The Siege of Pinchgut
| Industry | Film production |
|---|---|
| Founded | 1902 |
| Fate | Production ended after The Siege of Pinchgut |
| Headquarters | London , United Kingdom |
Key people | Michael Balcon (head during production) |
| Products | Films, including The Siege of Pinchgut |
The Siege of Pinchgut (known in the United States as Four Desperate Men) is a British thriller from 1959, shot on location in Sydney, Australia, under the direction of Harry Watt. Marking the final film produced by Ealing Studios, it was also entered into competition for the Golden Bear at the 9th Berlin International Film Festival.
Plot
After breaking out of prison, Matt Kirk and his three partners hijack an ambulance in Sydney, successfully avoiding detection at Sydney Hospital. Their plan to flee northward by boat is thwarted, forcing them to seek refuge on Fort Denison—also known as Pinchgut—unaware that caretaker Pat Fulton and his family are present.
Taking the Fultons hostage, the group intends to escape the following night. When a police officer visits the fort, Ann Fulton manages to alert law enforcement, initiating a siege commanded by Superintendent Hanna. Initially hesitant to cause harm, Matt's demeanor deteriorates after his brother Johnny sustains an injury.
Bert, a former naval gunner among the captors, discovers that they could potentially use the fort’s artillery against a nearby munitions vessel, risking catastrophic consequences. However, the ammunition is secured behind heavy doors that require significant time to open. Matt demands a retrial in exchange for refraining from firing the gun.
Authorities evacuate surrounding neighborhoods and deploy snipers while negotiations for surrender continue. Johnny develops feelings for Ann and advocates for giving up, but Matt remains defiant. Following Luke’s death by sniper fire and Bert being wounded during ammunition retrieval, Matt prepares to fire the cannon. Johnny reveals he has disabled the firing mechanism, leading to a confrontation in which Matt is killed during a police assault. Johnny is taken into custody, with Pat pledging to support him.
Cast
- Aldo Ray as Matt Kirk
- Heather Sears as Ann Fulton
- Neil McCallum as Johnny Kirk
- Victor Maddern as Bert
- Carlo Giustini as Luke (credited as Carlo Justini)
- Alan Tilvern as Superintendent Hanna
- Barbara Mullen as Mrs Fulton
- Gerry Duggan as Pat Fulton
- Kenneth J. Warren as Police Commissioner (credited as Kenneth Warren)
- Grant Taylor as Constable Macey
- Deryck Barnes as Sergeant Drake (credited as Derek Barnes)
- Richard Vernon as Under Secretary
- Ewan MacDuff as Naval Captain
- Martin Boddey as Brigadier
- Barry Foster as Charlie Patterson (uncredited)
- Glyn Houston as Navy Rating (uncredited)
- George Woodbridge as Newspaper Editor (uncredited)
Saturday to Monday
In 1949, Australian director Lee Robinson and British editor Inman Hunter collaborated on developing a story while employed at Sydney’s Film Division within the Department of the Interior. Drawing inspiration from Fort Denison and Robinson’s wartime experiences there, they conceived a narrative involving two German prisoners of war escaping and capturing Fort Denison, threatening Sydney with artillery fire to extort ransom.
Robinson later recalled that the idea originated in 1947 after seeing posters depicting escaped German and Italian POWs in Australia. The storyline centered on two German artillerymen—one fluent in English—who attempt to flee to Argentina by seizing a gun at Pinchgut and targeting an outgoing ship.
By 1950, Robinson and Hunter announced plans to produce Saturday to Monday, intending to co-direct. It was envisioned as the first installment in a trilogy produced by One World Film Productions, with subsequent films focused on pearling and Kosciuszko National Park. Although Robinson hoped to work alongside Harry Watt on an Aboriginal-themed feature titled The Brimming Billabong, neither this project nor the Kosciuszko film came to fruition; however, Robinson did produce King of the Coral Sea, set within the pearling industry.
Despite securing partial funding, Robinson and Hunter were unable to obtain complete financing, resulting in their script being sold to Ealing Studios.
Ealing Studios
During Michael Balcoln's leadership, Ealing Studios was responsible for producing a number of Australian films such as The Overlanders, Eurkeka Stockade, Bitter Springs, and The Shiralee. The first two films were directed by Harry Watt, who also directed The Siege of Pinchgut later on.
In 1955, Watt departed from Ealing to join Granada Television but returned after a year and a half, driven by the desire to create a commercially viable film. He discovered the script for Saturday to Monday, his sole Australian project without a historical theme, signaling a deliberate move toward appealing to broader audiences. The late 1950s experienced a surge in foreign film productions in Australia, encouraged by the success of movies like Smiley and The Shiralee.
Pre-production for the film, initially named The Siege, began in February 1958. Watt expanded a 60-page treatment into a complete screenplay over several months, deeply engaging with Australian culture to ensure the story’s authenticity. He chose Fort Denison as a principal filming site, highlighting its strong cinematic qualities.
Watt noted that Sydney had remained largely unchanged over the previous dozen years but observed an increase in friendliness among locals and urban growth. He altered the original Robinson-Hunter narrative from focusing on a German prisoner of war to centering on an escaped convict striving to clear his name amid an indifferent justice system. Watt described the movie as both an exploration of character and an action thriller aimed at international markets, particularly targeting audiences in America, Britain, and Europe.
Lee Robinson later expressed criticism of Watt’s modifications, favoring the original storyline involving escaped Nazis rather than convicts turning violent against their own community. After a brief return to Britain, Watt came back to Australia to begin filming.
