Up Jumped a Swagman is a 1965 British musical comedy film directed by Christopher Miles and starring Frank Ifield, Annette Andre, Ronald Radd and Suzy Kendall. It includes the songs "Waltzing Matilda" and "I Remember You". Premise An aspiring Australian singer moves to London in the hope of a big breakthrough. He chases after a popular model, not noticing the beautiful daughter of a pub owner who loves him. He also gets involved with a gang of thieves. Cast Frank Ifield – Dave Kelly Annette Andre – Patsy Ronald Radd – Harry King Suzy Kendall – Melissa Smythe-Fury Richard Wattis – Lever, Music Publisher Donal Donnelly – Bockeye Bryan Mosley – Jo-Jo Martin Miller – Herman Harvey Spencer – Luigi Carl Jaffe – Analyst Cyril Shaps – Phil Myers Frank Cox – Wilkinson Fred Cox – Docherty Joan Geary – Mrs. Hawkes Fenhoulet William Mervyn – Mr. Hawkes Fenhoulet Gerald Harper - Publicity Man Gillian Bowden - Dancer Production The film was made when Frank Ifield was at the height of his popularity, and attempts to reproduce the success of Cliff Richard's musicals. Ifield's agent, Leslie Grade, suggested another one of his clients, Christopher Miles, as director. Miles was only 25 and had never made a feature film before. He said the script was to be written by the people who wrote Richard's musicals: Unfortunately the two writers of the Cliff pictures were not then on speaking terms, so the two halves of a rather soggy script arrived separately in the post, and not surprisingly made no sense at all. So Leslie, not one to be beaten, got an old writer friend from ITV, Lewis Greifer, saying "He's the man, I know you'll get on well" which we did. However, thinking up a credible vehicle for Frank, amiable and charming as he was, proved to me that ultimately you cannot make a celluloid purse out of a sow's ear, even though Frank was gamely willing to send himself up. It was going to have to be a small budget, and to save money I was asked to use a new film saving invention – the dreaded 'Techniscope' process. By only using two sprocket holes for each frame (instead of the standard four) a narrow negative was created, which had a sort of wide-screen look. However, in 1965 colour film stock was still rather grainy, which showed when the final picture