Light Me a Lucifer
| Company type | Television film |
|---|---|
| Industry | Entertainment |
| Founded | 1962 |
| Headquarters | Melbourne , Australia |
| Products | Television comedy |
Light Me a Lucifer is a 1962 Australian television comedy broadcast by the ABC. The screenplay, penned by John O'Grady, featured Frank Thring portraying the devil, with supporting roles filled by Wyn Roberts, Edward Howell, Joan Harris, Ken Goodlet, and Lynne Flanagan. Filming occurred in Melbourne.
During an era when Australian TV drama was rare, this 75-minute comedic piece marked a notable commitment from ABC towards producing local scripted programming. Stephen Vagg of Filmink referred to it as "an obscure yet significant production that reflects aspects of Australia," emphasizing its pioneering contribution to Australian television comedy despite certain imperfections.
Significantly, the film has been preserved contrary to the widespread practice of wiping at the time, with copies held by the National Film and Sound Archive.
Plot
Satan (Frank Thring), residing in Hell, expresses dissatisfaction with his Australian representative, Stoker (Edward Howell), for not delivering enough Australians to Hell. Stoker persuades Satan to journey to Sydney accompanied by his wife Lilith (Lynne Flanagan) to evaluate the situation firsthand.
In Australia, a married pair, Doris and Harry, live with their 19-year-old daughter Barbara and neighbor Bill.
Upon arriving in an industrial suburb as Stoker's superior, Nick Devlin, Satan opts to forsake his role as the Devil and adopt the identity of an Australian instead.
Cast
- Frank Thring as Satan/Nick Devlin
- Kenneth Goodlet as Harry Harmon
- Joan Harris as Doris Harmon
- Edward Howell as Stoker
- Wynn Roberts as Bill
- Lynne Flanagan as Lilith/Lil Devlin
- Bruce Webster
- Lyndel Rowe as Barbara Harmon
- David Mitchell as Sid, Barbara's boyfriend
Production
The project was announced in September 1962, with William Sterling directing and casting actors suited to their roles. John O'Grady participated in rehearsals, making slight edits and refining dialogue. Design responsibilities were managed by Cas Van Puffen.
Reception
The Sydney Morning Herald commended it as a "brilliant Melbourne production," praising its subtle and sophisticated depiction of Australian identity through authentic dialogue and compelling performances.
The Sunday Herald described it as "neither distinctly good nor bad," acknowledging O'Grady's precise ear for Australian vernacular but critiquing the 75-minute duration as insufficient to support the weaker comedic elements.
According to The Bulletin, while it had potential to be a respectable television play, its length was excessive given the slender plot and its audio style posed challenges for English viewers.
The Age criticized it for a lack of dynamic pacing and action, suggesting further study into television techniques was necessary.
Filmink regarded it as a highly amusing script with excellent lines and moments but noted that dramaturgical polish could have enhanced character and scene development; they speculated that the cast likely enjoyed their performances.