The screenplay was assigned to British author Alexander Baron, who brought in Australian novelist Jon Cleary to assist with dialogue despite Michael Balcon’s reservations that Cleary’s involvement might make the script overly localized. Balcon preferred that the script maintain international appeal by primarily collaborating with a British writer.
Filmink subsequently criticized the script for weakening the suspenseful foundation of Pinchgut, highlighting the difficulties of balancing local authenticity with global commercial viability.
Casting
Watt generally favored casting unknown actors; however, following Ealing’s acquisition by Associated British, a well-known lead was needed for the role of Matt Kirk. American actor Aldo Ray was cast, which led to changing the character’s nationality to American. The remainder of the principal cast was also brought in from overseas, while only supporting roles were filled by Australians. Heather Sears and Barbara Mullins came from England; Jerry Duggan was Irish; Neil McCallum Canadian; and Carlo Justini Italian. Watt explained this diverse casting as intentional, reflecting Australia's international context. Although over thirty Australians had speaking parts, this casting strategy faced criticism for lacking authenticity given Ealing’s prior history.
Filming
Production commenced on 30 November 1958 at Fort Denison under the working title The Siege. Early shooting faced interruptions due to necessary repairs on the Martello tower. The crew spent three weeks filming on location at the fort, supported by more than sixty British technicians and local resources provided by Southern International Productions, which was established by Lee Robinson.
Associate producer Eric Williams praised the fort’s "marvellous" medieval atmosphere. To depict an ammunition ship, the Australian National Line anchored a freighter in Farm Cove. Additional scenes were captured at Sydney police headquarters, Town Hall clock tower, and Bondi Beach, lending genuine Sydney ambiance to the film.
During production, Ealing Studios was undergoing ownership transition from MGM to Associated British Picture Corporation—this project became the last film produced under the Ealing banner. In November 1958, Michael Balcon announced his resignation from Ealing but stayed on to complete this movie. Shortly after filming started, Associated British terminated Ealing’s production schedule, adversely affecting morale and Watt’s enthusiasm. Filming delays also occurred when Aldo Ray sustained a leg injury during shooting.
In December, production shifted to Elstree Studios in London for additional work.
UK Reception
The movie was submitted to the 1959 Berlin Film Festival and subsequently released in both the United Kingdom and Australia. Despite being nearly 50 years old, Gerry Duggan earned a nomination for the BAFTA Film Award for Newcomer to Leading Film Roles in 1960 due to his portrayal of Pat Fulton, though he ultimately lost to 13-year-old Hayley Mills for her performance in Tiger Bay.
Critical
In the UK, The Guardian remarked that the film presented "a narrative with substance and authenticity which occasionally slows the momentum of what should succeed as a thriller."
Variety observed:
From the outset, a palpable tension is established, even if sustaining suspense at such a pace proves difficult. Nonetheless, Siege of Pinchgut delivers energetic action that promises brisk commercial returns. In America, Aldo Ray’s prominence is likely to attract audiences. Ray’s dynamic portrayal suits his character well; Victor Maddern offers another commendable performance. Heather Sears, portraying the caretaker’s daughter, provides a less convincing effort. Neil McCallum competently assumes the role of the younger brother. Carlo Justini is acceptable as the fourth fugitive. Gerry Duggan and Barbara Mullen convincingly express subdued anxiety as the girl’s parents.
Sight and Sound characterized it as featuring "some effective surface elements but lacking emotional depth."
Kinematograph Weekly applauded its "vigor," emphasizing well-drawn characters effectively utilized throughout, with an impressive initial drive leading to a compelling finale. Genuine locations and excellent cinematography contribute significantly to the mood.
Australian reception
When released in Australia in July 1960, the Sydney Morning Herald described it as "not nearly as poor as it has been portrayed" within the thriller genre. The Age remarked that director Watt was "seen at his best and worst," commending the authentic location filming but criticizing the fictional character development and melodramatic aspects.
Box office
By October 1959, Kinematograph Weekly reported that the film "failed to make an impact at the box office," attributing this partially to a weak title since Pinchgut lacked resonance with audiences. In April 1960, Variety noted that it "did not attract business at Embassy Theatre in Sydney and was quickly withdrawn." The movie did not achieve commercial success and marked both Ealing Studios' final production and director Watt’s last feature intended for adult audiences.
Later reputation
Ealing historian Charles Barr criticized the film for its unclear stance on violence and its unmerited moral support of law enforcement and politicians, traits common in some lesser Ealing films of the 1950s. He pointed out that the story ends with a restoration of order and authority.
Film scholars Brian Adams and Graham Shirley described it as an unusual blend, highlighting Aldo Ray’s miscasting alongside overly theatrical performances contrasted with assured documentary-style location filming. Watt’s depiction of Sydney’s mass evacuation and sharpshooters during the waterfront crisis effectively captured the zeitgeist of 1950s Sydney.
Although initially met with mixed reviews, appreciation for the film has grown over time. Quentin Tarantino showcased it at his Texas film festival, and in 2006 it underwent restoration by the National Film and Sound Archive. The film remains historically important for its depiction of postwar Sydney, notably showing scenes along the harbour foreshore and the former Fort Macquarie Tram Depot site, which was later cleared to make way for construction of the Sydney Opera House.
External links
- 1959 films
- 1950s adventure thriller films
- British adventure thriller films
- Films shot at Associated British Studios
- British black-and-white films
- Films directed by Harry Watt
- Ealing Studios films
- Films shot in Sydney
- Films produced by Michael Balcon
- 1950s English-language films
- 1950s British films
- 1950s Australian films
- Films scored by Kenneth V. Jones
- English-language adventure thriller films