The British Film Catalogue

Volume 1 3rd edition

Denis Gifford

FICTION FILM, 1895-1994

The British Film Catalogue

Volume 1 3rd edition

Denis Gifford

FICTION FILM, 1895-1994 First published 1997 by FITZROY DEARBORN PUBLISHERS First edition 2001

Published 2017 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA

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Copyright© Denis Gifford 1973, 1986, 2000

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CONTENTS

page Preface ix How to Use the Catalogue xi Abbreviations and Other Indicators xvii Bibliography xx Acknowledgements xxi Denis Gifford, 1927-2000 xxii The British Film Catalogue: Fiction Film, 1895-1994 1

Index 1023

PREFACE

This is the first complete catalogue of every British film ii) After the first day of December, nineteen hundred produced for public entertainment since the invention of and twenty-eight, the studio scenes must have cinematography over one hundred years ago. The first edition been photographed in a studio in the British covered the years 1895-1970. This was updated for a second Empire; edition covering the years up to 1985, and now this third iii) The author of the scenario must be a British edition is further revised and updated to cover the years up to subject; the end of 1994, the first hundred years of cinema. Over one iv) Not less than seventy-five per cent of the salaries, thousand new entries are included - not just films from the wages and payments specifically paid for labour 1980s and 1990s; there are many dating from the years covered and services in the making of the film (exclusive of in the previous editions and catalogued here for the first time. payments in respect of copyright and of the salary This is a complete catalogue in that it attempts to include or payments to one foreign actor or actress or every traceable British entertainment film. British film producer, but inclusive of payments to the author producers, unlike their American counterparts, have never of the scenario) has been paid to British subjects or been required to register their films for purposes of copyright, persons domiciled in the British Empire . . . and so no national British register exists to compare with that held and published in book form by the Library of Congress Furthermore, subsection 5 stated that in Washington, DC. However, between the introduction of For the purposes of this section: the Cinematograph Films Act of 1927 (the ‘Quota Act’) and The expression ‘British Company’ means a company that of the Films Act 1985, British companies were required constituted under the laws of any part of the British to register title and footage information with the Board of Empire, the majority of the directors of which are Trade (BOT; later the Department of Trade and Industry - British subjects. DTI, then the Department of Trade - DOT, and now once more the DTI). Every film so registered is included in this While useful as a basic yardstick, this definition has to be book, but the inclusion of British films produced before the both narrowed and broadened for this book. The Board of 1927 Act cannot be guaranteed. To supplement the official Trade classified as ‘British’ the native product of Australia, information, much more has been unearthed through Canada, India, New Zealand, and the West Indies. No such exhaustive study of trade papers, fan magazines, and production has been included in this catalogue. It does try to company catalogues preserved in the archives of the British include, however, all films, even those which received a BOT Film Institute and the British Library. In addition, as many ‘Foreign’ registration, known to have been made in the British pioneers of the British film industry as possible - producers, Isles, including those films that either were identified by the directors, writers, photographers, or actors - have been author during his research or are indicated in the National personally interviewed. Film Archive Catalogue, Fart III as having been made in The introduction of the quota system on 1 April 1928 was Ireland. The BOT classified as ‘Foreign’ a number of British- an attempt to halt the domination of British cinema screens made films, such as Herbert Wilcox’s Madame Pompadour, by American films and prevent the accompanying decline of and films such as these are included. the domestic film industry. The Act required that distributors More genuinely ‘foreign’ films included in this catalogue were to offer a specified quota of British films each year to are those produced by British companies in co-operative exhibitors, who, in turn, were required every year to show a arrangements with studios in France, Germany, Holland, set number of British films. The quotas were set to rise Italy, and even Hollywood. During the early sound period, gradually with the intention being that by the end of the Act’s two or more versions of the same film might be made with ten-year duration 20 per cent of the films shown in British English and foreign casts, sometimes in a British studio, cinemas would be of British origin. Although this target sometimes abroad. Where the latter situation pertains, the film quota was easily achieved by distributors and exhibitors, the has been included despite a BOT ‘Foreign’ registration, with a British film industry was criticised for producing too many note in parentheses as to the place of production. Films low-budget, mediocre films made simply to fulfil quota produced in the British Isles by American companies on regulations. Further legislation was introduced in 1938 in an location, ranging from early visits by Kalem and Edison to effort to remedy this so-called ‘quota quickie’ problem by such apparently native American productions as The Dirty allowing British films with more expensive production costs Dozen, are also included, as are films made in the USA by to be counted as double, even treble, for quota requirements. British companies. Co-productions have become more fre­ The term ‘British film’ was first defined by the 1927 Act, quent and these are included, even where the dominant Part IV, section 27, subsection 3, as follows: partner, such as Canada, has been the location for the production. For the purposes of this Act a film shall be deemed to be a In the years between the publication of the first and second British film if, but not unless, it complies with all the editions of this catalogue (1973 and 1986), the definition of following requirements: what exactly constitutes a British film became still more i) It must have been made by a person who was at blurred. Even the Board of Trade, which regularly compiled the time the film was made a British subject, or by and published its weekly list of ‘Films Registered Under the two or more persons each of whom was a British [Quota] Act’, found it difficult to allocate ‘BR’ (British) and subject, or by a British Company; ‘F’ (Foreign) registration numbers. Frequently in this period

