from Passage Home (1955)
|Born||Frederick George Peter Ingle Finch
28 September 1916
South Kensington, London, England
|Died||14 January 1977
Beverly Hills, California. U.S.
|Spouse(s)||Tamara Tchinarova (1943–59) 1 child
Yolande Turner (1959–65) 2 children
Eletha Barrett (1973–77) (his death) 1 child
Frederick George Peter Ingle Finch (28 September 1916 – 14 January 1977) was a British-born Australian actor. He is best remembered for his role as "crazed" television anchorman Howard Beale in the film Network, which earned him a posthumous Academy Award for Best Actor, his fifth Best Actor award from the British Academy of Film and Television Arts, and a Best Actor award from the Golden Globes. He was the first of two people to win a posthumous Academy Award in an acting category; the other was Heath Ledger, also Australian.
- 1 Early life
- 2 Early career
- 3 References
- 4 External links
Finch was born as Frederick George Peter Ingle Finch in London to Alicia Gladys Fisher. At the time, Alicia was married to George Finch. George Finch was born in New South Wales, Australia, but was educated in Paris and Zurich. He was a research chemist when he moved to Britain in 1912 and later served during the First World War with the Royal Army Ordnance Depot and the Royal Field Artillery. In 1915, at Portsmouth, Hampshire, George married Alicia Fisher, the daughter of a Kent barrister. However, George Finch was not Peter Finch's biological father. He learned only in his mid-40s that his biological father was Wentworth Edward Dallas "Jock" Campbell, an Indian Army officer, whose adultery with Finch's mother was the cause of George and Alicia's divorce, when Peter was two years old. Alicia Finch married "Jock" Campbell in 1922.
George gained custody of Peter and he was taken from his mother and brought up by his paternal "grandmother" Laura Finch (formerly Black) in Vaucresson, France. As a member of the 1922 British expedition to Mount Everest, George Finch reached a new world record altitude of 27,300 feet (8,320 m) before retreating when his climbing partner's oxygen apparatus failed. In 1925 Laura took Peter with her to Adyar, a Theosophical community near Madras, India for a number of months, and the young boy lived for a time in a Buddhist monastery. Undoubtedly as a result of his childhood contact with Buddhism Finch always claimed to be a Buddhist. He is reported to have said: "I think a man dying on a cross is a ghastly symbol for a religion. And I think a man sitting under a bo tree and becoming enlightened is a beautiful one."
In 1926 he was sent to Australia to live with his great-uncle Edward Herbert Finch at Greenwich Point in Sydney. He attended the local public school until 1929, then North Sydney Intermediate High School for three years.
After graduating, Finch went to work as a copy boy for the Sydney Sun and began writing. However he was more interested in acting, and in late 1933 appeared in a play, Caprice, at the Repertory Theatre. He started appearing in stage shows for Doris Fitton, worked as a sideshow spruiker at the Sydney Royal Easter Show, in vaudeville with Joe Cody and as a foil to American comedian Bert le Blanc.
At age 19 Finch toured Australia with George Sorlie's travelling troupe. This, along with continuous stage work, led to the attention of Australian Broadcasting Commission radio drama producer Lawrence H. Cecil, who was to act as his coach and mentor throughout 1939 and 1940. He was "Chris" in the Children's Session and the first Muddle-Headed Wombat. He later starred with Neva Carr Glyn in an enormously popular series by Max Afford as husband-and-wife detectives Jeffery and Elizabeth Blackburn as well as other ABC radio plays.
Finch's first screen performance was in a 1935 short film, The Magic Shoes, an adaptation of the fairy tale Cinderella. He made his feature film debut in 1938 with a supporting role in Dad and Dave Come to Town for director Ken G. Hall, who went on to cast Finch in a larger role supporting Cecil Kellaway in Mr. Chedworth Steps Out (1939).
