One of the most popular memories of the Camden area by locals and visitors alike is the Camden tram, affectionately known as ‘Pansy’. It has always had an enthusiastic bunch of supporters. They positively drool about it and overlook its foibles. Old timers tell and retell Pansy stories to anyone who wants to listen.
Fans gloss over its short comings. All the stories are laced with a pinch of nostalgia and a touch of the romantic. It was a vital part of local life. So why does this old locomotive conjure up such a strident bunch of supporters?
Steam engines and locomotives bring back memories of the glory days of industrialisation and the great days of Australian nationalism in the late Victorian and early 20th century. Great monstrous engines that hissed, spat and groaned. They were mighty machines that were living beings. They had a life and soul of their own. They were responsible for creating the wealth of the British Empire. And Pansy is part of that story.
The Camden branch line was operated by the New South Wales Railways from 1882 to its closure in 1963. The Camden tram was one of a number of standard gauge light rail lines in the Sydney area. The tank locomotive worked a mixed service that took freight and passengers.
Local railway stations
The branch line was thirteen kilometres and had eight stations after leaving Campbelltown station, where it joined the Main Southern Railway. The stations were Maryfields, Kenny Hill, Curran’s Hill, Narellan, Graham’s Hill, Kirkham, Elderslie and finally arriving at Camden.
Most of the stations were no more than a short rudimentary wooden platform with a shelter shed that were unmanned. Others like Camden had a longer platform and an associated goods handling facility. Pansy 1963 on its last run Pansy was a regular part of daily life for those who lived near the line. Locals in the Camden township would listen for the loco’s whistle and know that the morning papers had arrived from Sydney. Legend has it that the engine driver would hold the train for regulars who were running late for work on their way to the city, especially local lasses.
Some of Camden’s better off families sent their children to high school at Parramatta and Homebush each morning on the train. Pansy would chug past the milk factory at the entry to Camden township as local dairy farmers were unloading their cans of milk from their horse and dray. Tourists from Sydney would be dropped off on Friday afternoon at Camden station to be bused to their holiday boarding houses in Burragorang Valley.
The first passenger service left Camden station left at 5.47am to connect with the Sydney service onthe Main Southern Line. On the return journey the last passenger service from Campbelltown left at 9.44pm. During the Second World War the tram provided transport for many servicemen (Army, RAAF) who were based at local military establishments.
Airmen from Camden airfield would catch the train to Sydney for weekend leave, and would be joined by soldiers from Narellan military base and Studley Park Eastern Command Training School. Camden station and good yards were located adjacent to Edward Street, with a siding to the Camden Vale milk factory. Coal from the Burragorang Valley mines was loaded at Camden yard from 1937, although this was transferred to Narellan in 1941 and eventually the Main Southern Line at Glenlee in the late 1950s. But even by the 1940s the limitations of the narrow gauge line for caring freight were showing cracks.
The writing was on the wall for a while
From its enthusiastic opening the tram never really lived up to its predictions. The mixed goods and passenger service was of limited value. Its light gauge restricted the loads and the grade of the line, particularly over Kenny Hill, severely limited its capabilities. Even in 1939 there were already signs of the eventual demise of the branch line with more coal leaving the district by road than rail.
Its days were numbered and the writing was on the wall. Its death blow was delivered by the Heffron ALP Government in 1963 as a cost cutting exercise and a drive from modernization of the railway system across the state. Diesel was the new god.
Railway heritage and archaeology
For current enthusiasts with a keen eye there are remnants of the embankments and cuttings for the narrow gauge line still visible in the area. As visitors leave the Camden township travelling north along Camden Valley Way (old Hume Highway) embankments, culverts and earthworks are still visible in the farm paddocks on the Nepean River floodplain.
You can make out the right of way as it crosses Kirkham Lane and heads towards Narellan before disappearing into a housing estate. For those with a sharp eye a cutting is still evident on the northern side of Narellan Road at Kenny Hill just as you take then entry ramp onto the freeway going to Sydney. It appears as a bench above the roadway and is evident for a short distance. (for details see Peter Mylrea, ‘Camden Campbelltown Railway’, Camden History March 2009, p. 254263).
A number of streets in Curran’s Hill are connected to the history of Pansy. Tramway Drive is close to the route of the train and a number of other streets are named after past railway employees, for example, Paddy Miller. The Camden Community Band celebrates the legend of Pansy in their repertoire. They play a tune called The Camden Tram written by Buddy Williams a Camden resident of the 1960s.
Visit the real thing
Are you interested in seeing the real deal? Do you want to see what all the fuss is about for yourself? Go and inspect the real Pansy: ‘the steam locomotive 2029 and a small composite multi-class 13/09/2015 The glory of steam, Pansy, the Camden tram carriage’. They are on display at the New South Wales Transport Museum and Trainworks, Barbour Rd Thirlmere NSW 2572 (02) 4681 8001
The Camden Community Band added the tune ‘The Camden Train’ to its repertoire. The lyrics tell an interesting story about Pansy, the locomotive. It was written by Camden local Buddy Williams about the time of the last run on of the train in 1963.
On a balmy late spring afternoon in central Camden a group of local people were conducting a photoshoot.
The late afternoon provided a deep even light that was ideal for the whole venture.
None were professional filmmakers. But that did not stop anyone.
The filming dodged pedestrians and was occasionally drowned out by local buses.
Historic John Street precinct
The project centred around the historic John Street precinct.
The film venture involved storytelling, great yarns, interesting characters, old buildings and lots of making do.
