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    Early in the piece the cast and crew travelled to Singapore, Macao, Thailand, Hong Kong and other Asian countries for a four-to-five week location shoot, to obtain background filming that would be worked into episodes later.

    One scene was even filmed at the infamous Changi prison, where, after several hours of negotiation, the Governor was persuaded to raise the Japanese flag for the first time since the war.

    Other scenes were filmed in Thailand, where an attempt to blow up a bridge was supervised by the Thai Army.

    Many scenes were filmed in the older parts of inner Sydney, but most of the series was filmed in the bushland at Narrabeen, an outer northern suburb of Sydney, pretending it was the jungles of New Guinea.

    Sometimes this was made not so apparent by tying paper flowers on the bushes to resemble some exotic tropical flora, or by blending the scenes with film shot in jungles near Bangkok.

    At other times it looked like nothing other than Australian bush, such as the episode set near Japan which clearly showed gum trees in the background.

    The location satisfied all the production requirements - it was close to water, had lush rain forest, thick scrub, palm trees, clearings and swamps.

    A production office was set up in a big old house on the edge of Narrabeen Lake, which was also used for interior scenes.

    Even a replica of the Burma-Siam railway was constructed on the site. Japanese props, such as a machine gun, rifles and uniforms were flown in from Hollywood, courtesy of Paramount.

    Australian items were made up from research or borrowed from old Army stores. The local residents soon got used to hearing gunfire and seeing soldiers charging round about the lakes.

    A bit of a stir was caused when some locals found live charges from one of the many explosions being filmed, but a promise of stricter supervision and a preview of the series soon placated local officials.

    A big talking-point for the residents was the mock-up of an Australian wartime submarine, constructed from wood, fibreglass and metal. Although not built exactly to scale it could look pretty convincing.

    It had two outboard motors concealed at the stern to enable it to sail to the various 'battles' - at approximately three knots.

    The story is told of a phone call Roger Mirams received one day from the Department of the Navy in Canberra: "We have been told that there is a submarine in Narrabeen Lake," said the official, "and that you might be able to shed some light on this matter!

    Improvisation and shortcuts were commonplace on Spyforce. A shot of a Japanese pilot in the cockpit of his plane was achieved by an angled close-up of an actor on the lake shore, who was seated on an old crate underneath a window frame propped up by two bedsteads and some driftwood.

    Old war-time footage ranging from military subjects to street scenes of Sydney was often inter-cut with new film to enhance the period effect.

    Sometimes scripts were re-written on the spot during filming. One scene, which featured Erskine and Haber pinned down in a bunker by enemy shells, was entirely improvised by the two actors.

    Improvisation was necessary due to the degree to which the production was underfinanced. As with his earlier series Adventures Of The Seaspray , Mirams could only provide money for the pilot.

    To cover his debts Mirams sold his rights in the series to Paramount Pictures. Consequently, Mirams made nothing from the show despite excellent overseas sales.

    Spyforce was scheduled to premiere in Melbourne on July 23, , and finally made its debut on August Sydney viewers saw the series earlier in August, and in Brisbane the series premiered the following month.

    Adelaide viewers, however, had to wait until - after the introduction of colour television - before the series was finally screened.

    Critics gave Spyforce a mixed reception - most liked it, although they had some reservations about the first episode, citing a patchy script and stilted dialogue.

    Authenticity was a slight problem. Wardrobe man Ron Williams freely admitted they should have been khaki, not grey. Director David Baker responded to allegations of lack of authenticity: "I think that the series depicts the wartime period realistically.

    Australia during the past 30 years has changed much more than we realise. It is quite probable that we might have made a few slip ups with regard to medals on uniforms.

    But we have always tried to be faithful to the period. There was action aplenty in Spyforce , and spectacular explosions were commonplace, the largest of which rattled the windows of houses half a mile away.

    Jack Thompson commented that the going was tough: "Peter Sumner and I went through hell making the series. Producer Roger Mirams, to give the series authenticity, made us wade through muddy swamps, scale cliffs and fight our way through the tangled undergrowth of jungles.

    Like most openers, it introduces all the characters and explains the circumstances that bring them together. After that they are resigned to working for Cato, and grow to tolerate and trust each other.

    Many guest actors of note appeared in the series, in well-drawn character roles. Maori actor Kuki Kaa appeared regularly as a Japanese soldier, playing various roles in several episodes.

    Arna-Maria Winchester was at the centre of some controversy concerning two nude scenes. There was much deliberation on whether it should be included in the episode, and it was finally decided that it was too good to be deleted, although Channel Nine requested that it be trimmed of the more daring segments.

