Burwood is an old, established suburb in what is today called the Inner West of Sydney, but was once (broadly) just called the “Western Suburbs”. In the colonial period and even into the early days of Federation, Burwood’s standing in the “pecking order” of Sydney suburbs was probably somewhat higher than it is today, if the grandness of its large, surviving houses and mansions, especially towards the southern end of Burwood Road, Burwood, is anything to go by.
Appian way, or if you prefer, the Appian Way, is a reminder of the more exalted social status that Burwood perhaps once commanded. In the midst of the “Strata-titleland” that is modern day Burwood is the Appian Way, you’ll find it perched between Burwood Road (South) and the seminal Liverpool Road. Appian Way is just a short, little street which charts a serpentine course, looping not far from its eastern end. Within this loop lies the street’s main interest…at least as far as this correspondent is concerned.
Hoskins Estate
More of that later but first some background. Appian Way (with its obvious nod to Ancient Rome’s illustrious highway) had its genesis with wealthy industrialist George John Hoskins. Hoskins who along with his brother Charles extracted their immense capital from successful engineering and steel-making works, purchased the land which hitherto had been called Humphrey’ Paddock just after the turn of the 20th century✽. London-born Hoskins conceived of it as an (upmarket) model housing estate to accommodate the executives of his businesses in close proximity to himself. That is, a haven for citizens of his own socio-economic class. The estate of some 20 acres in area was intended for houses of a standard that would attract ‘respectable’ businessmen and professionals … a harmonious social community having all the facilities desirable for a self-contained suburban lifestyle” [‘A model community’, Cheryl Kemp and John Johnson, Inner West Courier, 28-May-2019, www.innerwestcourier.com.au].
Hoskins, exhibiting a tendency which nowadays we might describe as that of a “control freak”, leased rather than sold the estate’s houses, which allowed the industrialist and developer to monopolise all aspects of the community (only one solitary house in the tree-lined street had been sold by the time of Hoskins’ death in 1926) [ibid.].
The houses
The Dictionary of Sydney describes the Appian Way as a “heritage-listed precinct of Edwardian houses”. The architecture is of that period but the houses are best characterised as asymmetrical and very variable in style. Essentially, together the original estate comprises some of the finest examples of Australian Federation style with their multi-gabled roofs, wide use of slate and terracotta tiles, and drawing on a variety of domestic designs. The grounds of the properties are more than generously spacious – large blocks, expansive frontages, manicured lawns and landscape gardens. Appian Way includes a nature strip in the midst of these bushy and leafy residences which is neatly maintained and occupied by Brush Box trees [‘Appian Way’, Wikipedia, http://en.m.wikipedia.org].
‘Erica’ – perhaps the Way’s standout ▲
The original houses still standing in Burwood’s Appian Way are a rich sample of different Federation styles. Among the variants of the genre is the Queen Anne Federation (‘Alba Longa’ and ‘Colonna’), the Arts and Crafts Federation (‘Erica’ and ‘St Ellero’) and the Bungaloiw Federation style (‘Casa Tasso’ and ‘Ostia’). One or two modern redbrick houses have also infiltrated the street, but these undistinguished abodes stick out by virtue of the paucity of their character in comparison with the elegant ‘Feds’.
Appian Way Recreational Club
On the eastern side of Appian Way the street forms a curve which envelops a communal reserve – this is Hoskins estate’s most distinctive feature回. The sign on the iron gate of the reserve spells out the acronym “AWRC’- Appian Way Recreational Club. The AWRC purportedly runs a lawn tennis club on the green field, but when I visited, the lines of the courts had not been recently marked and the nets nowhere to be seen✣. With the gates of the club firmly padlocked, it did not look like there had been a game in jest or earnest for some time.
What tennis courts? ▲
When the estate’s houses were eventually offered for sale after Hoskins had passed on, the standing arrangement was that each house sold came with a share in the communal reserve (owned collectively by the Appian Way Recreational Club) [‘A model community’].
▲ Bush plants and agaves surround the ‘courts’
Footnote: I have a distant but nonetheless pretty firm recollection (dating from around late 1970s) that before the lawn tennis courts existed at the AWRC, the field was used as a croquet court…which would be an altogether appropriately patrician pastime for the financially well-connected community of the estate’s earliest days – what today we might call “the big end of town”.
▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️▫️
✽ recipient of the original land grant at Burwood was one William Faithful who came to the colony as a private in the NSW Corps in 1792
回 it is speculated that Hoskins may have derived inspiration for this distinctive feature from ‘The Parade’ in nearby Enfield [‘A model community’]
✣ let alone the semblance of an actual player or two
Origin of place name: Birkenhead Point on the southeast corner of Drummoyne (Sydney) derives its name indirectly from a northern English town via the Birkenhead Estate in Drummoyne … Birkenhead is or was a village near Liverpool-on-Mersey in the UK.
