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Michael Pate

Michael Pate (26 February 1920 – 1 September 2008) was an , , , and renowned for his extensive career in westerns during the and , as well as his significant contributions to film and television upon his return home. Born Edward John Pate in , a suburb of , he began his professional life in radio as an interviewer for government's station before transitioning to acting and moving to the in 1950. In Hollywood, Pate appeared in over 60 films and more than 200 television episodes, often portraying Native American characters such as chiefs in classics like Hondo (1953), where he played the Apache leader Vittorio opposite , and McLintock! (1963). He also took on diverse roles, including Clarence Leiter in the 1954 television adaptation of and villains in series such as , , and Batman (1966). Returning to in 1968, he produced the acclaimed film (1969), starred in the long-running police drama (1971–1975), and directed, produced, and adapted the melodrama Tim (1979) featuring a young . Pate's multifaceted talents extended to writing and production; he penned and produced the coming-of-age story The Mango Tree (1977) and authored books on , including The Film Actor. His achievements were recognized with the award from the Television Society of in 1972, a Special Award from the Film Critics’ Circle of in 2000, and the Order of Medal (OAM) in 1997 for services to the arts. Pate passed away in Gosford Hospital, , survived by his wife Felippa Rock, whom he married in 1951, and their son .

Early Life

Childhood and Family Background

Michael Pate, born Edward John Pate, entered the world on February 26, 1920, in , a harborside suburb on the western side of , . He was raised in a working-class family of mixed Scots-Irish heritage, with roots tracing back to their first Australian ancestor, Reuben Pate, an Englishman from transported as a for stealing cloth in the early . Pate's father, born around 1889, worked as a delivery manager at Sargent’s factory in and was a skilled and who had married in 1913; he instilled practical skills in his son, such as boot polishing and maintenance, in a disciplined . His mother experienced health challenges around the time of his sister's birth, and the family, while comfortable, lacked the means for pursuits amid economic constraints. As the eldest child, Pate grew up with one younger sister, who later attended Fort Street Girls High School, in the inner suburbs of during the 1920s and the hardships of the , which began when he was nine years old. Pate's early interest in entertainment was sparked in the 1930s through exposure to local theater and radio broadcasts, including youth shows on station and work with the in . This fascination grew from his active childhood in Sydney's working-class neighborhoods, where outdoor pursuits like playing for the Balmain club complemented his emerging creative inclinations, setting the stage for his later pursuits.

Education and Early Interests

Michael Pate demonstrated early academic promise during his primary education at Drummoyne Public School in Sydney, where he ranked among the top three Duxes, excelling amid the economic hardships of the Great Depression, which influenced many working-class households in Australia at the time to prioritize early entry into the workforce. Pate continued his education at Fort Street Boys' High School in Petersham, a selective institution known for its rigorous curriculum. There, he encountered challenges with advanced subjects such as Latin, French, geometry, and algebra, partly due to limited familial support and his own self-doubt regarding his intellectual capabilities. He departed the school at age 15 upon completing the Intermediate Certificate—equivalent to a modern Year 10 qualification—primarily to contribute to the family finances by taking up employment as a junior accountant, reflecting the financial pressures that curtailed his schooling. His father's approval of this decision underscored the practical priorities of their household amid ongoing economic constraints. Beyond academics, Pate nurtured creative interests that foreshadowed his future in . He engaged in amateur tics through participation in school choirs and Eisteddfods, competitive festivals featuring performances in music, , and , which honed his stage presence and performative skills. Writing emerged as another early passion; he submitted pieces to school magazines and won prizes for his efforts, fostering a habit of literary expression. Pate was also an avid reader, immersing himself in classic literature by authors like and , often preferring books to social activities with peers. His exposure to the and cinema deepened through family outings to local theaters, where he enjoyed shows, musicals, and films, sparking a fascination with on screen.

