scratch company which was playing The Kelly Gang to approving if somewhat one-eyed audiences at Fitzroy. The latter part did not worry Mr. Forde a bit, for he was cast as Dan Kelly, and the sympathies of his public were definitely with him. The parts of Ned Kelly, Steve Hart and Joe Byrne were played by Frank Mills, Jack Ennis and Will Coyne — all of whom have long since passed on to the actors’ heaven. The whole company was engaged to put over the play under actual working conditions and the unforgiving eye of a movie camera. Each Sunday and Wednesday for several weeks the entire company and camera crew left St. Paul's Cathedral corner in horse drawn drags for Heidelberg and plunged into crime — to the great edification of residents of that district. In direct opposition to the theory "that crime does not pay," the pseudo desperadoes received salaries which ranged from (I would that Messrs. Gable. Flynn, Taylor and Co. could read this) 3/6 to 5/- a day — on the days that they actually worked. The horses used in the production were hired from Garton’s livery stables, but unfortunately the majority of the members of the cast were — to put it mildly — very poor horsemen. As a fact., the ringleader of the gang — unlike the great bushman whom he portrayed - was unable to ride at all. This led to several embarrassing situations and eventually Mr. Veitch was compelled to provide him with a half-draught farm horse — on which he successfully out-distanced pursuing minions of the law for quite a long time. General co-operation was forthcoming in the big job of making the picture. For the scene which depicted the attempted derailment of the police train at Glenrowan, the authorities supplied a real train. The rails were torn up by workmen actually in the employ of the Railways Commissioners in a section between Eltham and Greensborough. Even the cattle of the district seemed anxious to help. “Many times.” Mr. Forde told me, “when I set out with a herd of stolen cattle, I finished with twice the number. The cows around Heidelberg seemed definitely pro-Kelly or screen struck — for they joined in wherever an opportunity offered. At Kangaroo Ground, some 14 miles from Melbourne, an abandoned house was located which proved to be an almost perfect replica of the Glenrowan Hotel. Here the Kellys met their end and the picture — the filming of which had been marked by a distinct falling-off in attendances at schools around Heidelberg — was completed. Unfortunately for Mr. Forde, his part in the production of the Kelly picture brought him on one occasion into a clash with the genuine police. One day when not on location he was commissioned by the manager to buy some blank cartridges for use in the old-type pin-fire revolvers which were used by the outlaws. Taking a couple of the weapons along, he made an unsuccessful effort to fit them at Edments Store, the manager of which advised him to try the Small Arms Co. in Elizabeth Street. Mr. Forde followed this advice and got the cartridges, but the day was hot and on his homeward trip he lingered by the wayside. When re-passing Edments he was asked by the manager if his quest had been successful. “Yes, I got them all right,” he replied — at the same time somewhat unwisely unwrapping his parcel. A bystander ran for the police and soon Mr. Forde found himself in the lock up trying hard to explain to a sceptical Irish sergeant that he was playing in the Kelly picture and that the pistols were props. "Ye might be Dan Kelly in a picture — and I have me doubts," said the officer, “but I’m sure of one thing: you’re in the cell and sitting on the seat where the real Ned Kelly waited for trial.” Mr. Forde was soon released from his predicament, however. The Kelly picture was shown for a long time to crowded audiences at the Athenaeum Theatre and Melbourne Town Hall. Later it was shown in many parts of Victoria until withdrawn at the request of the police. Among other reasons for their action was that the youth of the State was armed to a boy. Toy cap-pistols were at a premium and oil drums had been converted into helmets. Another, but shorter, Kelly picture was made later, but with an almost entirely different cast. [Image caption: The movie camera in a rearguard action shoots the Kelly Gang while they are in the act of reading the proclamation offering £8000 for their capture, dead or alive. All of them would have cheerfully given themselves up for a very small proportion of this handsome sum.] [Image caption: Blank cartridges put an end to the screen versions of Dan Kelly and Steve Hart. Dan Kelly (Mr. John J. Forde) had a miraculous recovery and is still very much alive.]