Finch enlisted in the Australian Army on 2 June 1941. He served in the Middle East and was an anti-aircraft gunner during the Bombing of Darwin. During his war service he was allowed to continue to act in radio, theatre and film, notably The Rats of Tobruk (1944). He produced and performed Army Concert Party work, and in 1945 toured bases and hospitals with two Terence Rattigan plays he directed, French Without Tears and While the Sun Shines. Finch was discharged from the army on 31 October 1945 at the rank of sergeant.
Mercury Theatre and Laurence Olivier
After the war, Finch continued to work heavily in radio and established himself as Australia's leading actor in that medium, winning Macquarie Awards for best actor in 1946 and 1947. He also worked as a compere, producer and writer.
In 1946, Finch co-founded the Mercury Theatre Company, which put on a number of productions in Sydney over the next few years, as well as running a theatre school. A 1948 performance of The Imaginary Invalid on the factory floor of O'Brien's Glass Factory in Sydney brought him to the attention of Laurence Olivier and Vivien Leigh, then touring Australia with the Old Vic Company. Olivier encouraged Finch to move to London, and he left Australia in 1948.
When Finch arrived in Britain, Olivier became his mentor and put him under long-term contract. His first big break was being cast in James Bridie's play Daphne Laureola at the Old Vic supporting Edith Evans. He also received acclaim for his first role in a British film, Train of Events (1949), playing a murderous actor. Critic C.A. Lejeune praised his work saying he "adds good cheekbones to a quick intelligence and is likely to become a cult, I fear." The Scotsman said "he should be regarded as one of the most hopeful recruits to the British screen."
His performance as a Pole in Daphne Laureola led to his casting as a Polish soldier in The Miniver Story, the sequel to the wartime morale boosting film Mrs. Miniver; unlike its predecessor, it was poorly received critically. The same year he also appeared in the more successful The Wooden Horse playing an Australian prisoner of war.
During this time, Finch's closeness to the Olivier family led to an affair with Olivier's beautiful but increasingly unstable wife, Vivien Leigh, which began in 1948, and continued on and off for several years, ultimately falling apart due to her deteriorating mental condition.
In 1951 Finch played Iago onstage opposite Orson Welles in Othello. Despite his stage experience, Finch, like his mentor Olivier, suffered from stage fright, and as the 1950s progressed he worked increasingly in film. His roles increased in size and prestige, including being cast as the villain Flambeau in Father Brown (1954) and as the lead in the Hollywood film Elephant Walk (1954).
Towards the end of 1954 Finch's contract with Laurence Olivier was about to expire and he instead signed a seven-year contract with the Rank Organisation worth £87,500 to make one film a year for them. "We are going to build Peter into a major British star," said Earl St. John, Rank's head of production, at the time.
Finch's first roles for Rank under the new arrangement were undistinguished: Passage Home, Make Me an Offer, Josephine and Men and Simon and Laura. However in 1956 he appeared in two major hits, A Town Like Alice (1956) and The Battle of the River Plate (1956), which saw exhibitors vote him the seventh most popular British star at the box office; the following year his ranking went up to third, being the fifth most popular regardless of nationality. He returned to Australia to make two films, Robbery Under Arms (1957) and The Shiralee (1957).
The success of The Nun's Story (1959) saw Finch become an international star, although he never worked in Hollywood for an extended period of time, preferring to base himself in London. He was originally chosen to play Julius Caesar in Cleopatra (1963) and filmed scenes in London, but when the film was postponed he withdrew; the role instead went to Rex Harrison. However, Finch had an enormously successful career throughout the 1960s and 1970s, winning BAFTA Awards for his performances in The Trials of Oscar Wilde (1960) (in the title role), No Love for Johnnie (1961) and Sunday Bloody Sunday (1971). His performance in the latter also earned him an Academy Award nomination for Best Actor in a Leading Role.
Other notable films included The Pumpkin Eater (1964) and Far from the Madding Crowd (1967). A profile on Finch in Screenonline claimed "it is arguable that no other actor ever chalked up such a rewarding CV in British films."