    It was quite inoffensive. Although it was only a fleeting glimpse, it was quite unnecessary, and was in fact edited out of some copies with no detrimental effect on the story at all.

    It was based on the true story of a daring Allied raid on shipping in Singapore Harbour, which in formed the basis of the mini-series Heroes.

    Erskine calls him Gunther for the first time, causing Haber to ask, "Whatever happened to Adolf? Character development is taken to a new height when they are forced to spend Christmas Eve in a bunker with two Japanese soldiers, and come to regard them as people rather than the enemy.

    As the series progressed the screening order became more and more erratic, making the character development almost impossible to follow.

    New opening titles were introduced with the second series, changing the theme tune, dropping the narrative and using new red graphics on a black background.

    Stencil-type lettering was introduced, however the closing credits retained the original music and footage. A different commercial integration was also introduced at the same time - on all episodes the commercial integration was optional, various prints included or excluded them so that television stations could choose according to their requirements.

    One local, Martin Nolo, who had never even seen a television before, proved to be such a natural that an extensive part was written for him.

    The rugged New Guinea scenery together with the natives in full tribal dress made for some excellent footage; unfortunately too much was included, which tended to bog down the pace of the episode.

    Janet said of the scene: "Director Ron Way asked me if I would be willing to appear in an episode of Spyforce involving a nude scene and I had no hesitation in saying yes.

    I must admit I was a little nervous - it was my first nude scene, but everyone was ordinary about it. In the episode Janet played a Lieutenant who let slip secrets to a war correspondent after being plied with liquor.

    It was written by Ralph Petersen previously a writer and Producer of the McGooley series who, like Roger Mirams, was a war correspondent himself.

    Mirams could relate to the script: "I know how ruthlessly some of the correspondents went about getting stories.

    Set on the famous Kokoda Track during the wet season, the cast had to endure fairly harsh conditions during the ten day shoot. The Army also helped by constructing a field hospital for use in the filming.

    It was the monsoon season and we seemed to be drowned in water most of the time. I loved seeing all the different tribes and hearing about the history of the Kokoda trail from Ron McLean, who wrote the story.

    Production of Spyforce had finished by March when the 41st episode was completed. They set up residence in an old mansion that they stumble across deep in the jungle, left as is when the owners fled from the advancing Japanese.

    Jack Thompson, as Erskine, becomes involved with the group when one of their number finds him washed up on a beach after his plane is shot down.

    Erskine calls himself Jack Weston, and the characters of Haber, French and Cato are not referred to at all. The episode ends with Allied Intelligence ordering them all, including Erskine, to stay where they are and carry on their campaign of harassing the enemy, thus providing the transition between Spyforce and the proposed new series.

    A major hurdle to overcome was finding the main prop - a vintage Rolls Royce. The problem was solved when Mirams was informed about a Rolls enthusiast, George Sevenoaks, who had been dealing with the cars for years.

    Sevenoaks provided a suitable vehicle for filming: "I thought it was all a bit strange at first, but they convinced me.

    The arrangement we came to is that I will do most of the driving - that way I can keep my eye on her. It featured a completely different opening, with different theme music, but retained the stencil-type lettering on the title and episode credits.

    Ratings-wise, Spyforce was not a runaway success, but by no means was it a failure. The show improved as it went on - the episodes became tighter and faster, and the directing proved more imaginative.

    The lead cast gave excellent performances, and the special effects got better - all testimony to the short-cuts and improvisation which the series is legendary for.

    However, Spyforce was badly programmed by the Nine Network. It underwent many timeslot changes, and the erratic screening order made a nonsense of the character development.

    Surveys showed that while men and children enjoyed the series, apparently it did not interest women. The times we got the most reaction was when Jack Thompson and I had to play it for laughs.

    We should have done that more often. But the point is that we all knuckled down and got it done. We got it done because we cared. We got it done because we believed in what we were doing.

    In Yugoslavia it was the second most popular show, and Katy Wild became the pin-up girl of male viewers. Roger Mirams and Ron McLean later teamed up again to produce the police doctor series Silent Number , and individually worked on a number of projects for the Grundy Organisation.

    The cast moved on to a variety of television and film work, Jack Thompson in particular becoming well-known for his film roles.

    Spyforce has been repeated many times, and episodes are still likely to be screened at ridiculous times in the early hours of the morning, albeit wildly out of sequence.

    The complete series was released on DVD in April Tina Wagstaff. Axelford's Angel Lieutenant French. Show all 41 episodes.

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