Alfred Rolfe, real name Alfred Roker (1862– 9 September 1943), was an Australian film director and actor, best known for being the son-in-law of the celebrated actor-manager Alfred Dampier, with whom he appeared frequently on stage, and for his prolific output as a director during Australia's silent era, including Captain Midnight, the Bush King (1911), Captain Starlight, or Gentleman of the Road (1911) and The Hero of the Dardanelles (1915). Only one of his films as director survives today.
Rolfe started as an actor. He was born in Ballarat and joined Charles Holloyway's acting company, then appeared in the company of Richard Stewart.[1]
In 1888 he toured New Zealand in George Darrell's company.
He also worked for the Essie Jenyns Company.[2]
He then joined Alfred Dampier in the 1890s and married Dampier's daughter Lily in 1893. Rolfe acted opposite his wife and father-in-law numerous times around the country throughout the 1890s and early 1900s, most commonly playing juvenile leads. Rolfe's mother died in 1897 while he was touring in Perth.[3]
In November 1897, Rolfe sailed for London with his wife and her parents.[4] While there they managed to get work in two plays which toured all over the country and ended up staying for twelve months.[5]
They returned in 1899.[6]
According to New Zealand's Stage magazine, Rolfe "is an actor of brilliancy on a somewhat wide range, a little overshadowed, perhaps, by the stars with whom he has been so long associated, but by no means obscured."[7]
In 1907 it was reported Rolfe and Lily Dampier were in London, about to join Dion Bouccault's Company.[8]
After Dampier's death in 1908,[9] Rolfe and Lily toured with Philip Lytton's company throughout Australia and New Zealand. In September 1910 he and Lily headed Lytton's company, where the line-up of plays included Robbery Under Arms, The Bush King and The Fatal Wedding;[10] all three would soon be turned into films by Charles Cozens Spencer with Rolfe directing and acting in the first two.
In 1910 Rolfe received an offer to direct three films for Charles Cozens Spencer, all adaptations of productions performed by his father-in-law's and Lytton's company: Captain Midnight, the Bush King, Captain Starlight, or the Gentleman of the Road (an adaptation of Robbery Under Arms), and The Life of Rufus Dawes. Rolfe and his wife also appeared in all three films, the first two especially which appear to have been very successful critically and commercially. He was assisted on the films by Raymond Longford, who later claimed to have directed the movies.[11] When Rolfe left Spencer, the producer then hired Longford to make his directorial debut with a film adaptation of The Fatal Wedding.
Rolfe left Spencer to take up an offer from Stanley Crick to work at a new film production company, the Australian Photo-Play Company. Rolfe ended up making an estimated 25 features for them, including Australia's first war movie (Mates of the Murrumbidgee (1911)), and first film to deal with aboriginal Australians (Moora Neya, or The Message of the Spear (1911)).
Rolfe seems to have worked less as an actor during this time, although he would occasionally appear in the films. He directed almost evry single one of Australian Photo-Play's films.[12]
After the demise of the Australian Photo-Play Company, Rolfe moved over to Fraser Films, where his movies included adaptations of the popular play The Sunny South (1914) and the poem The Day.
In November 1914 it was reported Rolfe and Lily Dampier were "wandering the globe".[13]
Fraser Films soon ceased production. From 1915 to 1916 Rolfe worked for Australasian Films, directing shorts, industrial films and features. He was directing a film in Sydney in February 1915 when his wife Lily died in Melbourne.[14]
Rolfe's feature work for Australasian Films included two immensely popular war films, Will they Never Come? (1915) and its sequel, The Hero of the Dardanelles (1915). A movie about the Eureka Rebellion, The Loyal Rebel (1915), was less successful. He then made two more World War I-related movies, How We Beat the Emden (1915) and A Man – That's All (1916); these were used to recruit soldiers.
In May 1916 it was reported that Rolfe had "produced more Australian pictures than any other Australian director". Rolfe said at the same time the greatest difficulty for Australian filmmakers is they are unable to market their films in America or England. "If this could be remedied", said Mr. Rolfe, "as many as fifty copies of any picture would be required and the production would then show a 'worth-while' profit." But in 1916 Australia only four copies could be disposed of "which does not make much of an inducement to intending manufacturers."[15]
In July 1916 it was reported Rolfe had just finished directing a series of educational films for Australasian Pictures, each one about one reel long, adding up to 15,000 feet of film in all.[16]
In November 1916 it was announced in the trade press that Rolfe had "severed his connection with Australasian Films after a long period of service. He has just completed a big industrial subject for this film dealing with practically every Australian industry of note."[17]
Rolfe eventually retired from show business, although he did direct one more film, for charity – the Red Cross sponsored feature Cupid Camouflaged (1918). As Lily Dampier's widow, he appears to have inherited the rights to Alfred Dampier's plays, particularly Robbery Under Arms and The Bush King, and authorized various stage productions of these.[18] In 1920 he registered a new script based on The Bush King for copyright, but no film of this was made.
Rolfe had been involved in amateur athletics for a number of years[19] but focused on it increasingly from 1917 through the 1920s.[20][21][22][23][24][25]
Rolfe lived in Sydney towards the end of his life. He and Lily had a son, Sidney Alfred Rolfe.[26]
Only one of Rolfe's films survives today, The Hero of the Dardanelles, but according to film historians Graham Shirley and Brian Adams:
It indicates a director skilled in the type of visual and naturalistic sophistication later attributed to Raymond Longford. The conventions of spectacle melodrama so favoured in late nineteenth century Australian theatre, with their realistic settings and real chases on horsebacks and trainwrecks, played a large role in the films he made for Australian Photo-Play in 1911-12... If... reviews of other films are an indication, Rolfe's work for [Charles Cozens] Spencer and Australian Photo-Play had helped refine the achievement of naturalistic performances for the screen, not to say the basis of a screen grammar that vividly captured setting and spectacle.[27]
In the 1890s, Rolfe backed the race horse Cremorne.[28]