At the time of Finch's death, he was doing a promotional tour for the 1976 film Network in which he played the television anchorman Howard Beale who develops messianic pretensions. He was nominated for a Best Actor Oscar for that role, posthumously winning the award, which was accepted by his widow, Eletha Finch. Although James Dean, Spencer Tracy and Massimo Troisi were also posthumously nominated for a Best Actor Oscar, Peter Finch was the first actor to have won the award posthumously, as well as the first Australian actor to win a Best Actor award. He was the only posthumous winner of an Oscar in an acting category until Heath Ledger won the Academy Award for Best Supporting Actor in 2009 (there were many earlier posthumous Oscar winners in non-acting categories; Ledger was also an Australian). Finch also won five Best Actor awards from the British Academy of Film and Television Arts (BAFTA), including one for Network.
Shortly before he died he told a journalist:
We all say we're going to quit occasionally... I'd like to have been more adventurous in my career. But it's a fascinating and not ignoble profession. No one lives more lives than the actor. Movie making is like geometry and I hated maths. But this kind of jigsaw I relish. When I played Lord Nelson I worked the poop deck in his uniform. I got extraordinary shivers. Sometimes I felt like I was staring at my own coffin. I touched that character. There lies the madness. You can't fake it.
Finch was married three times; first to Romanian-born French ballerina Tamara Tchinarova, secondly to South African actress Yolande Eileen Turnbull ("Turner"), who was known as Yolande Finch during their marriage; both marriages ended in divorce. After his divorce from Yolande Finch, he married Mavis "Eletha" Barrett, who was known as Eletha Finch. He also had relationships with actresses Kay Kendall, Vivien Leigh and Mai Zetterling, as well as singer Dame Shirley Bassey. In 1941 he was engaged to Sheila Smart.
In 1954, the Australian journalist and author George Johnston wrote a well-researched series of biographical articles on Finch, his life, and his work, which appeared in The Sun-Herald (Sydney), on four consecutive Sundays, which were certainly the first detailed account of Finch's life ever published. Finch later provided the inspiration for the character Archie Calverton in Johnston's novel, Clean Straw for Nothing.
In 1980, American author Elaine Dundy published a biography of Finch titled Finch, Bloody Finch: A Biography of Peter Finch. That year, his second wife, Yolande Finch, also published a posthumous account of their life together, Finchy: My Life with Peter Finch. Another biography had previously been published by his friend and colleague Trader Faulkner, in 1979.
According to Brian McFarlane, in The Encyclopedia of British Film, hosted by British Film Institute's Screenonline, Finch "did not emerge unscathed from a life of well-publicised hell-raising, and several biographies chronicle the affairs and the booze, but a serious appraisal of a great actor remains to be written."
- Caprice by Sil Vara – Repertory Theatre, Sydney, 1933
- The Ringer by Edgar Wallace as Samuel Hackett – Studio Theatre, Sydney, 1934
- Peter Pan by J. M. Barrie as a pirate – Savoy Theatre, Sydney, 1934 (later transferred by Ben Fuller to the Majestic Theatre, Newtown) – directed by Doris Fitton
- Counsellor at Law by Elmer Rice, as the Boot Black – Savoy Theatre, Sydney, 1934 – directed by Doris Fitton with Sumner Locke Elliott
- Richard of Bordeaux by Gordon Daviot, as the fair Page Maudelyn – Savoy Theatre, Sydney, 1935 – directed by Doris Fitton with Sumner Locke Elliott and John Wyndham
- Joe Coady's Vaudeville Show – Maccabean Hall, Sydney, 1935
- Bert le Blanc comedy show, as stooge to le Blanc – Sydney, 1935
- Jimmy Sharman's Boxing Tent, as spruiker – Royal Easter Show, Sydney, 1935
- Interference by Roland Pertwee and Harold Dearden, as Douglas Helder – St James' Hall, Sydney, 1935 – directed by Edward Howell with Howell, Rosalind Kennerdale and Therese Desmond
- False Colours by Frank Harvey – Independent Theatre, Sydney, 1935.