Birkenhead Point Factory Outlet Centre (BPFOC), on the western side of Sydney’s Port Jackson, is a bit of a sleeper as far as shopping centres and malls go. Recently, it ‘celebrated’ (sic) it’s forty-year anniversary (opened 26 July 1979), but it was an anniversary bereft of any fanfare whatsoever! The centre has 170 stores or services including two anchor tenants but can’t attract a major department store chain. In recent times it has tried to lure more paying punters by introducing a “shopper hopper” ferry service from Circular Quay or Darling Harbour. Thursday night shopping is virtually a non-event with most of the vendors not bothering to stay open. The only shoppers you are likely to see at night are those grocery shopping at Coles and Aldi✾.
The reasons for BPFOC’s low-key status among the large retail outlets and malls of Sydney are manifold. It’s relatively small size and its distance away from the Sydney rail network are contributing factors. Likewise the proximity of Burwood Westfield (a few kilometres away) and the Broadway Centre to name two, gives these shopping complexes a comparative advantage.
(source: Dictionary of Sydney)
Perdriau‘s rubber hose line
Over the last thirty-plus years the Birkenhead Head complex has undergone several changes of ownership. Most prominently in 2004 it was bought by Singapore tycoon Denis Jen for $111M (later unloaded). Currently, Birkenhead Point Outlet Centre is owned and managed by the Mirvac Group.
Greater Union (henceforth GUT) was involved in all forms of the movie business – production, distribution and exhibition. The Bondi Studios made a few silent films in the late 1920s, like The Adorable Outcast and most notably The Term of His Natural Life which cost £60,000 and bombed badly at the box office [‘Cinesound Productions’, Sydney Morning Herald, 06-Aug-1934 (Trove).
Stuart F Doyle, GUT managing director, appointed former film publicist Ken G Hall as general manager of the newly formed Cinesound Productions. Two more Cinesound studio locations were opened, one at nearby Rushcutters Bay and the other at St Kilda (in Melbourne). Over an eight-year period (1932-40), with Hall at the helm as producer-director, Cinesound produced 17 feature films (16 of which were directed by Hall). The first of the sequence, On Our Selection, revolved round the adventures of one of Australian cinema’s most popular characters, Dad Rudd and his family. The film, benefiting from a new sound-recording system invented in Tasmania, was a box office triumph for Cinesound, earning £46,000 in Australia and New Zealand by the end of 1933, providing a tremendous fillip for the fledgling studios [Andrew Pike & Ross Cooper, Australian Film 1900-1977: A Guide to Feature Film Production, (1998)].
Cinesound and Hall exploited On Our Selection’s popularity with a series of sequels, Grandad Rudd, Dad and Dave Come to Town and Dad Rudd, MP. Of these the ‘Dad and Dave’ entry especially proved a hit, matching the profitability of the original movie.
↗ Ken G Hall (centre) with American actress Helen Twelvetrees during filming of ‘Thoroughbred’ (photo: Mitchell Library)
⬆️ Australian cinema’s long tradition of Bushranger flicks beginning with the original 1906 feature film
With the outbreak of world war Cinesound called a halt on feature film production. During the war years the studios directed all energies into making newsreels, initially covering the war against Japan and beyond that on all aspects of Australiana.
Newsreel rivalry: Cinesound Vs Movietone: t
Newsreels in Australia prior to 1956 occupied a unique place in media and communications. Before the introduction of television, cinema-goers’ exposure to newsreels (part of the “warm-up” for the main feature) were the only images Australians saw of their land – the footage of elections, natural disasters and other such events [Waverley Lib, loc.cit.]. Thus, newsreels like the Cinesound Review, with its distinctive red kangaroo symbol, were an important source of news and current affairs, and were an integral part of the cinema program [‘Cinesound Movietone Australian Newsreels’, (ASO) (Poppy De Souza), www.aso.gov.au]✙. According to Anthony Buckley, the newsreels reflected Ken G Hall’s “pride and spirited nationalism” [Buckley, A, ‘Obituary: Ken G. Hall’, The Independent (London), 17-Feb-1994].
Ken G Hall in his autobiography contended that Cinesound Productions never lost money on any feature films. Some did very well – crime drama The Silence of Dean Maitland, for instance, for an outlay of £10,000 returned takings of more than £70,000 in Australia and the UK [Graham Shirley & Brian Adams, Australian Cinema: The First Eighty Years, (1989)]. One Cinesound movie however, strictly-speaking, probably did lose money…Roy Rene’s single venture into celluloid, Strike Me Lucky, in which ‘Mo’s’ humour, robbed of it’s spontaneity in live performance didn’t translate well to the big screen and was reflected in negative critical reviews and at the box office [Film Review: ‘Strike Me Lucky’, Sydney Morning Herald, 19-Nov-1934 (Trove)]. Despite Hall’s faith in the studios’ films, from 1937 there was a decline in box office returns (prompting GUT head Doyle to resign). Another (external) factor affecting Cinesound profitability occurred in 1938 with the passing of the Cinematograph Films Act in the UK…under this legislation Australian films no longer counted as local, their removal from the British quota meant a loss of market for Cinesound and other Australian movie producers [Waverley Lib, loc.cit.].
⬆️ ‘Smithy’ star Ron Randell later pursued a career in Hollywood
