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 Sydney Sun-Herald on four consecutive Sundays, which were certainly the first detailed account of Finch's life to be published. Finch later provided the inspiration for the character Archie Calverton in Johnston's novel, Clean Straw for Nothing.
In 1953 he appeared in his first Hollywood movie, Elephant Walk (1954), shot in Ceylon and Los Angeles. The circumstances of production were turbulent; filming started with Vivien Leigh in the lead but she had a nervous breakdown during production and had to be replaced by Elizabeth Taylor. The experience helped sour Finch on a Hollywood career and he would only work occasionally there for the rest of his career.
George Finch was born in New South Wales, Australia, but was educated in Paris and Zürich. 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.
He had a small role as an Australian prisoner of war in The Wooden Horse (1950), the third most popular film at the British box office in 1950. 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.
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.