Military Service

World War II Enlistment

In January 1940, at the age of 19, Michael Pate was called up for in the amid the escalating global conflict. His decision was driven by a strong sense of and duty, as the war's direct threat to compelled many young men like him to serve. Pate's father initially showed strong reluctance toward his service, opposing the idea and threatening physical action, though the family eventually accepted his choice in light of the national crisis. Following his call-up, he underwent basic training at camps including Greta and Wallgrove in , and later in , where recruits adapted to the rigors of military routine. His pre-war experience as a broadcaster at the Australian Broadcasting Commission honed his skills in communications, which later contributed to his transfer to duties after serving in units such as the 8th Field Ambulance and the 35th Battalion as a small arms instructor. Pate later reflected on this period with anecdotes highlighting the initial excitement mingled with nervousness among new enlistees, the forging of deep camaraderie in the , and his first immersion in the strict discipline that defined life—experiences that profoundly shaped his early outlook.

Service in New Guinea

Pate was deployed to in 1944 as part of the Australian Army's response to Japanese advances in the South West Pacific theater, serving in areas including , Jacquinot Bay, and . Initially serving as a small arms instructor in the 35th Battalion, he faced the immediate perils of combat deployment, which his prior training had prepared him to endure with resilience. During his time in , Pate encountered the severe hardships of , including rampant outbreaks that affected thousands of troops and persistent supply shortages that hampered operations along key fronts like the and Milne Bay. Transferred to the 1st Australian Entertainment Unit—known as "the Islanders"—he contributed to troop through performances in forward areas, leveraging his pre-war experience as a and broadcaster to deliver shows amid these challenging conditions. Following the intense campaigns in , Pate's unit prepared for deployment to as part of the Allied push in , where they continued entertainment duties until the war's end. He was discharged on 11 March 1946 with the rank of and received no individual formal decorations, though his unit earned commendations for sustaining under duress.

Acting Career

Australian Beginnings (1940s)

Following his discharge from the Australian Army on 11 March 1946 at , Michael Pate returned to and resumed his pre-war career in entertainment. He joined the Australian Broadcasting Commission (ABC) as a radio and , appearing in numerous plays and serials that helped rebuild Australia's broadcasting landscape. Pate's entry into film came earlier with uncredited roles in the 1940 war drama Forty Thousand Horsemen, directed by Charles Chauvel, where he portrayed minor characters including an Arab carpet seller, an Arab customer, and a Sikh policeman. This wartime production marked his screen debut amid his initial broadcasting work. By 1949, he secured his first substantial film role as Shane O'Riordan, the eldest son in the pioneering family saga Sons of Matthew, also directed by Chauvel, which depicted the struggles of Irish settlers in 19th-century and showcased Pate's emerging dramatic presence. In addition to radio and , Pate engaged in Sydney's theater scene during the late , performing in productions that complemented his multifaceted arts training. His had instilled a discipline that proved advantageous in the structured demands of and writing. He also contributed as a , producing and adapting radio dramas for broadcasts, further establishing his versatility in Australia's burgeoning entertainment industry.

Hollywood Success (1950s–1960s)

In 1950, Michael Pate relocated to from to pursue opportunities in , initially arriving to appear in the film adaptation of , a stage play in which he had performed. Upon his arrival, he secured roles in the U.S. , leading to appearances in dozens of feature films over the following decades. His distinctive accent and rugged features often resulted in as Native American characters, villains, or ethnic antagonists, a pattern that defined much of his output. Pate's breakthrough came with supporting roles in prominent Westerns, a genre that dominated his work in the 1950s. In John Farrow's Hondo (1953), he portrayed Apache Chief Vittorio opposite John Wayne, a role that showcased his ability to convey dignified menace and became emblematic of his frequent depictions of Indigenous leaders. He followed this with the villainous Sir Locksley in the medieval comedy The Court Jester (1955), directed by Melvin Frank and Norman Panama, where his commanding presence added tension to the film's lighthearted intrigue. Throughout the era, Pate appeared in numerous Westerns, including Escape from Fort Bravo (1953) and Guns of the Timberland (1960), often as adversarial figures in frontier settings that highlighted his versatility within constrained casting. On television, Pate's prolific output further solidified his success, with recurring and guest appearances in over 200 episodes across major networks. He featured prominently in Western series such as Rawhide, where he appeared in five episodes including one he wrote, and , contributing to the genre's golden age through his authoritative portrayals. By the mid-1960s, his steady stream of film and TV roles marked the peak of his career, encompassing diverse projects like Sam Peckinpah's (1965) and establishing him as a reliable in American entertainment.