The location provided a rich collection of old buildings that speak about the past for those who want to listen. History enthusiasts can immerse themselves in the past in the present by walking the ground – the same streets as local identities and characters have done for decades.
This motley group wandered around a number of Camden’s old buildings – Laura Jane acted as storyteller for the 1-2 minutes historic grabs. LJ was full of passion in her completely ad lib performances. Ian listened for any gaffs – which were few and far between.
Debbie followed Laura Jane around with her handheld – tripod held – iphone camera. If she was lucky a bus didn’t drown LJ’s monologue. The roadies held all the bits and pieces – then reviewed the take and ably provided all sorts of advice – most it wisely ignored by the camera operator and storyteller.
The most challenging story was that of Henry Thompson’s Macaria from the 1870s, the ghosts and Henry’s 16 children. This is next door to the 1840s Sarah Tiffin’s cottage, one of the oldest buildings in the local area and one time lockup.
The Cawdor court house ended up in Camden in 1841 much to chagrin of Picton and Campbelltown which missed out. Next door is the 1878 police barracks which was always a site of plenty of action where miscreants were locked up in the cells to cool off.
The 1916 fire station which was really opened in 1917 was an improvement from the pig-sty in Hill Street. Next door is the modern library once the centre of learning and speeches in the town as the 1866 Camden School of Arts set up by James Macarthur.
Our storyteller and camera operator filmed a street walk outside the 1936 Bank of New South Wales building and its neighbor the 1937 banking chamber for the Rural Bank – interwar masterpieces.
The festival draws on a rich history of community festivals in the local area going back into the 1800s. The heritage of festivals is drawn from the English tradition of the village fair that came with the European settlers.
The origins of these festivals, according to Peter Hampson Ditchfield’s Old English Sports (2007), lies in ancient Saxon customs, particularly in Devonshire and Sussex, associated with ‘wassailing’ (carousing and health-drinking) to ensure the thriving of orchard trees (mainly apples) and exchanging presents.
On New Years Day village youths undertook indoor and outdoor sport to keep out the cold by ‘wholesome exercise and recreative games’. Sports included bat-and-ball, wrestling, skittles, blind-man’s-bluff, hunt the slipper, sword dancing and mumming (play acting).
In the financial year 2017–18 Australia generated $57.3 billion in direct tourism GDP representing growth of 7 percent over the previous year – three times the national GDP growth of 2.3%. Tourism also directly employed 646,000 Australians (1 in 19) making up 5.2% of Australia’s workforce.
In Australia and around the world, cultural tourism is growing. In 2015 NSW hosted over 11.4 million ‘cultural and heritage visitors’,1 both international and domestic, who spent an estimated $11.2 billion in the state, an increase of 15.4% on the previous year.
There are examples of this style in most of villages and hamlets across the local area and many isolated ones on local farms.
The name Edwardian is loosely attached to cottages and buildings erected during the reign of Edward VII from 1901 to 1910. This period covers the time after the Federation of the Commonwealth of Australia in 1901 when the six self-governing colonies combined under a new constitution. They kept their own legislatures and combined to form a new nation.
The housing style was evidence of the new found confidence of the birth of a new nation that borrowed overseas trends and adopted them to suit local conditions. These style of houses were a statement of the individualism and the national character.
The Edwardian style of housing also includes a broad range of styles including Queen Anne, Federation, Arts and Crafts and Early Bungalow. These styles often tend to be asymmetrical with a projecting from gable, can be highly decorated with detailed work to gables, windows and verandahs. Edwardian style cottages often fit between 1900 and 1920, although the style extends beyond this period influencing the Interwar style housing.
Typical Edwardian colour schemes range from apricot walls, gables and barge boards, with white lattice panelling, red roofing and green coloured windows, steps, stumps, ant caps.
A number of Camden Edwardian cottages have a projecting from room with a decorated gable. A number of been restored while others have been demolished.
Edwardian country cottages are not unique to the Camden area. Toowoomba has a host of these type of homes and published the local council publishes extensive guides explaining the style of housing and what is required for their sympathetic restoration in the online publication The Toowoomba House (2000).
Examples of Edwardian style cottages, including in and around Camden, were an Australian version of English Edwardian houses. Houses were plainer in detail, some with lead lighting in the front windows. Australian architecture was a response to the landscape and climate and the building style tells us about the time and the people who built them, how they lived and other aspects of Camden’s cultural heritage.
In the most March 2014 edition of Camden History Joy Riley recalls the Edwardian cottages in John Street. She stated:
‘I lived at 66 John Street for the first 40 years of my life before moving to Elderslie with my husband Bruce Riley. The two rooms of 66 John Street were built by the first John Peat, Camden builder, to come to Camden. In the 1960s I had some carpet put down in my bedroom, the floor boards were so hard, as they only used tacks in those days to hold carpet, the carpet just kept curling up.’ She says, ‘The back of the house was built by my grandfather, William Dunk. They lived next door at 64 John Street. He also built the Methodist Church at Orangeville or Werombi.
This housing style is often characterised by a chimney that was a flue for a kitchen fuel stove and chip copper in an adjacent laundry. In some houses plaster cornices were common, sometimes there were ceiling roses, skirting and architraves. A number of been restored while unfortunately many others have been demolished.
Some Camden Edwardian homes had walls of red brickwork, sometimes with painted render in part. While there are many examples in the local area of timber houses with square-edged or bull-nosed weatherboards. Sunshades over windows supported by timber brackets are also common across the local area.
Interwar Camden has a direct connection to a noted architect of Interwar Sydney and its architecture.