As noted above, the NFSA and Bertrand camp also appeared to come down on the side of the Taits, based in large part on the account published by Dan Mcguire in 1945 after he was specifically approached by the family to answer statements contained in a earlier piece. The Tait family case was clearly set out as follows, with the role of Gibson and Johnson now moved fairly and squarely into the background, almost appearing as an after thought, or mere contracted technicians. Gibson no longer came up with the idea for the film; rather, it was Sam Crews:
....The idea of The Kelly Gang emanated from an old-time showman, one Sam Crews, in the year 1905, Mr. Tait declares. The idea appealed to Charles Tait and his brothers. At that time, the then young firm of J. and N. Tait was presenting picture shows in Melbourne and elsewhere (Living London was one of its big successes) and was purchasing its film programmes from Messrs. Johnson and Gibson. The first step in making the Kellys was the production of a scenario, written by Charles Tait. Messrs. Johnson and Gibson were then approached, and in consideration for providing the necessary camera equipment, were given a share in the venture. The Kelly Gang was filmed mostly at Eaglemont or Chartersville Estates, at Heidelberg, Melbourne, generally on Sundays, at that... The producers themselves took part in the film. In fact, the cast included John Tait, Frank Tait, and Mrs. Charles Tait - an accomplished horse rider, who played Kate Kelly. To Charles Tait himself was given the job of producing and directing the film. (Mcguire 1945)
This view was reinforced by others such as John J. Forde in 1939, but most especially Viola Tait in her 1971 book on the family (Tait 1971). Therein the writer appears to take great effort at allocating roles in the film's creation to members of the family. Gibson had largely lost out in all all, and since 1971 remains very much in the shadows. It could be said that the disappearance of Gibson;s role, along with that of his partner Willard Johnson, goes back to the initial release of the film. For example, a report in The Sunday Sun, on a screening of The Story of the Kelly Gang in Sydney during February 1907 did not mention Gibson or Johnson, but instead highlighted how:
The Palace Theatre was crowded in all parts last night when Messrs. J. and N. Tait presented their Biograph story of the Kelly Gang.
Could we perhaps equate this to a modern instance where, for example, the recent successful The Lord of the Rings trilogy is known as Warner Brothers' creation, rather than Peter Jackson's? And could this be behind the reason that a couple of months later Gibson & Johnson went out on their own in presenting films, father than merely making them for entrepreneurs such as the Taits?
The present writer, in researching the Ogle family tradition of a connection with the film and, in association with that, the role of Edward Irham Cole's Bohemian Dramatic Company, developed the view that Gibson was the true creator of the film, with the Taits being bit players and later distributors and promoters of the film. When the tens of thousands of pounds started to role in due to its success, it would seem that both the Taits and Gibson and his colleague Johnson shared in the spoils. Unfortunately arguments fell on the side of the Taits because their job was in the area of promotion - of theatre and later films. Gibson appeared to initially be more of a backroom creator and distributor, responsible for the technical side of what the Taits were about. As such they were both listed as producers of The Story of the Kelly Gang. However, when we look deeper, and pull out the material relating to Gibson presented by Bertrand and others, we are able to make the contrary case in his favour. In putting the case for Gibson, the following information is provided:
- Dexter 1929: ... "The Kelly Gang" ran to the astounding length of 6,000 feet. It made a fortune for William A. Gibson.... It is generally believed that E. J. Tait and his brothers - the powerful Taits of J. C. Williamson. Ltd. - acted in "The Kelly Gang." This is not so, but the picture opened their eyes to the possibilities of local production, and they became associated with Mr. Gibson in a later cycle, which included "The Luck of the Roaring Camp" - yes, an American western picture made in Australia.
- Mcguire 1944: .... The Kelly Gang was made in 1906 by W.A. Gibson, of Melbourne, and was five reels in length. Gibson, already an exhibitor, got the idea because a flesh-and-blood show about the Kellys played as rival in towns where he was showing a scenic picture called Living London - and the populations left Mr. Gibson’s film playing to empty seats. To make the Kellys, Gibson drew £400 from his bank. Having no studio, he built his sets in a paddock outside Melbourne, where the wind and rain took sometimes a nightly toll. His cast came from Cole’s Dramatic Company, and were paid the dazzling figure of £1 a day. Contrary to to-day’s tradition the Taits did not play in The Kelly Gang. Their interest in local films came later when they were associated with Gibson in The Luck of Roaring Camp and other roaring dramas.