- So This is Hollywood – Apollo Theatre, Melbourne, 1935 – with Robert Capron, Lou Vernon and Thelma Scott
- Under the Big Top – touring show with George Sorlie, various Queensland towns, 1936, playing Herbert Hughes in Laughter of Fools by H.F. Maltby, Smithers in Married by Proxy by Avery Hopwood, Peter in Fair and Warmer by Avery Hopwood, Hunter in Ten Minute Alibi by William Armstrong – all directed by William McGowan with Murray Matheson, Rosalind Kennerdale, Leslie Crane, Eva Moss, Norman French, Julia Adair and George Douglas.
- White Cargo by Leon Gordon, as Ashley – Theatre Royal, Sydney, 1938 – directed by Ben Lewin with Mary MacGregr, James Raglan, Frank Bradley
- Personal Appearance by Laurence Riley as Clyde Pelton – Theatre Royal, Sydney and Comedy Theatre, Melbourne, 1938 – directed by Peter Dearing, with Betty Balfour, Frank Bradley, Cecil Perry
- Army Concert Party work 1941–1944
- Night of January 16th by Ayn Rand, as DA Flint – Minerva Theatre, Sydney, 1944 – directed by Frederick J Blackman with Lawrence H. Cecil and Thelma Grigg
- While the Sun Shines by Terence Rattigan, as the Earl of Harpenden – Minerva Theatre, Sydney 1944 – directed by Frederick J Blackman with Pat McDonald, Ron Randell, Roger Barry (later toured this production to army hospitals and bases in 1945)
- French Without Tears by Terence Rattigan – various army hospitals and bases, 1945 – Finch directed
- Diamond Cuts Diamond by Nicolai Gogol, as Ikharev – Conservatorium of Music, Sydney, 16–17 July 1946 – directed by Sydney John Kay
- The Pastry Baker by Lope de Vega – Conservatorium of Music, Sydney, 16–17 July 1946 – director only
- The Broken Pitcher by Heinrich von Kleist, as Adam – Conservatorium of Music, Sydney, 16–17 July 1946
- French Without Tears by Terence Rattigan – Killara Hall, Sydney and Sydney Radio Theatre, 1947 – Finch directed a cast including Leonard Thiele, Tom Lake, Alan White, Adele Brown, Ron Patten
- Midsummer Night by Lajos Bíró – touring production, Sydney 1948 – directed only
- Anatole's Wedding Morning by Arthur Schnitzler – touring production, Sydney 1948 – directed only
- The Imaginary Invalid by Moliere, as Argan – O'Brien's Glass Factory and Sydney Town Hall, Sydney, 1948 – directed by Sydney John Kay with June Wimble, Elsie Dane, Al Thomas, John Faassen, Patricia Harrison, Allan Ashbolt, Tom Lake
- Daphne Laureola by James Bridie, as Ernest Piaste – Wyndham's Theatre, London, 1949 – directed by Murray MacDonald for Laurence Olivier Productions with Edith Evans and Felix Aylmer
- The Damascus Blade by Bridget Boland, as Henry Adams – provincial tour, 1950 – directed by Laurence Olivier for Laurence Olivier Productions with John Mills and Beatrix Lehmann
- The White Falcon- provincial tour, 1950 – starring Basil Radford and Sheila Burrel – Finch worked on this as a director only
- Captain Carvallo by Denis Cannan, as Professor Winke – St James Theatre, London, 1950 – directed by Laurence Olivier for Laurence Olivier Productions with Diana Wynyard and Jill Bennett
- Point of Departure by Jean Anouilh and Kitty Black, as Orpheus – Duke of York Theatre, London, 1951 – directed by Peter Ashmore for the Company of Four with Mai Zetterling and Stephen Murray (Finch replaced Dirk Bogarde for six weeks on 12 March 1951)
- Othello by William Shakespeare, as Iago – St James Theatre, London, 1951 – directed by Orson Welles for Laurence Olivier Productions with Orson Welles, Gudrun Ure, Maxine Audley and Edward Mulhare
