A country boy, Jim Conroy, is living a dissolute life in the city, running around with vamp Helen Ross.

Beaumont Smith bought the film rights to all the works of Banjo Paterson and spent two years writing a script.

[6] The price for the rights to the poem was reportedly the second largest ever paid in the history of Australian filmmaking, only exceeded by The Sentimental Bloke.

[7] Smith incorporated characters from various Paterson works, including squatter's daughter, Kitty Carewe, and swagman, Saltbush Bill.

[8] Smith later claimed the price of the film rights was the highest ever that had been paid in Australian cinema, with the exception of The Sentimental Bloke (1919).

It was reported that "a start has already been made with the picture on Mr. Erie McKellar's station, where every facility is offered for the aiming of such thrills as the great ride from "Rio Grande," the bushranging scenes from "Conroy's Gap," and the tight from "Salt Bush Bill".

In May 1919 Smith announced he had delayed plans to make the film, unhappy with the rates of return he could get from exhibitors.

[13] The Bulletin reported that "Smith, who has turned out more winners than any other producer in this country, reckons that unless fresh arrangements are made by the booking houses the day of the Australian film is numbered.

[19] Smith used American talent available in Australia, including John K. Wells, who was assisting Wilfred Lucas on the Snowy Baker movies, and visiting actress Hedda Barr.

The acting is excellent, though no great demands are made on those concerned...Mr. Smith is wise to show bush folk in an attractive light, whilst sacrificing nothing of the Australian atmosphere.

[35]Everyone's called the film: A top-notch Australian production that revives one’s hopes for the establishment of a great movie industry in the Commonwealth.

The personalities of Paterson’s verses are skillfully interwoven with a story into which the woman interest "is cleverly introduced... City and country alike will hail The Man from Snowy River scenically, and in both photographic and acting senses as the best Australian movie yet.

Magnificent "long shots" of picturesque crags and valleys, and broad sweeps of pasture land, are a feature of the production, and the equal in photographic accomplishment of any work of a similar nature that has come from America.