- Mcguire 1945: .... Cameraman on The Kelly Gang was Mr. W. A. Gibson, who used up 10,000 feet of film.
- O'Neil 1946: That 1906 film,"The Kelly Gang," was the beginning of it all. "The Kelly Gang" was made by Messrs. Johnson and W. A. Gibson, of Melbourne, and the very young firm of J. & N. Tait. W. A. Gibson, originally a chemist, with his partner, had spent £40 to buy a movie camera owned by a touring Englishman, and had gone into the movie business.
It can be noted that the allocation of the title "director" to the film has been shroud in a deal of controversy. At the time of the films production it was not a clearly defined term in regard to a cinematic production. Of course, this quickly changes as individuals such as Cecil B. de Mill achieved fame. However was can see from the example of The Story of the Kelly Gang, that the lines between all the important elements of the film's creation, namely producer, director, script writer, cinematography, set designer, casting director, etc. etc. were all blurred. An argument could be put that William A. Gibson engaged in all of these tasks for the 1906 film, and that no other person can be identified to have at the time done the same. It is therefore, in the view of the present writer, Gibson's film.
The film's Wikipedia page clearly identifies Charles Tait as the director. It further states that it was written by Charles Tait and John Tait. It says that it starred John Tait and Elizabeth Tait. It also says that the cinematography was by Millard Johnson, Orrie Perry and Reg Perry. In addition, we are told it ran for 60 minutes when premiered. The present author would take exception with all of those statements. The only ones which are supported in the entry are that it was distributed by J.& N. Tait, and that the producers were Gibson & Johnson and J. & N. Tait. As for the others:
Director - as William A. Gibson, by his own account, made the film with no direct reference to input from Charles Tait, it can be said that Gibson would best be described as its director, in the modern sense. In 1916 it is said that Sam Crews was the director, and this is the earliest known reference to a person in that role. It is therefore likely that Crews, as an employee of Gibson & Johnson, played a part in directing some of the filming, especially whilst Gibson was on the camera.
Script - it was noted that at the time filming commenced there was no scenario or script, this must put into question the statements by the Tait family that John and Charles were responsible for the film's script. It is more likely that the team of Gibson & Johnson, used a theatre play script such as Hands Up! as the basis for the filming and proceeded as such.
Cinematography - most evidence points to William A. Gibson as primary cameraman during filming in 1906, and subsequent to that with the 1907 and 1910 versions.
Set design - W. A. Gibson has commented on his involvement in their construction. Sam Crews / Cruse was employed by Gibson & Johnson on the film and acted as a general jack-of-all-trades, even going so far as being the earliest person to be cited as director of the film, in a 1916 newspaper article.
Film development - Gibson & Johnson and their staff were responsible for this, including the production of the at least six prints that are known to have circulated in Australia, New Zealand and Great Britain.
Editor - Gibson & Johnson seem the most likely candidates for this.
Under the direction of .... - This refers to the presentation of the film in theatres and other live venues. It does not refer to the creation / production of the film itself. The phrase is a theatre term. As J. & N. Tait were in the business of theatre presentation, in association with J. C. Williamson's and also Gibson & Johnson, the use of the term on the 1906 poster should not be interpreted as a designation as regards direction of the film.
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5. Viola Tait's account 1971
The following extract is taken from Viola Tait's biographical account of the Tait brothers, published during 1971 as: A Family of Brothers: The Taits and J.C. Williamson - A Theatre History. It is based in part on the diary of Edward "Ted" Tait (1878-1947) and other family papers and personal reminiscences available to that author. This account forms the origin for much of the information included in the aforementioned Wikipedia entry for the 1906 film and the various catalogue entries for related material contained in the NFSA. It also appears to be the origin of the statement that Chares Tait was the director of the film, and Charles and John were responsible for the script development.