ix Preface they mixed their BRs with their Fs and were forced to publish This volume also excludes films of fact: newsreels; corrections - usually Fs to BRs - a week or so later. And if the documentaries; and films of pure actuality, advertisement, official government department was unable to see its way education, information, propaganda, and travel. These types through the mysteries of British film production, what of film are now listed in the companion to this book, The chance, then, has your diligent but undoctored researcher? British Film Catalogue, Volume 2: Non-Fiction Film, 1888- To make matters worse, the new Films Act 1985, coming into 1994, also published by Fitzroy Dearborn. Animated films force from midnight, 25 May 1985, removed the quota made for the cinema can be found in my British Animated system and with it the requirement to register films. Thus, Films, 1895-1985, published only in the United States by since 3 May 1985, when the film Parker was registered, there McFarland (1987). has been no official government record of British film It is usual for a catalogue of films to be arranged in production. alphabetical order. This is ideal for the enquirer who knows This is a catalogue of British films produced for public the title of the film, but almost 15,000 titles are dealt with entertainment; in other words, it includes films completed but here (not even including individual episode titles within not necessarily exhibited. Some of the films made in the silent series or serials) and many could be known only to a period were never shown to the paying public, either because centenarian expert. Rather than let these many rediscoveries of the arrival of sound or because they were just inferior. return to alphabetical oblivion, it was decided that a Some of the films produced in recent years were still awaiting chronological listing in order of exhibition would enable release at the time this catalogue was compiled, others never both casual enquirer and expert to survey the history of the reached the cinema but eventually attained a showing on British film industry in a way not possible with the standard television; all these films have been included. type of catalogue. To browse through a chosen year or to A further amplification of the phrase 'produced for public scan the pages is to catch a moment in time: perhaps a entertainment' is that films in this catalogue are all favourite star making a debut in a small role, or a once-great professional productions; the exceptions are a few amateur name on the wane; a famous director starting out as a writer, films made on 16mm stock, which were blown up to 35mm or a producer playing a bit-part to make ends meet; perhaps prints for release to cinemas. sound films are coming in and silent films are fading out, or Short film production increased towards the end of the the first three-reel features are appearing among the mass of period covered in this volume, but unfortunately this one-reel dramas and half-reel comedies; the first close-up is coincided with a decline in interest on behalf of the trade being cut in, or the first Academy Award being won. press. The only remaining film trade journal, Screen Between the lines of names and titles lies the history of the International, decided no longer to review shorts, and the British film, with its almost annual booms and crises, echoed only magazine of record, the Monthly Film Bulletin, followed by the waxing and waning of stars and directors and the suit. In consequence, few indeed are the published details changes in fashion of stories and themes. It is hoped that in available to the researcher, and it has proved to be as difficult this way the catalogue will prove a useful source book, not to uncover information on the fiction shorts of recent years as only for the growing army of film students, but for the social it was to uncover details of shorts made eighty years ago. historian as well as the casual reader seeking interesting Films not included in this catalogue are those made entertainment. specifically for and shown only on television. Shorts, An alphabetical index of film titles is provided for those featurettes, and most films deriving or compiled from who know what film they are looking for. Finally, may I television programmes are also not included. These must recommend that the reader initially studies the section 'How await the compilation of a separate catalogue of British to Use the Catalogue', which should add considerably to the television films. The catalogue also excludes most films enjoyment of the book. released directly on video without a theatrical showing. Denis Gifford