Aaron Bolot, a Crimean refugee, was raised in Brisbane and worked for a time with Walter Burley Griffin in the 1930s. He designed the 1936 brick extensions on the front of the 1890s drill hall at the Camden showground.
At the time he worked for Sydney architect, EC Pitt, who supervised construction of the new showground grandstand in 1936 and agricultural hall extensions (Camden News, 19 September 1935).
Bolot’s work and that of many other Sydney’s architects is found in photographer Peter Sheridan’s Sydney Art Deco. Sheridan has created a stunning coffee table book highlighting Sydney’s under-recognised Art Deco architectural heritage. The breadth of this Interwar style covers commercial and residential buildings, cinemas and theatres, hotels, shops, war memorials, churches, swimming pools and other facets of design.
Bolot’s work at Camden was a simple version of the more complex architectural work that he was undertaking around the inner Sydney area, for example, The Dorchester in Macquarie Street Sydney (1936), The Ritz Theatre in Randwick (1937) the Ashdown in Elizabeth Bay (1938) and other theatres.
1936 Extension Camden Agricultural Hall
The brick extensions to the agricultural hall were part of general improvements to the showground and works were finished in time for the 1936 Jubilee Show. The report of the show stated:
The new brick building in front of the Agricultural Hall, erected in commemoration of the jubilee, proved a wonderful acquisition, and its beautiful external appearance was, only a few days before the show, added to ‘by the erection of a neat and appropriate brick and iron fence joining that building with the Memorial Gates, * and vastly, improving the main pedestrian entrance to the showground. The fitting of this new room withstands and fittings for the exhibition of ladies’ arts and crafts, was another outlay that added to the show’s attraction. (CN2April1936)
The hall extensions were specifically designed to a similar style as the Memorial Gates erected in 1933 in memory to GM Macarthur Onslow (d. 1931) and paid for by public subscription. It was reported that they would add ‘attractively to the Showground entrance’. (CN19Sept1935)
The hall extensions were 50 feet by 23 feet, after 5 feet was removed from the front of the former drill hall. A central doorway was to be a feature and there would be ‘main entrance porch leading direct to the big hall on the Onslow Park side of building’. (CN19Sept1935)
The hall extension cost £400 (CN19Mar1936) and was to be built to mark the 1936 Jubilee Show (50th anniversary). It was anticipated that the new exhibition space could be used for the
ladies’ arts and crafts section, such as needlework, cookery; be used for the secretary’s office prior to the show; a meeting place for committees; and in addition provide a modern and up to date supper room at all social functions. (CN19Sept1935).
The approval of the scheme was moved at the AH&I meeting by Dr RM Crookston and seconded by WAE Biffin and supported by FA Cowell. The motion was unanimously carried by the meeting. The committee agreed to seek finance from the NSW Department of Labour and Industry at 3% pa interest. (CN19Sept1935)
The RANZ conference covered a number of themes related national identities ranging across cultural, feminine, environmental, transnational and linguistic perspectives with a particular emphasis on memory, trauma and the image. Many of the papers would not have been out of place at the annual Australian Historical Association Conference.
The ‘Australian western’ and its display in film was an interesting theme that appeared in a number of papers. There were a strong interest in Pacific Islander, Maori and Aboriginal literature, art and performance across a range of presentations.
I presented my paper ‘An Australian country girl goes to London’ about the travels of Shirley Dunk in 1954, followed by a lively discussion with a number of conference delegates. My presentation raised a number of questions about this type of counter-migration story and what were these young women were seeking in their lives through their journeys. Were they searching for a greater truth about the forces that drove their ancestors to Australia?
Polish migrants came to Australia after the Second World War seeking a utopia in a new land and sometimes it failed to materialise. Their own dark clouds created ghosts that have haunted later generations of their family. One delegate suggested to me that this was also an issue from some families in Poland.
A less than flattering critique of the Australia migration story emerged at the conference in the form of a special issue of Anglica. The journal editor argues that Australia’s image as a successful model of multiculturalism has been destroyed by increasing intolerance and nationalism. A rather ‘disturbing and ugly face’ of Australia has emerged in a ‘semi-mythical multicultural paradise’.
Dark history and the power of the past
Poland’s deep past and dark history manifested itself in unexpected ways during my visit. The overwhelming presence of the Second World War, particularly in Warsaw, was a new experience for me. It brought into sharp focus the contested nature of my subjectivity and the need for objectivity in this personal reflection. It is a conundrum that has exercised my mind here, as it has done for many other historians on other occasions.
The Second World War lays over Poland like a blanket and its presence is everywhere. The city of Warsaw is like a field of monuments and the city’s dark history is ever present in the view of the visitor. The past haunts the present in ways that are hard to understand without walking the city streets. Yet paradoxically the city’s dark history is invisible in the mind of many tourists as they walk around the reconstructed old city.
The rebuilt city is a metaphor for the resilience of the Polish people and their ability to be able to redefine themselves in the face of adversity. Polish cultural identity that has been shaped by the war is fundamental to the construction of place in Warsaw, Krakow and elsewhere.
I should note that one conference delegate requested that I ‘be kind to the city’ in my reflections of Warsaw. I would suggest that the city needs to be kinder to itself.
For those in the English-speaking world there are numerous silences in the stories of wartime Poland and its reconstruction. Some of these silences are the result of the hegemony around the ownership of the wartime narrative. The shape and conduct of 20th century German and Russian colonialism are not widely understood in Australia. There is a similar lack of understanding surrounding the role of European modernism and particularly Russian constructivism in the reconstruction of Polish cities.