- The Happy Time by Samuel Taylor, as Papa – St James Theatre, London, 1952 – directed by George Devine for Laurence Olivier Productions, with Geneviève Page, Ronald Squire, George Devine, Rachel Kempson
- Romeo and Juliet by William Shakespeare, as Mercutio – Old Vic Theatre, London, 1952 – directed by Denis Carey with Claire Bloom, Athene Seyler, Lewis Casson and Alan Badel
- An Italian Straw Hat by Eugène Labiche and Marc Michel adapted by Thomas Walton, as Mons Beaujolais – Old Vic Theatre, London, 1953 – directed by Denis Carey with Laurence Payne, Paul Rogers, Jane Wenham, Gudrun Ure
- Two for the Seesaw by William Gibson, as Jerry Ryan – Theatre Royal, Brighton and Theatre Royal Haymarket, London, 1958–59 – directed by Arthur Penn for H.M. Tennent with Gerry Jedd
- The Seagull by Anton Chekhov translated by Ann Jellicoe, as Trigorin – Queen's Theatre, London, 1964 – directed by Tony Richardson with Peggy Ashcroft, Peter McEnery, Vanessa Redgrave, Paul Rogers and George Devine.
Select TV credits
- The Forgotten Elite (Oct 1949)
Select radio credits
- The Laughing Woman (1939)
- Interference (1939) – the first episode of Australia's version of Lux Theatre of the Air
- Men in White (1939)
- The Daughter of the Dragon (1939)
- Night Nurse (1939)
- Mutiny on the Bounty (1941)
- Mr Deeds Comes to Town (1941)
- The Laughing Woman (1946) – reprise of his performance for which Finch won the 1946 Macquarie Award for Best Male Actor on Australian radio
- Such Men Are Dangerous (1946) as Czar Paul I
- Crime and Punishment (1946) as Raskolnikov
- Redemption (1946) by Tolstoy – Finch won the 1947 Macquarie Award for Best Male Actor on Australian radio
- When You Come Home (1946)
- Big Sister (1946)
- Crossroads of Life (1946)
- Man of Destiny (1948)
- Obituary Variety, 19 January 1977, p. 94.
- "Finch, Frederick George Peter Ingle (1916–1977)". Australian Dictionary of Biography Online Edition. adb.online.anu.edu.au. Retrieved 27 July 2008.
- Some sources say that Finch's real name was William Mitchell, but there are no records that substantiate this, and it appears to be an urban myth.
- "Index entry". FreeBMD. ONS. Retrieved 6 May 2011.
- Faulkner (1979)
- Peter Finch at AllMovie.
- "Peter Finch". The New York Times. Retrieved 27 July 2008.
- "The Times", 24 November 1970, p. 14 (Obituary – George Ingle Finch)
- "Radio Actor Might Have Become Monk." The Australian Women's Weekly 27 February 1937: 36 accessed 17 December 2011
- Paul Croucher, Buddhism in Australia: 1848-1988, New South Wales University Press, 1989, pp. 24-25
- Film Reference – Peter Finch
- "The Repertory Theatre". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 16 December 1933. p. 8. Retrieved 11 February 2012.
- The Golden Age of Australian Radio Richard Lane, Melbourne University Press 1994
- World War 2 Nominal Roll for Peter Finch
- Richard Lane, The Golden Age of Australian Radio Drama, Melbourne University Press, 1994 p74.
- The Sydney Morning Herald 18 August 1949
- Stephen Vagg, 'Finch, Fry and Factories: A History of the Mercury Theatre' Australasian Drama Studies Apr 2007 
- "Finch, In Films, Plays A Zestful Strangler". The Sunday Herald (1949–1953) (Sydney: National Library of Australia). 10 April 1949. p. 8 Supplement: Magazine. Retrieved 12 February 2012.