X HOW TO USE THE CATALOGUE

This catalogue is divided into years and then into months. Title Films are arranged chronologically in order of exhibition The main title given in bold capitals for each film is the from 1895 to the end of 1994, with each year starting on a original title used at the first showing of the film. It is new page. The year featured is printed at the top inside edge followed by any subsequent change of title in the English of each page. language (in capitals, in this order): an alternative title in To find information on a particular film, whether short or contemporary listings (preceded by also); a change of title for feature, silent or sound, locate the title in the alphabetical title public showing or release (retitled); a change of title for index at the back of the book. Immediately preceding the title American distribution (USA); or a change of title for later is the catalogue number of the film. The position of a film in revival or reissue (reissue). See also the paragraph below the book can be found by checking the catalogue number at entitled ‘Reissue’. the top outside edge of each page. Every entry has been assigned a catalogue number purely for the purpose of finding a specific title using the index; the numbers run consecutively Length throughout the volume, starting at 00001 for the earliest film The length of each film is given in one of two ways: for silent in the book. Where films are issued in series, each episode films, as actual footage; or for sound films (generally, post- title has the same catalogue number as the series title, but is 1928), as running-time in minutes. These figures are given in followed by a progressive decimal point. See the paragraph parentheses immediately following the main title of the film. on ‘Series’ below. The original intention to standardise all lengths as running­ time in minutes proved impossible. Although it is generally accepted that silent films were made to be projected at an INFORMATION average speed of one foot (16 frames) per second, in practice As much information as could be discovered from available this was not so. By the last years of the silent era projection published sources (see ‘Bibliography’) is given for each film, speed almost matched that of the new sound film standard, at information on early films being naturally less than with 1.5 feet (24 frames) per second. Silent films made in the more recent productions. However, a good deal of ‘new’ Kinemacolor system (red and green record frames) ran at information has been uncovered and is published here for the twice the normal speed, i.e. 32 frames per second, through first time. The elements that constitute a perfect catalogue special projectors, and so published footages for them have entry appear in the following order, but it should be borne in been halved in this catalogue to give a correct comparison mind that a great many entries will contain only some of these with ‘normal’ films of the period. Mutoscope and Biograph elements. films were designed to be run at 24 frames per second, 50 per cent faster than normal for the time, and their footages, compared to other companies’ films in the same years, reflect this. Year/Month Where silent film footage is given in rounded hundreds or thousands (500, 1000, 2000, etc.), this should be taken as an Films are listed chronologically by year and then by month in approximate figure, as more accurate footage cannot be order of their initial exhibition. This is decided in one of traced. One thousand feet is the accepted standard length of several ways: by date of first advertisement, first review, one reel of film. notice, or listing in contemporary publications; by date of first trade show; from 1913 by date of showing to the British Board of Film Censors (which changed its name in 1985 to Censor’s Certificate the British Board of Film Classification); by date of This information is given, where known, for films passed by compulsory registration with the Board of Trade (from the British Board of Film Censors since the BBFC came into January 1928); by date of completion in the case of films being on 1 January 1913. The type of certificate awarded is unshown at the time this third edition of the catalogue was shown in parentheses immediately following the film’s length. initially compiled (1995). Where several alternative dates New censorship categories were introduced in 1983. For exist, the earliest is used. explanation of all categories see the section ‘Abbreviations It is common for films to be dated by their dates of release. and Other Indicators’. This practice has not been followed here, as in the British cinema a release date can follow a first-show date by one, five, or, in one case, 14 years. Where no precise date can be Silent or Sound ascertained a film is included at a deduced date with the Experiments with synchronised sound began in the early days annotation ‘Date uncertain’ in parentheses following the of film production. Actors were photographed miming to synopsis. gramophone recordings, and all traceable examples of these Days of the month are not shown, and the films should not have been included. Unfortunately, the Hepworth Vivaphone be taken as chronologically arranged within the monthly films were never advertised or listed by title, except in the divisions. However, in the silent period, films by prolific case of special dramatised productions such as Faust. production companies are grouped together in chronological Consequently, the twice-weekly Vivaphone releases (1907) order under the month headings. cannot be listed here.