Return to Australia (1968–2000s)

After nearly two decades in , Michael Pate returned to in 1968, where he resumed his acting career in Australian television and . Pate's most prominent role upon his return was as Detective Senior Sergeant Vic Maddern in the police procedural series , which aired from 1971 to 1975. In this long-running show, he portrayed a seasoned rural detective, appearing in over 190 episodes and earning the Television Society of 's Penguin Award for in 1972. His Hollywood-honed lent authority to the character, bridging international experience with local . In the mid-1970s, Pate transitioned to feature films, including a supporting role as Superintendent Winch in the bushranger drama (1976), directed by and starring . He continued with character parts in later productions, such as the U.S. President in the satirical superhero musical (1983), again under Mora's direction. By the 1990s, Pate had largely semi-retired from full-time acting but made occasional guest appearances in Australian television series, contributing to the medium until the early .

Writing and Directing

Screenwriting Contributions

Michael Pate's screenwriting career began in the late 1930s with contributions to Australian radio, where he wrote and broadcast scripts for the Australian Broadcasting Commission (ABC). In 1938, he co-created and scripted the youth-oriented program Youth Speaks alongside George Ivan Smith, focusing on radio and current issues for young audiences. He later penned episodes for various radio serials and dramas during the 1940s, honing his skills in narrative structure and dialogue for broadcast media. Transitioning to theater in the period, Pate adapted and scripted plays for stages, emphasizing dramatic adaptations suited to local productions. In 1950, he adapted Howard Richardson and William Berney's Dark of the Moon, a set in the American South, and Charlotte Hastings' , a , both of which he also produced and directed in performances. These works showcased his ability to tailor international stories for theater audiences, blending cultural nuances into character-driven narratives. During his Hollywood tenure in the 1950s and 1960s, Pate's writing often supported his acting roles, providing uncredited dialogue enhancements to films where his experience with Native American characters informed authentic exchanges. He received story credit for the 1953 Escape from Fort Bravo and the 1961 Most Dangerous Man Alive, contributing the core plot involving a criminal's evasion tactics. Additionally, he scripted a single episode of the series Rawhide in 1961, titled "Incident of the Boomerang," which explored themes of and moral ambiguity among cattle drivers. Returning to Australia in the late 1960s, Pate focused on feature films, writing screenplays that drew from literary sources and personal insights gained from his acting career. In 1977, he penned the original screenplay for The Mango Tree, a coming-of-age drama set in rural Queensland during the 1910s, which he also produced and which starred his son Christopher Pate. His most notable adaptation came in 1979 with Tim, for which he wrote the screenplay based on Colleen McCullough's novel Tim, depicting a tender romance between a mentally challenged young man and an older widow; the script earned him the Best Screenplay Award from the Australian Writers' Guild.

