Whiplash

1961
Whiplash

Seasons & Episodes

  • 1

EP1 Convict Town Feb 18, 1961

Big Tom Ledward rules his settlement with a rod of iron much to his son, Dan Ledward, distaste and is determined to stop Cobb opening a new stage route.

EP2 Rider On The Hill Feb 25, 1961

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EP3 The Legacy Mar 06, 1961

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EP4 The Other Side of the Swan Mar 11, 1961

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EP5 Episode In Bathurst Mar 25, 1961

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EP6 Twisted Road Apr 01, 1961

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EP7 The Twisted Road Apr 01, 1961

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EP8 Actress Apr 15, 1961

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EP9 The Actress Apr 15, 1961

Mike Upton waylays Cobb's coach and kidnaps an attractive actress riding as a passenger. Cobb has to rescue her, and when they run into some angry gold miners, she is forced into the performance of her life.

EP10 Remittance Man Apr 29, 1961

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EP11 The Remittance Man Apr 29, 1961

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EP12 Solid Gold Brigade May 13, 1961

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EP13 Stage For Two May 20, 1961

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EP14 Bone That Whispered May 27, 1961

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EP15 The Bone That Whispered May 27, 1961

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EP16 The Day of the Hunter Jun 05, 1961

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EP17 The Canoomba Affair Jun 17, 1961

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EP18 The Rushing Sands Jun 24, 1961

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EP19 Hunters Jul 08, 1961

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EP20 The Hunters Jul 08, 1961

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EP21 Portrait In Gunpowder Jul 22, 1961

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EP22 A Portrait of Gunpowder Jul 22, 1961

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EP23 Wreckers Aug 05, 1961

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EP24 The Wreckers Aug 05, 1961

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EP25 Flood Tide Aug 19, 1961

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EP26 Dilemna Wool Aug 26, 1961

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EP27 A Dilemma in Wool Aug 26, 1961

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EP28 Magic Wire Sep 09, 1961

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EP29 The Magic Wire Sep 09, 1961

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EP30 The Haunted Valley Sep 16, 1961

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EP31 Secret Of The Screaming Hills Sep 30, 1961

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EP32 Act Of Courage Oct 07, 1961

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EP33 Adelaide Arabs Oct 14, 1961

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EP34 The Adelaide Arabs Oct 14, 1961

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7.9| 0h30m| en| More Info
Released: 18 February 1961 Ended
Producted By:
Country: Australia
Budget: 0
Revenue: 0
Official Website:
Synopsis

Whiplash is a British/Australian television series made by the Seven Network and ATV and ITC Entertainment. Filmed in 1959-60, the series was first broadcast in September 1960 in the United Kingdom followed by Australia in February 1961 and had opening titles featuring the Australian locale and terrain and a dozen wild kangaroos as a Cobb & Co stage passed pulled by a team of five horses driven by Cobb himself.