xi How to Use the Catalogue

The main entries to the catalogue are divided into two parts, Production Company silent films and sound films. The division is made between The name of each film’s production company is given on a December 1928 and January 1929. Before January 1929, all new line beneath the film title. The words ‘Films’, ‘Produc­ films catalogued are classed as silent, except where the word tions’, ‘Producing Company’, etc., have usually been elimi­ sound is shown following the title, length, and certificate. nated. Some companies are given in abbreviated or initial These are generally experimental or short productions. form; full names of these will be found in the section After December 1928, all films catalogued are classed as ‘Abbreviations and Other Indicators’. In the case of co­ sound films, except where the word silent follows the title, productions, names of companies are separated by an oblique length, and certificate. There were naturally many silent stroke. releases during the first year or so of sound production. Where a film produced as a silent film has later had a sound-track added to it for release or reissue, this information is given Distribution Company together with the date in parentheses following the synopsis. The name of each film’s distributor is given, usually in Where a sound film was produced in more than one shortened or abbreviated form (for details, see ‘Abbreviations language version, note is made following title, length, and and Other Indicators’), in parentheses immediately following certificate by the words bilingual (meaning a film made in the production company. Included here as distributors are two language versions), trilingual (film made in three such early variants as Publisher, Agent, Selling Agent, and language versions), or multilingual (film made in more than Renter. Where no separate distributor’s name appears, the three language versions). production company is also the distributor.

Colour Systems Credits The name of any colour system used in the film, either Production credits appear beneath the information on throughout or in sequences, is noted next in lower-case italic production and distribution companies. For the years 1895- type. Examples are tech for Technicolor and eastman for 1970, production credits, where traceable, are usually given Eastman Colour. See the section ‘Abbreviations and Other only for producer, associate producer, director, story source, Indicators’ for the full list of abbreviated forms for colour screenplay, and narrator. The number of production credits systems. The word colour is used where the colour system is increases for films from the beginning of 1971 onward, and unknown or unnamed. A note on Kinemacolor films appears these, listed in order of appearance (although any combina- in the paragraph on ‘Length’ above. tion may be used), are abbreviated as follows: xp Executive Producer/Production Executive/ Gauges, Wide-Screen Processes, and Executive in Charge of Production Stereoscopy P Producer The basic photographic gauge for cinema films is 35 mm. ap Associate Producer /Production Associate Films made on a so-called ‘substandard’ gauge (i.e. 16mm, d Director 8mm, etc.) are largely excluded from this catalogue as they s Story/ Original Story/Source/ Original were not normally shown in public cinemas. A few 16mm Screenplay films are included where special 35mm prints were made of sc Screenplay / Story Adaptation / Dialogue / them for theatrical release. These are noted as 16 mm. Additional Dialogue Most of the sound films listed were photographed in ph Photographer / Cinematographer / Lighting standard Academy ratio until the introduction of anamorphic Cameraman wide-screen processes such as CinemaScope. For films listed e Editor /Supervising Editor up to the end of 1970, the only wide-screen process usually m Music/Original Music noted is that of CinemaScope, which is shown by the md Musical Director/Musical Arranger abbreviation scope. The many different processes providing n Narrator similar proportions (DyaliScope, FranScope, HammerScope, V Voice(s) NudiScope, TechniScope, etc.) were initially not differentiated From 1971, the annotation ‘(not credited)’ is given where but included under this term. Where possible, full names for a particular credit is untraceable. Descriptions of each credit these and other processes for wide-screen cinematography are given below. have been given from the beginning of 1971 (the starting-point of the second edition of this volume) and occasionally for earlier films where the information has come to hand or where Producer films have been added. The information appears in italic type The name of the film’s producer is given following the following the colour system and is separated from it by an abbreviation p. Included in this category are such early terms oblique stroke. See the section ‘Abbreviations and Other as Supervisor and Director General of Productions. From Indicators’ for a list of abbreviated forms. 1971, a separate division, xp, has been made preceding the Films photographed (but not necessarily exhibited) in producer’s name for Executive Producer, Executive in Charge stereoscopic processes, which from a practical commercial of Production, Production Executive, and similar credits, but point of view started in 1951, are noted as 3D. prior to that their names are generally included here. Any Associate Producer’s name follows the abbreviation ap, listed Reissue after the producer. Note is made where a film has been reissued or re-released some time after its original release. After the word reissue, the Director year or years are given, followed by any change of title and, in The name of the film’s director is given following the parentheses, any change of distributor, length, or running­ abbreviation d. The earliest film directors were called Stage time. Managers; later in the silent era they were usually known as