Directorial Works

Michael Pate transitioned to directing in the late , drawing on his extensive experience as a to helm character-driven stories that explored interpersonal relationships and emotional depth. His most prominent directorial effort was the 1979 romantic drama Tim, which he also wrote and produced, marking a significant milestone in his career behind the camera. Adapted from Colleen McCullough's Tim: A (1974), the film centers on the evolving bond between a middle-aged divorcée, Mary Horton (), and a young man with an intellectual disability, Tim Melville (Mel Gibson), whom she employs as a laborer. Pate's direction emphasized intimate, nuanced portrayals of vulnerability and affection, prioritizing emotional authenticity over dramatic spectacle in a style that resonated with Australian cinema's focus on personal narratives during the era. Tim received critical acclaim for its sensitive handling of themes like disability and unconventional romance, earning multiple Australian Film Institute (AFI) Awards in 1979, including Best Actor for Gibson's breakout performance, Best Supporting Actor for Alwyn Kurts, and Best Supporting Actress for Pat Evison. Pate himself was honored with the Best Adapted Screenplay award from the Australian Writers' Guild for his adaptation, underscoring the film's impact on highlighting emerging Australian talent. The movie played a pivotal role in launching Gibson's international career, serving as his feature film debut and paving the way for his subsequent Hollywood success. While Tim remains Pate's best-known directorial work, he contributed to television through writing and production, though verified directing credits beyond this feature are limited, reflecting his primary focus on multifaceted roles in the industry. His efforts in Tim contributed to the revitalization of Australian filmmaking in the post-1970s period, emphasizing quality that elevated local productions on the global stage.

Personal Life

Marriages and Family

Pate's first marriage was a brief wartime union, contracted in 1942 during his , which ended in in 1951, shortly after his relocation to . In November 1951, he married actress Felippa Rock, daughter of American film producer , in ; the couple remained together until Pate's death in 2008. Pate and Rock had one son, Christopher Pate (born November 15, 1952), who followed his parents into acting, appearing in films such as The Mango Tree (1977) and Raw Deal (1977).

Later Years and Death

In the early , Michael Pate retired from onscreen acting following a career spanning over six decades, settling in on Australia's Central Coast in . He continued to engage in occasional voiceover work and was developing a screenplay at the time of his death. Pate's health deteriorated suddenly in 2008 when he contracted pneumonia, leading to his admission to Gosford Hospital. He passed away there on September 1, 2008, at the age of 88, from respiratory failure. His family, supported by longtime friend Jacqui Bosanac, expressed shock at the abrupt turn, noting he had been in good health until the lung infection.

Legacy

Influence on Australian Cinema

Michael Pate's return to in 1968 positioned him as a key figure in the nation's burgeoning film and television industry during the 1970s revival, where government initiatives like the Australian Film Development Corporation promoted local production to counter dominance. Pate bridged Australian and cinematic styles by leveraging his two decades of experience in American Westerns and dramas to elevate local storytelling and technical standards. His writing, producing, and directorial efforts, such as writing and producing The Mango Tree (1977) and directing, producing, and adapting Tim (1979), infused Australian narratives with polished production values honed in , helping to professionalize the domestic industry amid the push for authentic local content. In advocating for greater emphasis on Australian-made content, Pate contributed through his multifaceted roles in television and film, aligning with the era's cultural policies that mandated quotas for local programming on networks like the Seven Network, where he served as a producer and won two Gold Logie Awards. Pate's mentorship extended to emerging talent, as he began teaching acting and lecturing on film techniques upon his return, sharing insights from his trans-Pacific career to guide the next generation. Notably, through directing Tim (1979), he provided a breakout role to a young , launching the actor's path to global stardom and demonstrating Pate's eye for potential in Australian performers. His contributions were recognized with an Australian Film Institute nomination for Best for The Mango Tree (1977), as well as the Medal of the in 1997 for service to the as an actor, producer, and writer in Australian film, radio, and television. In 2000, he received a special award from the Film Critics Circle of Australia for his lifetime achievements.

