Wind from the Icy Country | |
---|---|
Based on | play by Robert Amos |
Directed by | Patrick Barton |
Country of origin | Australia |
Original language | English |
Production | |
Running time | 65 mins |
Production company | ABC |
Original release | |
Release | 19 August 1964[1] | (Melbourne)
Release | 30 September 1964[2] |
Release | 16 September 1964[3] | (Brisbane)
Wind from the Icy Country is a 1964 Australian television play directed by Patrick Barton and starring Norman Kaye. [4]
A German engineer, Ehrbar, who worked in China during the war encounters a Jewish doctor in an isolated Chinese mountain village in Paoshan, in the northwest. Ehrbar breaks down in a car with his companion, Ella, who is fleeing an unhappy marriage.
Robert Amos adapted his radio play. Amos described the story as a drama on conscience in the style of Kafka. [5]
The TV critic for The Sydney Morning Herald thought that it proved that "when a play is completely focused on the working out of intense human conflicts at close range, television proves to be an excellent medium... Brian James made the doctor into a tragic and moving figure consumed by the torture of past experience." [6]
Wind from the Icy Country | |
---|---|
Based on | play by Robert Amos |
Directed by | Patrick Barton |
Country of origin | Australia |
Original language | English |
Production | |
Running time | 65 mins |
Production company | ABC |
Original release | |
Release | 19 August 1964[1] | (Melbourne)
Release | 30 September 1964[2] |
Release | 16 September 1964[3] | (Brisbane)
Wind from the Icy Country is a 1964 Australian television play directed by Patrick Barton and starring Norman Kaye. [4]
A German engineer, Ehrbar, who worked in China during the war encounters a Jewish doctor in an isolated Chinese mountain village in Paoshan, in the northwest. Ehrbar breaks down in a car with his companion, Ella, who is fleeing an unhappy marriage.
Robert Amos adapted his radio play. Amos described the story as a drama on conscience in the style of Kafka. [5]
The TV critic for The Sydney Morning Herald thought that it proved that "when a play is completely focused on the working out of intense human conflicts at close range, television proves to be an excellent medium... Brian James made the doctor into a tragic and moving figure consumed by the torture of past experience." [6]