xii How to Use the Catalogue

Producers. The American term Director did not come into Narrator general use in Britain until the 1920s. To avoid confusion, Up to the end of 1970, the abbreviation n includes all ‘voice only the term Director is used in this catalogue, but historians over’ narration provided by unseen actors or commentators, should bear these subtleties in mind. whether credited in the films to a Commentator, Narrator, Directors’ names that are given within parentheses have Prologue, or, indeed, uncredited. been supplied by the compiler from such sources as the interviewees listed in the Acknowledgements, but cannot be confirmed by documentary evidence. Voice(s) (from1971) Where more than one director is credited, the comma From 1971, the abbreviation v for voice(s) covers all off­ separator indicates that the second name is a Co-director. A screen words spoken by unseen artistes in character, other name following a semi-colon separator belongs to an than the voice of the narrator. Associate Director or Second-Unit Director. Cast and Characters Story Source Players’ names appear in the left-hand column, the names of the characters they portray in the right, separated by trailer The name of the author of the original story of the film is dots. In the case of early films it has not always been possible given following the abbreviation s. The story may be taken as to determine character names. Performers and variety acts original to the film where no qualification precedes the appearing as themselves in a story film are usually listed author’s name. Where the story is not original to the film, the below the cast, in the left-hand column with nothing further form of the source is given in parentheses, immediately appearing in the right-hand column. In a film classed as following the s, e.g. (Novel). The original title of the work, ‘Revue’ or ‘Musical’, performers and variety acts are listed where this differs from the title of the film, is given in capital across the column width, with names separated, where letters within parentheses following the name of the author. necessary, by semi-colons. Included under this heading are authors whose actual No real standard exists for published cast lists: some casts credits on the film may vary from Story, Original Story, give actors in order of appearance, others in order of Original Screenplay, Screen Original, Script, Scenario, Photo­ importance, alphabetical order, or even in the old theatrical play, Written By, Specially Written for the Screen By, and tradition of separated sexes. By going to the original simply By. advertising or billing of the films, and where possible to the original credit titles, an attempt has been made to arrange players’ names in order of importance or stardom. Screenplay Pressure of space prevents the publication of complete cast The abbreviation sc, which is given directly beneath s, is lists for every film. Full casts often run to 50 or more names, generally used for authors of adaptations from another form from leading player down to such credits as ‘Third Virgin at of story. All original film screenplays and scripts are included Orgy’. To include all names would have resulted in a book under the heading s. almost twice as long as this and so some discretion has Earlier terms for film writing are not listed separately. therefore been used in the elimination of minor players and These include Adaptation, Continuity, Photoplay, Picturisa- characters. However, all names of special interest have been tion, and Scenario. Other writing credits such as Additional retained: early appearances of actors who later attained Dialogue, Additional Material, Dialogue, Script Associate, stature, minor appearances of former stars, and unusual Script Contribution, Treatment, etc., are not distinguished personalities in special but small roles. In the case of early but are included under this heading. films, however, every discoverable name has been included.

