Detective Sergeant Bronson (Terry McDermott), Detective Fraser (Lex Mitchell) and Inspector Connolly (John Fegan) have three suspects for the murder of escaped prisoner Edgar Thompson. All were also suspects in an old unsolved robbery case, along with Thompson. A large sum of money from that robbery still remains hidden and the homicide detectives suspect this is the motive for the killing.
At headquarters, they interview two of their suspects, George Lister (Owen Weingott) and Teddy Harding (Ronald Quinn), with little success. Undeterred, Inspector Connolly develops a new theory. After leaving the police station, Lister follows Harding. Summary by Kate Matthews.
Here scriptwriters David Baker and Sonia Borg draw on elements of the police procedural genre and the clue-puzzle mystery tradition. Detective Connolly’s explanation of his theory invites the audience to start forming their own theories about which of the group of suspects is the murderer.
This sequence shows a transition from an interior studio-based scene, shot on video with dialogue recording, to an external location-based scene, shot on film with a voice-over. There are contrasts in both the use of sound and the tonal qualities of the footage. These differences were standard at the time. Where the studio sequence uses a static camera and is a little theatrical in feel, the location shooting is more dynamic and cinematic. Ian Jones, the director of the film sequences, makes use of a moving camera and creates a noir-ish look with light and shadow. This sequence is built around repetitions as each location is shown first with one character, then the other, passing through it. Repetition, camera motion and music create a dynamic rhythmic quality.
As with the film sequence at the beginning of the episode, a narrator explains the events in voice-over, in part a reflection of the limitations of sound technology at the time. In this case, the action seems quite self-explanatory without the voice-over: this practice of explaining action on screen that was already reasonably clear was not unusual in early episodes. The tone seems a bit of a throwback to radio drama or newsreels and may in part reflect the producer’s transition from radio to TV, as well as an audience still familiar with these conventions. Crawfords produced radio drama before the advent of television, their output including a police radio drama, D24 (1951–60).
What starts out looking like a straightforward crime committed in self-defence becomes a complicated double murder investigation and prompts homicide detectives to reopen an old file. One of the murder victims, a prison escapee, was a suspect in a robbery case that was never solved. A large stash of stolen money is still missing. The detectives suspect the hidden cash might be the motive for the murders and focus their investigation on the dead man’s suspected accomplices in the robbery.
Homicide was one of Australia’s earliest drama series and Crawford Productions’s first television cop show, produced in association with HSV7 in Melbourne (later Channel Seven). It came to be regarded as a breakthrough moment in Australian television, a hit drama series that created a demand for regular local drama programming in a medium previously dominated by US dramas. During its 12-year run, the series developed with the industry, reflecting changing technology, industry skill levels and an evolving ‘language’ of television.
‘The Decimal Point’ is episode 12, an example of the program in its earliest days. It combines scenes recorded on video in a studio with location scenes shot on film, an approach common in television in the ‘60s and ‘70s. Good quality dialogue recording was possible only in the studio-based sequences, the location-based sequences instead using narration. At the time this integration of studio and location scenes, film and video, represented an unprecedented level of complexity for its producers and for an Australian drama series. Crawford and HSV7’s previous courtroom drama series, Consider Your Verdict (1961–64), had been restricted to studio scenes, and the production’s video editing technology was very limited.
Different teams directed the film and studio scenes and there is a marked contrast between the two. Studio scenes are dialogue heavy and limited in action. An early guide for Homicide writers recommends that ‘physical action is best handled on film. It is difficult, for example, to produce even a convincing fight in the studio’ – suggesting that the range of movement of studio cameras and the limits of the sets play a part here. In contrast, without dialogue to work with but more freedom in movement and framing, the location scenes demonstrate visual dynamism and experimentation with the possibilities of the form. At the same time though, their voice-over narration has a tone reminiscent of radio drama or narrated silent newsreels. This must have been an interesting time – audiences hungry for local content on television were prepared to suspend disbelief with this rather awkward style, all the while enjoying much more technically advanced Hollywood-produced fare.
While its style now looks quite dated, features of the episode were at the time quite revolutionary. The very fact of a local crime drama was a novelty. For Melbourne viewers, recognising their own suburbs as backdrops to a cop show was a first. Detectives with Australian accents was another innovation. In a 1964 interview, star Jack Fegan acknowledged the previous trend in Australian television dramas, most of them one-off ‘plays’, for actors to adopt international accents:
For ten years, I’ve been cast as an American or an Englishman … In Homicide, we don’t have to act, we’re playing real, and natural, Australians. Too often, when a play calls for an Australian, he’s the CJ Dennis type of character who nowadays is a rarity. We hope to be able to present the average Australian as he [sic] really is … a normal person who speaks and acts in a normal way.
The last part of the episode is a courtroom scene, a common feature in early Homicide episodes. Possibly a carryover from the earlier Crawfords series Consider Your Verdict (1961–64), this early practice of concluding episodes in court was later dropped.
The episode title refers to Australia’s switch to decimal currency from the imperial monetary system (pounds, shillings and pence), which is part of the plot. ‘The Decimal Point’ first screened on HSV7 in 1965. Homicide ran for 509 episodes, from 1964–75.
Notes by Kate Matthews