- International Manners Lejeune, C A. The Observer (1901- 2003) [London (UK)] 21 Aug 1949: 6.
- "TRAIN OF EVENTS": "Star" from Platform 13 The Scotsman (1921-1950) [Edinburgh, Scotland] 22 Aug 1949: 6.
- Time Magazine, 23 October 1950
- The Melbourne Age, 26 February 1951
- Richard Brooks (7 August 2005). "Olivier Worn Out by Love and Lust of Vivien Leigh". The Sunday Times (timesonline.co.uk). Retrieved 27 July 2008.
- Production Information on Othello at Wellsnet
- "Peter Finch Wins £87,500 Contract". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 20 November 1954. p. 3. Retrieved 11 February 2012.
- "The Most Popular Film Star in Britain." The Times (London) 7 December 1956: 3. The Times Digital Archive. Web. 11 July 2012.
- "British Actors Head Film Poll: Box-Office Survey", the Manchester Guardian (1901–1959) (Manchester) 27 December 1957: 3.
- Peter Finch at Screenonline
- ABC Eyewitness News; 23 February 2009; Midnight broadcast
- "‘Slumdog Millionaire’ fulfills its Oscar destiny" MSNBC/Associated Press; 23 February 2009
- Paul Rosenfield, 'Peter Finch—Michelin Guide to Show Biz Comes to Rest in Hollywood', Los Angeles Times (1923–Current File) [Los Angeles, Calif] 09 Jan 1977: r29
- Dancing into the Unknown, Tamara Tchinarova Finch, 2007 ISBN 978-1-85273-114-4
- "No title". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 28 April 1941. p. 4. Retrieved 11 February 2012.
- "From George, With Sadness". Australian Women's Weekly (1933–1982) (National Library of Australia). 27 August 1969. p. 13. Retrieved 10 February 2012.
- Finch, Peter (1916–1977) at the British Film Institute's Screenonline. (N.B.: Miscalculates age at time of death as 61, not 60.).
- 'Lost Treasure Trove' at AFC Archive
- ""Sons of the Anzacs".". The Mercury (Hobart, Tas. : 1860 – 1954) (Hobart, Tas.: National Library of Australia). 10 February 1945. p. 9. Retrieved 11 February 2012.
- "2nd Moscow International Film Festival (1961)". MIFF. Retrieved 2012-11-04.
- "Berlinale 1961: Prize Winners". berlinale.de. Retrieved 23 January 2010.
- "The Repertory Theatre." The Sydney Morning Herald 16 December 1933: 8 accessed 17 December 2011
- "PETER PAN.". The Sydney Morning Herald 17 December 1934: 6 accessed 17 December 2011
- "Interference." The Sydney Morning Herald 12 November 1935: 12 accessed 17 December 2011
- "The Independent Theatre." The Sydney Morning Herald 25 May 1935: 12 accessed 17 December 2011
- "So This Is Hollywood" The Argus (Melbourne) 9 September 1935: 4 accessed 17 December 2011
- "White Cargo." The Sydney Morning Herald 30 April 1938: 7 accessed 17 December 2011
- "Theatre Royal." The Sydney Morning Herald 27 July 1938: 17 accessed 17 December 2011
- "K.C.s as Jurors in New Play". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 20 June 1944. p. 5. Retrieved 11 February 2012.
- "Music and Drama The Flying Emus". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 18 November 1944. p. 8. Retrieved 11 February 2012.
- "Rattigan Play Presented". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 25 September 1947. p. 7. Retrieved 11 February 2012.
- THE THEATRES: LYCEUM: "French Without Tears" The Scotsman (1921-1950) [Edinburgh, Scotland] 04 Apr 1950: 4.
- OPERA HOUSE: "Captain Carvallo" The Manchester Guardian (1901-1959) [Manchester (UK)] 27 June 1950: 5.
- Soldier-Poet In Portrayal; Climax Misses: Friendly Smile Australian Iago By Harold Hobson. The Christian Science Monitor (1908-Current file) [Boston, Mass] 27 Oct 1951: 10.
