Production company: Efftee Film Productions
Budget: n/a, low
Locations: stud farm near Melbourne, Flemington race-course for the staging of the Melbourne cup, a palatial Melbourne villa, and producer Thring's Efftee film studio at His Majesty's Theatre, Melbourne. Compared to other Frank Thring production, much of the movie was shot on location.
Filmed: mid-1933. The production was 'almost complete' by November 1933.
Australian distributor: Universal
Australian release: 13th January 1934 at Hoyts Theatre De Luxe Melbourne, where it ran for six weeks, and then to other major capital city and regional theatres
Rating: For general exhibition
35mm black and white
Running time: 88 mins (Oxford)
ScreenSound VHS time: c. 1'25"20
Box office: the film was one of the more successful Thring/Wallace outings, doing initial good box office business, but it is unlikely that it recovered its costs, because after the initial runs bookings tapered off quickly, and the film did not travel internationally.
While it ran for six weeks in Melbourne after opening in January 1934, it took four months to move into a Sydney release, and the short UK release by Universal was muted.
Thring wrote an agitated letter to the Melbourne Argus, complaining about Hoyts Theatres and the decision to release the film in Sydney prior to Easter, an offer of the worst three weeks of the year, as opposed to opening the film in Thring's preferred slot on Easter Saturday (Argust, 26th February, 1934).
The film was released on VHS by ScreenSound, now the NFSA, and copies can still be found in the library system or via collectors. The tape also includes trailers for That Certain Something and Seven Little Australians. In its original form it also came with a twelve page pamphlet. Anyone interested could approach the archive.
as with other Efftee George Wallace productions, Wallace's vaudeville routines were at the heart of the story he devised with John P. McLeod. In some pre-production press reports, C. J. Dennis was reported as a writer of the screenplay, but his name doesn't appear in the credits.
The mechanics of the plot possibly owe a little to the plot by gangsters to shoot Phar Lap on 1st November 1930 after track work and prior to the horse racing in the Melbourne Cup, but this was only one of a number of scandals involving criminals and crime and horse-racing in Australia in the early decades of the twentieth century.
Wallace takes to sleeping in the stables to protect Hotspur in the way that strapper Tommy Woodcock becamse famous sleeping in the stable to protect Phar Lap. The same plot-line was tweaked in Ken Hall's 1936 Thoroughbred with the climax the shooting of a horse as it reaches the finish line.
This was the last film producer director F. W. Thring shot at the Efftee His Majesty's Theatre studio, as well as the last he did with George Wallace, who turned to Ken G. Hall after Thring's sudden death in 1936.
The theatre studio was bedevilled with sound problems, so Thring shifted his production base to the Wattle Path Dance Palais at St. Kilda, which he purchased for £23,000 (it had cost £83,000 to build ten years previously):
Perhaps tiring of criticism that he made static, studio-bound shows, Thring made a determined attempt to get out of the studio for this production, opening with bush views, and featuring shots of the Melbourne Cup in action at Flemington.
3. Efftee and Wallace:
Immediately after the release of this film, Thring began making Sheepmates, an outback story from a novel by William Hatfield, which also was to feature George Wallace, providing light relief in a dramatic film.
The cast included Frank Harvey, Claude Flemming and Campell Copelin and late in 1934 scenes were shot on a central Australian cattle station. The film was never completed, and Wallace would next turn up in 1938 in Let George Do It, working for Ken Hall and Cinesound.
A Ticket in Tatts was the first film to feature Frank Harvey, a British-born actor who toured Australia in 1930 for JCW, and who also turned to Ken Hall, participating in some nine Cineound productions in the late thirties, starting with It Isn't Done in 1937.