The horrors of the past haunt the present
The consequences of 20th century German colonialism are plain for all to see at Auschwitz and Birkenau with their industrial scale slaughter. For this Australian the ghosts of these Polish wartime memorials reminded me of the convict ruins at Norfolk Island and other sites.
Yet paradoxically the sacredness of Auschwitz and Birkenau are smothered by an industrial scale tourism that typifies many European tourist attractions. There is a feel of a theme park with the lengthy queues, crowded displays and constant shoving. The memorial is loved to death.
Like travellers of old new experiences are one of the benefits of my journey to Poland. There are parallels with the story of young Australian women who travelled to London including: new perspectives; new experiences; and new challenges. Like these young Australian women it has hopefully resulted in: greater empathy; greater understanding; and greater ability to cope with life’s challenges.
The Camden story is an ongoing project that aims to tell the untold stories of the Camden, Cowpastures and Macarthur districts. There is the telling, the learning and the showing of the story.
The project is constantly evolving and changing direction. It is centred around the construction of place and the meaning of landscape. These are culturally derived concepts from both Indigenous and European experiences.
There are the natural ecologies that make up the environment as well as atmospheric and geological elements. The natural elements are just as important as the cultural.
Complexities of the Camden story
The Camden story has its own complexities. There is no one single dominant narrative. There are many voices in the story and each has a right to be heard.
There are many threads to the Camden story and when woven together make a coherent story with many voices. The weave of the cloth represents the warp and weft of the daily lives of the actors on the stage. Together they create a vibrant design that can capture the imagination of many and inspire others.
There are many actors in the constantly evolving narrative, each with their own agenda. The story is played on a stage that is located on Sydney’s rural-urban fringe, a dynamic movable frontier on the city’s edge. It is a constantly changing and evolving cultural landscape.
There are many layers to the Camden story each with its own particularities. As each layer is peeled back it reveals memories and meanings from the past that influence the present. Those who are interested can dive into the many layers and help unravel the entangled threads of the web and give some clarity to their meaning within the story.
The Camden story is a journey that is constantly evolving with many signposts along the way. There are a lot of fellow travellers who have their own stories. There are many pathways and laneways to go down, each with its own meaning and memories to the travellers who come along for the journey.
The Camden story has its own road map of sorts with signposts and markers of significant places along the journey for those who want to look. There are many opportunities for those who want embark on this journey and uncover many of the undiscovered mysteries of the Camden story.
It is in the interests of those who want to tell the story that they walk the ground in which the story is embedded. The landscape speaks to those who want to listen. The experience is enriching and fulfilling and shapes the telling of the story.
Some parts of the Camden story
The Camden story has many parts and some are listed below:
This is a short history of the town, which is situated on the floodplain of the Nepean River, on the traditional land of the Dharawal people in an area known as the Cowpastures. The Camden area’s distinctive landscape has moulded the community’s identity and sense of place. From the earliest days of European settlement class and social networks ordered daily life in the village with the local gentry at the top of the social hierarchy.
The Camden district ran from the Main Southern Railway around the estate village of Menangleinto the gorges of the Burragorang Valley in the west. It was a concept created by the links between peoples’ social, economic and cultural lives across the area. The district became the centre of people’s daily lives for well over a century and the basis of their sense of place and community identity.
This short historiography is one of the few that has been attempted to illustrate the construction of the history of a rural community. It is an attempt to examines the broad range of influences that shaped the writing of the Camden community’s history.
Movie makers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations. From the 1920s the area has been used by a series of film makers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers.
The Camden bibliography is an attempt to highlight some of the research that addresses the notion of Camden as a country town and the subsequent urbanisation of the local government area. The sources listed in the bibliography cover the geographic area of the Camden district.
The Cowpastures emerged as a regional concept in the late 18th century starting with the story of the cattle of the First Fleet that escaped their captivity at the Sydney settlement. The region was a culturally constructed landscape that ebbed and flowed with European activity. It grew around the government reserve established by Governors Hunter and King. It then developed into a generally used locality name centred on the gentry estates in the area.
The story of European settlement in the Cowpastures is intimately connected to the story of the convicts and their masters. This story has not been told and there is little understanding of the role of the convicts in the Cowpastures district before 1840. Who were they? What did they do? Did they stay in the district?
Kirkham is a picturesque, semi-rural locality on Sydney’s rural-urban fringe between the historic township of Camden, with its inter-war and colonial heritage and the bustling commercial centre of Narellan. The arrival of the rural-urban fringe at Kirkham in recent decades has created a contested site of tension and constant change, resulting in an ever-evolving landscape. This is an example of a short locality history within the local area published by the Dictionary of Sydney.
Early European settlers were the key actors in a place-making exercise that constructed an English-style landscape aesthetic on the colonial stage in the Cowpastures district of New South Wales. The aesthetic became part of the settler colonial project and the settlers’ aim of taking possession of territory involving the construction of a cultural ideal from familiar elements of home in the ‘Old Country’. The new continent, and particulaly the bush, had the elements of the Gothic with its grotesque and the demonic, and the landscape aesthetic was one attempt to counter these forces. Settlers used the aesthetic to assist the creation of a new narrative on an apparenty blank slate and in the process dispossessed and displaced the Indigenous occupants. The new colonial landscape was characterised by English place-names, English farming methods and English settlement patterns, with only cursory acknowledgement of Indigenous occupation.