During 1905 the Tait brothers were spending their weekends making a film - and history. Charlie's interest had been aroused by the enterprise of a Salvation Army man, Joseph Henry Perry, who in 1901 had produced The Early Day Christian Martyrs, the first film to be presented in tableaux form in Australia. Only a hundred feet long, its setting was a tennis court at the Salvation Army Home for Girls at Murrumbeena, Victoria. Encouraged by its success, Major Perry made two more films, Soldiers of the Cross and The Scottish Covenaters. To perfect the projection of his reels he needed limelight, so he employed Millard Johnson and William "Gibby" Gibson, two chemists in partnership in St Kilda, to supply oxygen with acetylene gas to raise a block of lime to white heat. The provided light to project the picture.
Johnson and Gibson became so interested in the new medium they sold their chemist shop and concentrated on experimenting with films, importing cameras and equipment which they hired out as the demand increased. Their first success aroused public interest on St Kilda beach where they rigged up a sheet against a bathing box to show a film they had made of a dancer, Loie fuller. In 1904 they assisted the Fitzgerald family in making a film, The Bushranger and its success persuaded them to go into production themselves. All they needed was the theatrical experience which Charles provided by co-opting their services to film The Kelly Gang. The hair-raising exploits of these sensational bushrangers were still fresh in the public's mind, although it was more than twenty years since the hanging of their leader, Ned Kelly. Charles and John set about writing the scenario to the 9,000 foot film. The location for the film was not where the history books said, at Glenrowan, but at Chartersville Estate, Heidelberg, the home of the Veitch family. The estate originally belonged to Henry Charters and later to a Swiss, Fraincoise Robert de Castella, one of the first producers of wine in Victoria. When he left Chartersville House, Lizzie Veitch's family leased the property for dairy farming. Mostly dense bush, Chartersville was an ideal setting for filming outside scenes: two small cottages on the estate were used for indoor scenes and Rosanna Railway Station became the Glenrowan Hotel. A large barn provided shelter from the elements for members of the Tait family and friends who watched the fun and, when necessary, appeared in crowd scenes. Ted's diary describes some details of the programme:
Sam Crew, Charles' Assistant Director, had toured with a drama company which had stage The Kelly Gang as a dramatic play and it packed the country halls. The film production was based on the melodramatic stage version with policemen, black trackers and fifty horses lent by a local circus. The company travelled to Heidelberg at weekends by train or four-horse drays. Present-day costumes were worn, with the exception of Ned whose authentic armour was lent by Sir Rupert Clarke. Ivan Tait, Charlie's son, remembers Gibson, whose knowledge of chemicals came in useful for stage effects on the set, with his peaked hat turned back to front, using a red substance to give the effect of fire in a scene when the bushrangers were making their armour. There were no star actors and all the cast were interchangeable.
During the early part of filming the actor who played Ned deserted and never returned. His name is forgotten, but Frank remembered him as a Canadian stunt actor from the Bland Holt company playing at His Majesty's Theatre. In order to avoid reshooting Ned's scenes the unknown understudy was never filmed facing the camera. Actors and circus riders were paid £1 a day and were engaged by Gibson while drinking at the bar of the Royal Hotel in Bourke Street or outside it at Poverty Pont Corner. Lizzie Tait, an expert horsewoman, did all the riding for the unknown actress who played Ned's sister, Kate, splashing her white horse through the waters of the Yarra when acting as a bush telegraph for the gang. A Victorian Railways Commissioner co-operated by lending a special train and railway crew to stage the bushrangers' attempted derailment of a train loaded with police sent to capture them.
All expenses for the making of the film, however, came within a budget of £1,000, and the entire film equipment consisted of one camera, operated by Johnson, who shot every scene in the film.
The bar of the Glenrowan Hotel was built in Charlie's backyard and placed in one of the cottages on the property. Sunlight was the only light available, both for interior and exterior shots and when the nine thousand foot film was finished it was developed in Gibson's bath.
