I was a film director from Down Under
The Emerald City is where I was born
I was considered as a child of wonder

My artistic aptitude was not timeworn
In the suburb of Drummoyne I grew with bliss
Third of seven kids, I was never forlorn

With my family, plays I would never miss
Dad was surgeon for the theatre circle
Attending weekly soirées I reminisce

Aussie motion pictures became my portal
I formed a trio with two of my sisters
Phyllis as publisher promoted sparkle

Isabel was the actress with no glitters
Marie Lorraine is the stage name she would use
In my life and work these two were my pillars

I, the youngest, would write, direct and produce
Our home served as a natural set to start
The antique furniture looked fancy and spruce

When father passed away it all fell apart
Mama turned the house into a nursing home
Soon after she left us alone with our art

Cinema stirred in me the Stendhal Syndrome
Directing Those Who Love was unexpected
I adored the realm of flickering bichrome

My teacher Percy John Ramster deflected
I had to step in and the press gave plaudit
Also the box office was well affected

It was the first Australian film market hit
The Far Paradise was the work that followed
Hollywood drama inspired me, I admit

Also German Expressionism I borrowed
It was a sell-out, but it was zilch for us
Distribution all our revenues swallowed

The financial strain threw us under the bus
We had to mortgage the family mansion
Yet our third picture we managed to discuss

The Cheaters could have brought to an expansion
We did not accept the exhibition deal
I would forevermore regret this action

Making movies became a business ordeal
During the Depression we made sporting shorts
The swimming Olympic team held great appeal

Neville Macken was our investor of sorts
We firmly went on with Two Minutes Silence
The plot was based on Armistice Day reports

It was revered as a work of alliance
Commended by Prime Minister Billy Hughes
Poet Kenneth Slessor found it of guidance

Its social realism was raved in the news
But ticket sales did not match this sentiment
This was the best of my films without excuse

In 1933 I was relevant
As one of the five world female directors
Paulette McDonagh was perceived as excellent

Our film-tryptic split in different sectors
Isabel moved to London with her consort
Phyllis also renounced her cine-receptors

Her editor profession no one could thwart
I wanted to make a film about John Flynn
The Medical Reverend of the Airport

Without raising the budget it was no-win
I made some documentaries later on
I briefly resided with my younger kin

Then moved to Kings Cross, dreaming of lives foregone
The McDonagh Sisters propelled cultural change
May the female film power of Oz push on.