The rural-urban fringe is a dynamic frontier, an ever expanding zone of transition on the edges of Australia’s major cities and regional centres. This paper examines the proposition that Sydney’s urban growth has pushed the city’s rural-urban fringe into the countryside and unleashed the contested nature of place-making in and around the
country town of Camden. It will be maintained that the dynamic forces that characterise the rural-urban frontier have resulted a collision between the desires and aspirations of ‘locals’ and ‘outsiders’ and prompted a crisis in the identity of place. Community icons
and rituals have become metaphors for the continuity of values and traditions that are embedded in the landscapes of place. The actors have used history and heritage, assisted by geography and aesthetics, to produce a narrative that aims to preserve landscape identity, and has created a cultural myth based on a romantic notion of an idealised
country town drawn from the past, ‘a country town idyll’.
What’s in a name? Quite a lot if you live in the fringe urban communities of Campbelltown, Camden or Picton in the Macarthur district on Sydney’s rural-urban fringe. In the past these communities have been fiercely parochial country towns with clearly identifiable differences based on history, heritage, traditions, mythology, rituals, demographics, local government and a host of other factors. With the encroachment of Sydney’s urban sprawl they have been wrapped up by the tentacles of the metropolitan octopus and faced challenges on a variety of fronts. The questions that this article raises concern Macarthur regionalism. Is it authentic? How representative is it of the former country towns that are now incorporated within it?
The Nepean River is one of the most important waterways in the Sydney basin and has particular significance for Sydney’s southwestern rural-urban fringe. The Nepean River catchment extends south and east of the Sydney Basin to take in areas near Robertson and Goulburn. West of Wollongong the tributaries includng Cataract Creek, Avon River, Cordeaux River that flow north-west and then into the deep gorges of Pheasants Nest and Douglas Park. The river opens up into a floodplain and flows past Menangle and crosses the Cowpastures and southern Cumberland Plain past Camden and Cobbitty. The river then flows north through the gorge adjacent to Wallacia and enters Bents Basin before it is joined by the Warragamba River and changes its name to the Hawkesbury River.
Camden is a country town whose history and development has been influenced by war. The town was part of Australia’s homefront war effort, and from the time of the Boer War the most important part of this for Camden was volunteering. The Second World War was no exception, and the most influential voluntary organisation that contributed to the town’s war effort was the Womens Voluntary Services [WVS]. The Camden WVS was part of a strong tradition of Victorian female philanthropy in the town, which attracted, and depended on, middle class women socialised in Victorian notions of service, ideals of dependence, a separatedness of spheres, patriarchy, the status quo, and by the inter-war period, modernity.
On 21 October 2004 the former Member for Camden, Dr Elizabeth (Liz) Kernohan, died after suffering a heart attack. She was sixty- five. Thousands of people lined Argyle Street in Camden to see the cortege and pay their last respects, I and compliments flowed from both sides of New South Wales politics. There were over 1850 column centimetres devoted to her death and subsequent funeral in the local press. Kernohan was a popular, larger than life figure in Camden. She held the seat of Camden for the Liberal party for over 11 years in an area that some have claimed is the key to the success of the Howard Government. How was Kernohan able to gain this type of support? This paper will try to address this question, although initially it is useful to give a brief overview of the electorate.
A notable part of Camden modernism that has disappeared is the drive-in movie theatre. The Narellan Gayline Drive-in Movie Theatre was one of the notable attractions in the local area between the 1960s and 1980s located on Morshead Road, Narellan (now Narellan Vale). Along with rock ‘n roll, transistor radios, the bikini, the mini-skirt, it marked the lifestyle of the baby boomers. Always popular with teenagers and young families. The drive-in movie theatre was a defining moment in the district for a 20th century culture that was based around the icons of the period: cars and movies.
Catherine Fields once boasted a national tourist facility which attracted thousands of visitors a year to the local area, the El Caballo Blanco entertainment complex. The El Caballo Blanco complex opened in April 1979 at Catherine Fields. The main attraction was a theatrical horse show presented with Andalusian horses, which was held daily in the large 800-seat indoor arena.
The Camden Country Women’s Association made camouflage nets during the Second World War and was the largest netting centre in the area. The Camden CWA camouflage netting centre was assisted by sub-branches at Campbelltown and Narellan, which were established after the joint CWA-WVS meeting in December 1941.
One of the most popular memories of the Camden area by locals and visitors alike is the Camden branch line and its famous locomotive Pansy. It has a truly dedicated and enthusiastic bunch of supporters who positively drool about it and overlook its foibles. Old timers tell and retell stories to anyone who wants to listen, all laced with a pinch of exaggeration and the romantic. A part of local nostalgia. The Camden branch line was operated by the New South Wales Railways from 1882 to its closure in 1963.
Oran Park Raceway was doomed in 2008 to be part of history when it was covered with houses in a new suburb with the same name. It was also the name of a former pastoral property that was part of the story of the settler society within the Cowpastures. The locality is the site of hope and loss for both locals and new arrivals. The Oran Park Motor Racing Circuit was located in the south-western and western part of the original Oran Park pastoral estate. The main grand prix circuit was 2.6 km long with a mixture of slow, technical and fast sweeping corners as well as changes in elevation around the track.
This post was prompted by an item in the Oran Park Gazette, an A4 newsletter newspaper. Gazette journalist Lisa Finn-Powell asked: What is the future of the community newspaper? The local ‘rag’ in our suburb is a free tabloid newspaper thrown onto our front driveway each week. Actually there are two of them, the Camden Narellan Advertiser and the Macarthur Chronicle. Where I live some of these newspapers stay on the neighbour’s driveway for weeks and disintegrate into a mess. Other neighbours just put them in the bin. So not everyone is a fan of the local ‘rag’ in the age of Snapchat, Instagram and Facebook.