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FilmFlaneur Whiplash is a little known, largely forgotten ITC television series, a co-production from the 60's. It features Peter Graves – more famous through his later association with the original Mission Impossible – as hero Christopher Cobb. He's an American immigrant in 1840-50's Australia who owns and manages a stage line - a life apparently very loosely based on an actual business which ran between Melbourne and the Victorian goldfields. Each 30 minute episode of Whiplash deals with the travails and tribulations surrounding his endeavour, in which Cobb frequently has to fight for his business and his life.Whiplash was a result of ITC seeking new entertainment fields to conquer after the success of such earlier programmes as William Tell, The Buccaneers and The Aventures of Robin Hood, all of which had fared well in the important American market. No doubt this was allied to encouraging familiarity with successful 50's stateside western shows, such as Wagon Train. Shot as a co production at Australia's Atransa Studios as well as on location, Whiplash tried the interesting step of appealing to the transatlantic audience in particular by setting what, in effect, is a western scenario in the Antipodes. This was not the first time it had been tried, in The Sundowners (1960) for instance, Robert Mitchum and Deborah Kerr starred as sheep drovers down under, perhaps was another inspiration for the 1961 TV show.Interestingly, the stories making up the 34 episodes of Whiplash steer clear of what would seem an obvious choice of subject: that of Cobb's initial arrival and earliest attempts at making his way in the country. Instead we join the hero with his enterprise already fairly well established. In the first episode for instance, 'Convict Town' we see Cobb first encounter the young friend Dan (Anthony Wickert) who was to make a regular appearance in support on the show. Dan – who wears for the first and only time a distracting hick-style straw hat – after some initial doubts proves himself and is offered regular employment with a company that's already opening roads, and with more than one office and employees.The effect of this 'pre-establishment' of Cobb & Co is to remove the main source of drama away from the birth pangs of a fledgling, civilising business and place it elsewhere, noticeably in the free-ranging Cobb's various encounters which may, or may not prove closely connected with his stagecoach line. But throughout such latitudes Cobb himself is always beyond reproach, remaining a strong and reliable outsider in a small community someone who, although an outsider, has the ability to see things afresh and offer a unique input. Watching Whiplash today one is reminded sometimes of another, highly successful series from just a couple of years before: The Rifleman. This too featured a strong man fighting for his right to settle in and then make his way in a small (western) community, and one who had a trademark weapon at his skillful disposal. But Cobb's whip makes fewer appearances than The Rifleman's famous, modified, firearm and it has to be said that Graves brings to his central role none of the dangerous rectitude so ably demonstrated by The Rifleman's Chuck Connors. In one episode, 'Episode in Bathurst' (aired very early on and one of 4 written by one Gene Roddenberry) Cobb even goes out of way to deny the mystique and allure of firearms. calling them "ugly stupid and vicious".That's Whiplash attempting to have its prairie oyster and eat it, and points up the serial's central creative dilemma. In attempting to be a western and yet on such occasions overtly denying some of the genre's key pleasures, there's a danger of it being neither fish nor fowl. This is a problem exacerbated by the American scriptwriters' treatment of early Australian society, with pace and drama but often no real research behind each episode. Allied to the difficulties in finding suitable stock footage, admitted at the time, and the creators found things awkward. One week revelling in those familiar elements expected out west, or its equivalent, next time the programmes will deny many of those some pleasures, featuring story lines that take matters far away from the traditional American frontier. (A degree of this uncertainty is shown at the start of each show when the episode is put into context for the audience by a few words on screen.) In 'Sarong' for instance, a story line about pearl divers and their exploitation - a show incidentally including some mild titillation which the more morally austere Rifleman might have blanched at or that of 'The Adelaide Arabs'. Aimed squarely at a younger audience, and lacking the irony or sophistication found in other series of the time, Whiplash may have struggled to find its way amidst competing shows with less confusing inspirations, one reason why its run was relatively short.Today, with hardly any westerns airing on TV, and with the pleasant ring of nostalgia surrounding it, Whiplash poses audiences fewer problems. Indeed, its original aspects have much more going for it. Fresh from the now equally overlooked series Fury (1955-1960) Graves makes for a very watchable hero and, if in the event he seems slightly wary of giving his all to dramatic, violent action, ultimately this fits in nicely with the thoughtful character he portrays as Cobb. Other elements have dated less well: noticeably the treatment of the aboriginal peoples, highlighted in the striking episode 'Dutchman's Reef' (another Roddenberry effort) where, playing a missing heir 'gone native', an actor wears blackface.Taken as a group though, the shows make for consistently entertaining viewing and, as an overlooked track of early 60's British television juvenilia certainly worth a look, even if not of the top rank.
loreguy I loved this show, and it turned me on to Australia at a very young age. This was my first exposure to the trademark "Aussie" hat (aka "Akubra") with one side of the brim up, attached to the side of the crown. In Peter Graves' character's case, I believe it was some kind of animal tooth that held it in place.I pestered my mom and dad for YEARS to find me one, and finally we found a rough approximation in an Army surplus store, with a chain that would clip one side of the brim to the side of the crown. I wore it every day, and even after I got older I would wear it on camping trips.I too wish at least one or two episodes had survived. I'm sure it would be terribly dated, but I think it would be fantastic.
Cribbagewitch As a kid, I used to stay up late and watch this series on Saturday nights. The theme song was one that I could sing for days. Loved the idea of an Australian western. Sure wish some of these old shows were available to see again tonight. I think that I was the only viewer in south Mississippi, as none of my friends ever got it. That stagecoach and the crack of the whip were just music to my ears as an 11-year-old.I was truly as upset as a kid could every have been when our local channel in New Orleans stopped airing it after only a few episodes.
skoyles A stunning theme song that sticks in the mind even after all these years but sadly the series never clicked. The novel notion of an American in the Australian "Old West" setting up a stage line could not compete with real Westerns. Peter Graves was his reliable self. Too bad this came across as a cheapie.