Notable Roles and Recognition

Michael Pate's portrayal of Chief Vittorio, the noble leader in the 1953 Western Hondo, opposite , stands as one of his most iconic performances, capturing the character's dignity and internal conflict amid territorial tensions. He reprised the role in the 1967 television series adaptation, further cementing its place in his career highlights. Equally significant was Pate's leading role as Detective Senior Sergeant Vic Maddern in the Australian television series (1971–1975), which he played across 229 episodes, marking his longest-running engagement and a pivotal return to Australian screens after years in . For this performance, he received the Penguin Award for from the Television Society of in 1972, recognizing his commanding presence in the crime drama set in a rural Victorian town. Pate's contributions earned him the Medal of the (OAM) in the 1997 Honours for services to the as an , , and in , radio, and television. In 2000, he was honored with a Special Presentation Award by the Film Critics Circle of , acknowledging his lifetime achievements shortly before his retirement from acting the following year. Critics and obituaries noted Pate's versatility, which allowed him to transcend frequent as or in Westerns—due to his dark features and sturdy build—extending into diverse roles in spy thrillers, fantasies, and dramas. In reflections on his career, Pate expressed satisfaction with opportunities like producing (1969), a project he had long championed, and continued scriptwriting until late in life, underscoring his fulfillment across multifaceted roles in the industry.

Selected Works

Film Roles

Michael Pate's film career spanned over 60 credits, beginning with uncredited bit parts in productions during the . His debut came in Forty Thousand Horsemen (1940), where he portrayed multiple uncredited roles including an Arab carpet seller, an Arab customer, and a Sikh policeman. Following service, Pate transitioned into more prominent screen work, appearing in post-war shorts and features that showcased his emerging talent in local cinema. Pate's breakthrough in Australian film arrived with his first leading role as Shane O'Riordan, the resilient eldest son in a pioneering family, in the epic drama Sons of Matthew (1949), directed by Charles Chauvel. This portrayal of a rugged frontiersman marked his shift from minor roles to starring status in homegrown stories of colonial hardship. In the early 1950s, Pate relocated to , where his distinctive presence often led to as Native American or villainous characters in . A standout early role was as Vittorio, the noble Apache chief and antagonist to John Wayne's titular hero, in the 3D Hondo (1953). His performance as a fierce yet honorable earned praise for its authenticity and intensity. By the late 1950s, Pate diversified into genre films, notably playing the enigmatic vampire gunslinger Drake Robey (alias Don Drago Robles) in the horror-Western hybrid (1959), a role that blended menace with grit. That same year, he embodied the ruthless Confederate sympathizer Mace in Budd Boetticher's Civil War-era stagecoach thriller Westbound (1959), opposite . Returning to in the 1970s, Pate resumed acting in local productions while taking on behind-the-scenes roles. He portrayed the authoritative Superintendent Winch, a lawman pursuing the outlaw protagonist, in the bushranger biopic (1976), starring . One of his final screen appearances was as the U.S. President navigating a bizarre crisis in the comedic horror sequel (1987).

Television Appearances

Michael Pate made numerous guest appearances on American television during the and , often portraying Native American characters or villains in Western series. He appeared in four episodes of between 1957 and 1964, including roles as in "Big Girl Lost" (1957) and other supporting parts. In the short-lived Western series Hondo (1967), Pate reprised his film role as Vittoro across all 17 episodes, marking one of his most prominent U.S. television commitments. Other notable guest spots included , where he played author in the episode "The Case of the Skeleton's Closet" (1963). Following his return to Australia in the late 1960s, Pate became a key figure in local television, contributing significantly to the medium's development through sustained roles in police procedurals. His most enduring Australian television work was as Detective Senior Sergeant Vic Maddern in Matlock Police (1971–1976), appearing in 193 episodes as the head of the Criminal Investigation Branch in the rural town of Matlock. This series, one of the longest-running Australian police dramas of its era, showcased Pate's authoritative presence and helped elevate the profile of domestic television production. He also guest-starred in Homicide (1964–1976), including the 1970 episode "Not for Mine" as Harold Barrett, adding to his portfolio of crime drama appearances. Throughout his career, Pate accumulated over 100 television episode credits, spanning both U.S. anthology series like (1954–1955) and Australian staples, reflecting his versatility across genres and markets. While primarily known for live-action roles, no significant voice work in animated series is documented in his filmography.

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