The members of 32 Squadron arrived in Camden Airfield in September 1942 after seven months of hazardous operational duties supporting Allied Forces in New Guinea and the surrounding area, including New Britain. The squadron had been ‘hastily formed in the field’ in February 1942 with personnel drawn from other units. The squadron’s operational duties at Camden Airfield included reconnaissance and sea patrols off the east coast of Australia.
Once the army moved into Narellan Military Camp it commenced operation and became part of the wartime scene during WW2. Men were seen marching all over the district, there were mock raids and the men practiced firing small arms. The camp is an important part of the story of Narellan during war as thousands of men, and some women, moved through the camp on their way to somewhere in the theatre that was the Second World War.
Supermarkets are one of the ultimate expressions of modernism. The township of Camden was not isolated from these global forces of consumerism that originated in the USA. The Camden community was bombarded daily with American cultural influences in the form of movies, motor cars, drive-in, motels, TV, and radio. Now consumerism was expressed by the appearance of self-service retailing and the development of the supermarket.
The local milk bar is a largely unrecognized part of Camden modernism where the latest trends in American food culture made their way into the small country town by Australian-Greek immigrants. The design, equipment and fit-out of local cafes and milk bars was at the cutting edge of Interwar fashion. The cafes were a touch of the exotic with their Art Deco style interiors, where fantasy met food without the social barriers of daily life of the Interwar period. Camden milk bars rarely just sold milk shakes unlike their counterparts in the city. To make a living and ensure that their businesses paid their way the cafes and milk bars also sold fruit and vegetables, meals, sandwiches, lollies, sweets and chocolates.
The interwar period in Camden was a time of economic development and material progress. The prosperity of the period was driven by the local dairy industry and the emerging coal industry. During the interwar period one of the most important economic arteries of the town was the Hume Highway (until 1928 the Great South Road). For a country town of its size the town had modern facilities and was up-to-date with the latest technology. The interwar years were a period of transition and increasingly the motor car replaced the horse in town, and on the farm the horse was replaced by the tractor, all of which supported the growing number of garages in the town.
Movie makers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations.
From the 1920s the area has been used by a series of film makers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers. They wrote stories of quaint English style villages with a church on the hill, charming gentry estates down hedge-lined lanes, where the patriarch kept contented cows in ordered fields and virile stallions in magnificent stables. This did not go un-noticed in the film industry.
One of the first was the 1921 silent film Silks and Saddles shot at Arthur Macarthur Onslow’s Macquarie Grove by American director John K Wells about the world of horse racing. The film was set on the race track on Macquarie Grove. The script called for a race between and aeroplane and race horse. The movie showed a host good looking racing blood-stock. There was much excitement, according to Annette Onslow, when an airplane piloted by Edgar Percival his Avro landed on the race course used in the film and flew the heroine to Randwick to win the day. Arthur’s son Edward swung a flight in Percival’s plane and was hooked on flying for life, and later developed Camden Airfield at Macquarie Grove.
Camden film locations were sought in 1931 for director Ken G Hall’s 1932 Dad and Dave film On Our Selection based on the characters and writings of Steele Rudd. It stars Bert Bailey as Dan Rudd and was release in the UK as Down on the Farm. It was one the most popular Australian movies of all time but it was eventually shot at Castlereagh near Penrith. The movie is based of Dan’s selection in south-west Queensland and is about a murder mystery. Ken G Hall notes that of the 18 feature films he made between 1932 and 1946 his film company used the Camden area and the Nepean River valley and its beauty for location shooting. The films included On Our Selection (1936), Squatter’s Daughter (1933), Grandad Rudd (1934), Thoroughbred (1935), Orphan of the Wilderness (1936), It Isn’t Done (1936), Broken Melody (1938), Dad and Dave Come to Town (1938), Mr Chedworth Steps Out (1938), Gone to the Dogs (1939), Come Up Smiling (1939), Dad Rudd MP (1940), and Smith, The Story of Sir Charles Kingsford Smith (1946).
The Camden district was the location of two wartime action movies, The Power and The Glory (1941) and The Rats of Tobruk (1944). The Rats of Tobruk was directored by Charles Chauvel and starred actors Chips Rafferty, Peter Finch and Pauline Garrick. The story is about three men from a variety of backgrounds who become mates during the siege at Tobruk during the Second World War. The movie was run at Camden’s Paramount movie palace in February 1945. The location for parts of the movie were the bare paddocks of Narellan Vale and Currans Hill where they were turned into a battleground to recreated the setting at Tobruk in November 1943. There were concerns at the time that the exploding ammunitions used in the movie would disturb the cows. Soldiers were supplied from the Narellan Military Camp and tanks were modified to make them look like German panzers and RAAF Camden supplied six Vultee Vengeance aircraft from Camden Airfield which were painted up to look like German Stuka bombers. The film location was later used for the Gayline Drive In. Charles Chauvel’s daughter Susanne Carlsson who was 13 years old at the time reported that it was a ‘dramatic and interesting time’.
The second wartime movie was director Noel Monkman’s The Power and The Glory starring Peter Finch and Katrin Rosselle. The movie was made at RAAF Camden with co-operation of the RAAF. It is a spy drama about a Czech scientist who discovers a new poison gas and escapes to Australia rather than divulge the secret to the Nazis. Part of the plot was enemy infiltration of the coast near Bulli where an enemy aircraft was sighted and 5 Avro-Anson aircraft were directed to seek and bombed the submarine. The Wirraway aircraft from the RAAF Central Flying School acted as fighters and it was reported that the pilots were ‘good looking’ airmen from the base mess. There was a private screening at Camden’s Paramount movie theatre for the RAAF Central Flying School personnel.