Genre Photography (from 1971) Each film has been given a single descriptive key word in bold The abbreviation pb is used to denote the photographer or type immediately preceding the synopsis. This instantly cameraman. Where several photographers were employed, classifies the content of the film into one of the following generally only one name is listed, followed by the abbrevia­ 25 different categories. tion et al. Act Stage performer reproducing a stage performance for the camera Adventure Dramatic story with action, generally Editor (from 1971) set in a foreign location or in historical The abbreviation e precedes the name of the film editor. Only time one name is usually given, although there may have been an Advert Sponsored film made to advertise a editorial supervisor as well as a film editor. commercial product. (Early examples only are included.) Animal Dramatic, humorous, or adventure Music (from 1971) story in which the key figure is an animal The abbreviation m indicates the name of the composer of the Chase Popular form of early comedy or drama film’s musical score. in which one party pursues another for the greater part of the film Children Film made specifically for a juvenile Musical Director (from 1971) audience The abbreviation md, is for the musical director or arranger of Comedy Humorous story including all styles of the film’s musical score. comedy: slapstick, farce, etc.

xiii How to Use the Catalogue

Compilation Film composed of extracts from earlier Where no published plot of an early film can be traced, an films extract from an advertisement or contemporary review is Crime Dramatic plot turning on any aspect of given instead, enclosed by quotation marks. Where no crime, including mystery, murder, plotline or quote appears, no published description of the detection, violence, thriller film has been found. Drama General term for any serious story that cannot be classified under a more Awards and Achievements particular heading Facial Early form of short comedy Awards won by the film are given within parentheses, concentrating on facial expressions in following the synopsis. Award titles are noted in abbreviated close-up form, with the category (if applicable) and year of award in Fantasy Dramatic or humorous film with a full. A full list of awards appears under the section fantastic or impossible story, including ‘Abbreviations and Other Indicators’. science fiction Only two major awards systems are noted from 1971, the History Drama founded on historical fact or American Academy Awards (the ‘Oscars’, noted here as AA) involving the representation of actual and the British Film Academy Awards. The latter have persons, living or dead. Includes changed their name more than once since they were founded biographical films, but not costume in 1947, and are presently known as the BAFTA (British adventures or religious stories Academy of Film and Television Arts) Awards. For the sake Horror Dramatic film, often fantasy, but with of clarity and continuity, however, the original abbreviation, elements calculated to horrify or BFA (British Film Academy), has been retained throughout. frighten the audience Royal Film Performances are also included under this Musical Comedy, drama, or romance with an heading. above-average quota of songs or dances. Includes ballet, dance, opera, Other Additional Information and early song films, both mimed and dramatised. Also includes some pop The development of the film as an art is noted, where known, concerts by the inclusion within parentheses of special information Nudist Comedy, drama, or romance in which relating to the first discovered close-ups, cut-in close-ups, one or more performers appear naked double exposures, and other important steps. Any other more or less throughout. Usually set in important information, for example, on co-production a nudist camp countries or filming locations, also appears within parenth­ Pathos The ‘pathetic’ was a popular form of eses following the synopsis. In recent years, a number of films early drama, and usually implies a story have been produced for theatrical showing prior to television of tragedy ending in death screening. These are included and identified here by the note Religion Dramatic story based on biblical or ‘(Made for TV, cinema release)’. Christian history, or a religious theme Revue Film consisting mainly of variety acts, Series songs, and sketches Many films were made as part of a series, and may be known Romance Story, generally dramatic, occasionally by their generic title and number or by individual titles. In the humorous, concentrating on the theme catalogue, these are usually grouped together under the main of love series title, which is immediately followed by the note Sex Comedy, drama, or fantasy that is ‘(Series)’. Each individual title has been assigned a unique predominantly contrived around sex or catalogue number that is an extension of the catalogue nudity. Includes ‘soft porn’ films number for the main series title, in the form 01234.1. The Sport Dramatic film, usually involving crime, individual title is given this unique number in the index rather in which the central theme is a sport than the catalogue number for the whole series. This such as boxing, football, horse-racing, numbering system is new to the third edition of this book. etc. Although the apparent effect is to reduce the overall number Trick Early form of comedy in which trick of entries in the volume in comparison to the system used in photography dominates the action, the previous two editions (in fact there are over 1000 new rather than serving the plot entries in this edition), the rearrangement’s purpose is to help War Dramatic story in a wartime setting, or the reader identify individual entries within a specific series reconstruction of a wartime incident more easily. The length is given next to each individual title Western Dramatic action film made in imitation wherever possible. of the familiar American cowboy story Credits are attached, as appropriate, either to the series, or to the individual films within it. Where delayed release makes Synopsis this formula seem impractical, the film is entered under its individual title, with the series title (and episode number, The plot or content of each film is summarised in a single where known) given in parentheses following the synopsis. sentence, following the genre heading. Where applicable, the plotline is preceded by the setting, date, or period of the story. The name ‘Ruritania’ is used throughout to locate all stories Serials set in imaginary countries. Films made in episodes as serials are grouped together under When it was usual for films to be of one single scene, the the main title, which is immediately followed by the note first films to contain more are noted immediately before the ‘(Serial)’, then credits and cast. Each episode title has been plotline thus: (2 scenes), (3 scenes), etc. assigned a unique catalogue number that is an extension of