During the first screening the film broke several times and incidental music had to be quickly organised to calm the impatient audience while the film was joined with metal clips. Another time the acetylene box sprang a leak and made loud hissing noises causing everybody to think the whole film would explode. 'Gibby', quick on the job, was relieved when he discovered it was only a faulty stop-cock.
The first week of country try-outs was an enormous success and the film recouped its expenses. Premiered at the Atheneum Hall in December 1906, each scene was described by an actor reading the script and subtitles, and changing his voice to depict each character. Sound effects were supplied by the property department: the noise of galloping horses' hoofs was made by pounding half coconut shells on to a hollow board; gunshots came from blank cartridges; wind storms from vigorously shaking sheets of tin; and rain from gravel stones rattled around inside a barrel.
The film lasted one hour and forty minutes. Crowds flocked to see this wonderful new form of entertainment after it had been advertised in the newspaper as: 'The biggest and most costly cinematograph work ever undertaken. Modern science has harnessed photography so that with the new biograph we are able to tell this thrilling story in its entirety over again.'
The Age reviewed the film:
'The Kelly Gang ......
A footnote in the Taits' souvenir book stated:
"The management .....
Two months after it was first shown in Melbourne, The Kelly Gang had an equally successful reception in Sydney as evidenced by the review in Table Talk:
'The Kelly Gang ....
In his diary Ted tells the story of a man demanding to see the manager after viewing a performance of The Kelly Gang.
'What can I do for you sir?' Charlie asked politely.
'I was a policeman at the capture of Ned Kelly,' he bellowed, 'and I was not shot in the back, like you say in the film!'
Charlie, fearing a law suit, fired back: 'The book say's you were, so what can I do about it?'
The man replied thoughtfully: 'I think a season's pass for the wife, meself and kids will be OK.'
There were so many Taits involved in the filming of The Kelly Gang that Charlie, conscious of this fact, decided Frank, who played a policeman in the film, should change his name. Charlie chose the name 'Stetson' after his favourite hat, and Frank Stetson appears on the programme as manager.
After many months of touring the first five-reel film in the world became scratched and worn out. Several copies of it were made, and one given to E. J. Carroll, a film distributor, for screening in Queensland. Carroll was reputed to have made a fortune out of the film, showing it in woolsheds, tents and tin shacks in almost every country town. But all that remains of The Kelly Gang today, unfortunately, is a souvenir programme, with complete scenario, and a number of still pictures.
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6. Comments
It would appear from the above that it seems J. & N. Tait came on board at the outset in the middle of 1906 and that, following the premiere, during January 1907 paid for the preparation of additional footage. This involved the 40 actors mentioned above, and the use by the Taits of part of the £1,000 they added in to their costs. This second stage of shooting, which would have also been undertaken by Gibson and company, may have taken place on the Tait properties. Stage 1 of the production involved Gibson and crew and, possibly, the Cole's Dramatic Company actors. There was also a Stage 3 which Gibson undertook in preparation for the release of the updated version of the film in 1910, and by which time the Tait's do not appear to have been involved in the film as before. Gibson and Johnson had control of the film from May 1907, in regard to editing and release.
In 1907 Gibson and Johnson made in collaboration with the Taits Robbery Under Arms, another five-reeler. It was based on Rolf Boldrewood's famous novel relating the adventures of Captain Starlight and premiered in October. During 1911 the two groups formed Amalgamated Pictures Limited and went on to make eleven films between 1911-12 and in 1918 (Gillard 2020). It therefore appears that, prior to his death in 1929, no claims to directorship of The Story of the Kelly Gang (1906-10) was made by anyone other than William A. Gibson and his property manager Samuel Crews. The latter could perhaps be allocated the modern-day title of Second Unit Director.
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7. References
Tait, Viola, A Family of Brothers: The Taits and J.C. Williamson - A Theatre History, Heinemann, Melbourne, 1971, 303p.
Van Straten, F., Edward Joseph Tait (1878-1947), Australian Dictionary of Biography, Australian National University, volume 20, 1990.
Last updated: 1 September 2024
Michael Organ, Australia
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