Camden Park was used as a set for the internationally series of Smiley films, Smiley made in 1956 and in 1958 Smiley Gets a Gun in cinemascope. The story is about a nine-year old boy who is a bit of rascal who grows up in a country town. They were based on books by Australian author Moore Raymond and filmed by Twentieth Century Fox and London Films. Raymond set his stories in a Queensland country town in the early 20th century and there are horse and buggies and motor cars. The town settings were constructed from scratch and shot at Camden Park, under the management of Edward Macarthur Onslow. The movies stars included Australian Chips Rafferty and English actors John McCallum and Ralph Richardson. Many old time locals have fond memories of being extras in the movies. Smiley was released in the United Kingdom and United States.
In 1999 Camden airfield was used as a set for the television documentary The Last Plane Out of Berlin which was the story of Sidney Cotton. Actor Geoff Morrell played the role of Cotton, who went to England in 1916 and became a pilot and served with the Royal Naval Air Service during the First World War. He is regarded as the ‘father of aerial photography’ and in 1939 was requested to make flights over Nazi Germany in 1939. Camden Airfield was ‘perfect location’ according to producer Jeff Watson because of its ‘historic’ 1930s atmosphere.
In 2009 scenes from X-Men Origins: Wolverine were filmed at Camden and near Brownlow Hill.
In 2010 filmmaker Sandra Pyres of Why Documentaries produced a number of short films in association for the With The Best of Intentions exhibition at The Oaks Historical Society. The films were a montage of contemporary photographs, archival footage and re-enactments by drama students of the stories of child migrants. The only voices were those of the child migrants and there were many tears spilt as the films were screened at the launch of the exhibition.
In 2011 scenes from director Wayne Blair’s Vietnam wartime true story of The Sapphires were filmed at Brownlow Hill starring Deborah Mailman, Jessica Mauboy and Chris O’Dowd. This is the true story of four young Aboriginal sisters who are discovered by a talent scout who organises a tour of American bases in Vietnam. On Brownlow Hill a large stage was placed in the middle of cow paddock and draped with a sign that read ‘USC Show Committee presents the Sapphires’ and filming began around midnight. The cows were herded out of sight and the crew had to be careful that they did not stand of any cowpats. Apparently Sudanese refugees played the role of African American servicemen of the 19th Infantry Division.
The romantic house of Camelot with its turrets, chimney stacks and gables, was built by racing identity James White and designed by Horbury Hunt was the scene of activity in 2006 and 2007 for the filming of scenes of Baz Luhrman’s Australia, starring Nicole Kidman and Hugh Jackman. The location shots were interior and exterior scenes which involved horse riding by Kidman and Jackman. The film is about an aristocratic woman who leaves England and follows her husband to Australia during the 1930s, and live through the Darwin bombing by the Japanese in the Second World War.
Camelot was a hive activity for the filming of the 1950s romantic television drama A Place to Call Home produced by Channel 7 in 2012. Set in rural Australia it is the story of a woman’s journey ‘to heal her soul’ and of a wealthy family facing changes in the fictional country town of Inverness in the Bligh family estate of Ash Park. Starring Marta Dusseldorp as the mysterious Sarah and Noni Hazlehurst as the family matriarch Elizabeth, who has a number of powerful independently wealthy women who paralleled her role in Camden in time past on their gentry estates. The sweeping melodrama about hope and loss is set against the social changes in the 1950s and has close parallels to 1950s Camden. The ‘sumptuous’ 13 part drama series screened on television in 2013 and according to its creator Bevin Lee had a ‘large-scale narrative’ that had a ‘feature-film feel’. He maintained that is was ‘rural gothic’, set in a big house that had comparisons with British television drama Downton Abbey.
The 55-room fairytale like mansion and its formal gardens were a ‘captivating’ setting for A Place to Call Home, according to the Property Observer in 2013. Its initial screening was watched by 1.7 million viewers in April 2013. The show used a host of local spots for film sets and one of the favourite points of conversation ‘around the water-cooler’ for locals was the game ‘pick-the-place’. By mid-2014 Channel 7 had decided to axe the series at the end of the second series. There was a strong local reaction and a petition was circulating which attracted 6000 signatures to keep the show on air. In the end Foxtel television produced a third series with the original caste which screened in 2015.
Camden airfield was in action again and used as a set for the Australian version of the British motoring television show Top Gear Australian in 2010. Part of the show are power laps in a ‘Bog Standard Car’ were recorded on parts of the runways and taxiways used as a test track.
Camden Showground became the set for Angelina Jolie’s Second World War drama Unbroken in 2013. The main character Louis Zamperini, a former Olympic runner, and Onslow Park was used as part of the story of his early life as a member of Torrance High School track team. The movie is about Zamperini’s story of survival after his plane was shot down during the Pacific campaign. The filming caused much excitement in the area and the local press gave the story extensive coverage, with the showground was chosen for its historic atmosphere. Camden mayor Lara Symkowiak hoped that the movie would boost local tourism and the council was supportive of the area being used as a film set. The council had appointed a film contact officer to encourage greater use of the area for film locations.