- Talking Off The Cuff Williams, W E. The Observer (1901- 2003) [London (UK)] 16 Oct 1949: 6.
- "Leading artists heard in famous plays". Australian Women's Weekly (1933–1982) (National Library of Australia). 25 March 1939. p. 46. Retrieved 11 February 2012.
- "Iron Lung Inventor at 5 AD Tomorrow". The Advertiser (1931–1954) (Adelaide, South Australia: National Library of Australia). 1 April 1939. p. 27. Retrieved 11 February 2012.
- "Broadcasting". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 7 June 1939. p. 7. Retrieved 11 February 2012.
- "Night Nurse". The Argus (1848–1956) (Melbourne, Australia: National Library of Australia). 24 June 1939. p. 2. Retrieved 11 February 2012.
- "New popularity for old-time plays". Australian Women's Weekly (1933–1982) (National Library of Australia). 15 February 1941. p. 43. Retrieved 11 February 2012.
- "Melba Memorial Concert". The Advertiser (1931–1954) (Adelaide, South Australia: National Library of Australia). 17 May 1941. p. 17. Retrieved 11 February 2012.
- "Radio Acting Awards". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 14 April 1947. p. 5. Retrieved 11 February 2012.
- "Acting Awards". The Sydney Morning Herald (1842–1954) (Sydney: National Library of Australia). 8 March 1948. p. 2. Retrieved 11 February 2012.
- "This Weeks's Radio Features". The Advertiser (1931–1954) (Adelaide, South Australia: National Library of Australia). 30 March 1946. p. 7. Retrieved 11 February 2012.
- "5 AD's 'Big Sister' Ends Tonight". The Advertiser (1931–1954) (Adelaide, South Australia: National Library of Australia). 17 August 1946. p. 13. Retrieved 11 February 2012.
- "A.B.C. to Open New Station; Thebarton Match From 5 AD". The Advertiser (1931–1954) (Adelaide, South Australia: National Library of Australia). 24 July 1948. p. 7. Retrieved 11 February 2012.
- Dundy, Elaine. Finch, Bloody Finch: A Biography of Peter Finch. New York: Holt, Rinehart & Winston, 1980. ISBN 0-03-041796-1 (10). ISBN 978-0-03-041796-2 (13).
- Faulkner, Trader. Peter Finch: A Biography. London: Angus & Robertson, 1979. ISBN 0-207-95831-9 (10). ISBN 978-0-207-95831-1 (13).
- Finch, Yolande. Finchy: My Life with Peter Finch. London: Arrow Books, 1980. ISBN 0-09-924190-0 (10). ISBN 978-0-09-924190-4 (13).
- Johnson, G., "The Success Story of Peter Finch", The Sun-Herald (Sydney), (Sunday, 8 August 1954), pp. 21–23
- Johnson, G., "The Long Road to London", (Sunday, 15 August 1954), pp. 23–25
- Johnson, G., "Dad And Dave, And Then The War." The Sun-Herald (Sydney) 15 Aug 1954: 23
- Johnson, G., "The Thames Is Non-Inflammable- But An Australian In London Leapt Up A STAIRWAY TO STARDOM." The Sun-Herald (Sydney) 22 Aug 1954: 23
- Johnson, G., "The Threat and The Promise". The Sun-Herald (Sydney) 29 Aug 1954: 47
|Wikimedia Commons has media related to Peter Finch.|
- Finch, Peter (1916–1977) at the British Film Institute's Screenonline. (N.B.: Miscalculates age at time of death as 61, not 60.)
- Peter Finch at the Internet Movie Database
- Peter Finch media holdings at the National Film and Sound Archive of Australia.
- Peter Finch Australian theatre credits at Ausstage
- Peter Finch at Australian Dictionary of Biography
- Audio interview with Peter Finch from 1973 discussing Australia
- Peter Finch's appearance on This Is Your Life