Edwina Macarthur Stanham writes that Camden Park has been the filming location for a number of movies, advertisements and fashion shoots since the 1950s. They have included Smiley (1956), Smiley Gets a Gun (1958), Shadow of the Boomerang (1960) starring Jimmy Little, My Brilliant Career (1978) was filmed in Camden Park and its garden and surrounds, and The Empty Beach (1985) starring Bryan Brown, House Taken Over (1997) a short film written and directed by Liz Hughes which used lots of scenes in the house. In the 21st century there has been Preservation (2003) described a gothic horror movie starring Jacqueline Mackenzie, Jack Finsterer and Simon Bourke which used a lot of the scenes filmed in the house.
In 2005 Danny De Vito visited Camden Park scouting for a location for a movie based on the book “The True Confessions of Charlotte Doyle”. In Sleeping Beauty (2010) an Australian funded film was shot at Camden Park and the short film La Finca (2012). In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In 2015 the Camden Historical Society and filmmaker Wen Denaro have combined forces to telling the story of the Chinese market gardeners who settled in Camden in the early twentieth century. The project will produce a short documentary about the Chinese market gardeners who established vegetable gardens along the river in Camden and who supplied fresh product to the Macarthur and Sydney markets.
In 2015 an episode of the Network Ten TV show of The Bachelor Australia was filmed at Camden Park in August 2015. They showed scenes of the Bachelor Sam Wood taking one of the bachelorette Sarah on a romantic date to the colonial mansion Camden Park. There were scenes of the pair in a two-in-hand horse drawn white carriage going up and down the driveway to the Camden Park cemetery on the hill overlook the town. There were scenes in the soft afternoon sunlight of the couple having a romantic high-tea on the verandah of Camden Park house with champagne and scones and cup cakes. In the evening there were floodlit images of the front of Camden Park house from the front lawn then scenes of the couple in the sitting room siting of the leather sofa sharing wine, cheese and biscuits in front on an open fire and candles. Sarah is gobsmacked with the house, its setting and is ‘amazed’ by the house’s colonial interior.
In 2018 a children’s film Peter Rabbit was been filmed in the Camden district. The movie is based on Beatrix Potter’s famous book series and her iconic characters. The special effects company Animal Logic spent two days on the shoot in Camden in January 2017. The first scene features the kidnap of the rabbit hero in a sack, throwing them off a bridge and into the river. For this scene the Macquarie Grove Bridge over the Nepean River was used for the bridge in the movie. According to a spokesman the reason the Camden area was used was because it fitted the needed criteria. The movie producers were looking for a location that screamed of its Englishness. Camden does that and a lot more dating back to the 1820s. The movie is set in modern day Windermere in the English Lakes District. The location did not have to have too many gum trees or other recognisable Australian plants. John and Elizabeth Macarthur would be proud of their legacy – African Olives and other goodies. Conveniently the airport also provided the location for a stunt scene which uses a bi-plane. The role of the animators is to make Australia look like England.
In August 2018 the colonial Cowpastures homestead of Denbigh at Cobbitty was the set for popular Australian drama series Doctor Doctor. The series is about the Knight family farm and the show star is Roger Corser who plays doctor Hugh Knight. He said, ‘
The homestead is a real star of the show. The front yard, the dam and barn brewery on the property are major sets – I don’t know what we would do without them.
The show follows the high-flying heart surgeon and is up to season three. Filming lasted three months and the cast checked out the possibilities of the Camden town centre. Actor Ryan Johnson said that Denbigh ‘made the show’.
Denbigh homestead was originally built by Charles Hook in 1818 and extended by Thomas and Samuel Hassell in the 1820s.
In late 2018 the TV series Home and Away has been using the haunted house at Narellan known as Studley Park as a set for the program. The storyline followed three young characters going into the haunted house and staying overnight. They go into a tunnel and a young female becomes trapped. Tension rises and the local knock-about character comes to their rescue and he is a hero. The use of the set by the TV series producers was noted by Macarthur locals on Facebook.
Studley Park has recently been written up in the Camden-Narellan Advertiser (4 August 2017) as one of the eight most haunted places in the Macarthur region. Journalist Ashleigh Tullis writes;
Studley Park House, Camden
This impressive house was originally built by grazier William Payne in 1889. The death of two children has earned the house its haunted reputation.
In 1909, 14-year-old Ray Blackstone drowned in a dam near the residence. His body is believed to have been kept at the house until it was buried.
The son of acclaimed business man Arthur Adolphus Gregory died at the house in 1939 from appendicitis. His body was kept in the theatrette.
In 2019 movie-making in area continues with the 4th series of Doctor Doctor. Wikipedia states of the plot line:
Doctor Doctor (also known outside of Australasia as The Heart Guy) is an Australian television drama that premiered on the Nine Network on 14 September 2016. It follows the story of Hugh Knight, a rising heart surgeon who is gifted, charming and infallible. He is a hedonist who, due to his sheer talent, believes he can live outside the rules.
Camden was used as one location along with the historic colonial property of Denbigh. Mediaweek stated in 2016 (Sept 9):
The regional setting for the series has proven to be a benefit for narrative and practical production reasons. While all of the hospital scenes were filmed in a hospital in the Sydney inner-city suburb of Rozelle, exterior shooting took place in Mudgee, with filming of Knight’s home was shot in Camden. In addition to $100,000 worth of support from the Regional Filming Fund, the regional setting delivers a unique authenticity to the series that it would otherwise lack.
Sometimes the local area is used a set for an advertising campaign by a fashion label or some other business. The owners of Camden Park House posted on Facebook in August 2019 that the house and garden were used as a set by the Country Road fashion brand.