xiv How to Use the Catalogue the catalogue number for the serial title, in the form Index 01234.1. The episode title is given this unique number in The index lists film titles in alphabetical order, including all the index. The length is given next to each episode title alternative titles, title changes for reissue, title changes for wherever possible. American release, and series and serial episode titles.

xv

ABBREVIATIONS AND OTHER INDICATORS

AWARDS consolidated Consolidated Color deluxe DeLuxe Dates in parentheses are the years for which the awards duart DuArtcolor below are noted in this volume. dufay Dufaycolor AA Academy of Motion Picture Arts eastman Eastman Colour and Sciences (1928-94) ekta Ektachrome BFA British Film Academy; British ferrania Ferrania Color Academy of Film and Television fotokem Foto-Kem Color Arts (1947-94) fuji Fujicolor DEFA Daily Express Film Award (1947— geva Gevacolor 50) geyer Geyercolor DMNFA Daily Mail National Film Award barmoni Harmonicolor (1946-51) irene Irenecolor FWA Film Weekly Award (1929-39) kay Kaycolor PGAA Picturegoer Annual Award ( 1933— kinema Kinemacolor 59) koda Kodacolor RFP Royal Film Performance ( 1946— metro Metrocolor 94) pathe Pathécolor Top Moneymaker British film taking the greatest prizma Prizma Colour amount at the nation’s box offices rank Rank Color during the year, according to the spectra Spectracolor Kinematograph Weekly (1936-70) tech Technicolor tru Trucolor warner Warnercolor CENSOR’S CERTIFICATES In addition, the abbreviation seq. is used to indicate A Adult: Children accompanied by a responsible ‘sequence’, as in, for example, colour seq. adult (1913-70); or: Parents advised that the film may be unsuitable for children under 14 (1970-82) CREDITS AA Children under 14 not admitted (1970-82) ap Associate Producer/Production Associate H Horrific: Persons over 16 only (1930-42; all d Director such films then banned until introduction of e Editor/Supervising Editor the X certificate in 1951) m Music/Original Music PG Parental Guidance: Some scenes may be md Musical Director/Musical Arranger unsuitable for young children (from January n Narrator 1983) P Producer U Universal: Unrestricted admission (from ph Photographer / Cinematographer / Lighting 1913) Cameraman X Adult: Persons under 16 not admitted (1951— s Story / Original Story / Source / Original 70); or: Persons under 18 not admitted Screenplay (1970-82) sc Screenplay / Story Adaptation / Dialogue / 12 Passed only for persons of 12 years and over Additional Dialogue (from August 1989) V Voice(s) 15 Passed only for persons of 15 years and over xp Executive Producer/Production Executive/ (from January 1983) Executive in Charge of Production 18 Passed only for persons of 18 years and over (from January 1983) - Certificate not granted MISCELLANEOUS Abbreviations appearing in synopses and notes and those used with personal names for titles or military ranks, etc., in COLOUR SYSTEMS cast/character lists: Names of colour systems given in the catalogue but not listed AB Able Seaman/able-bodied seaman in the abbreviations below should be assumed to be in full. AC Air Commodore/ Aircraftman (followed agfa Agfacolor by 1 or 2 to denote class) ansco Ansco Color ACM Air Chief Marshal ckemi Chemicolor ADC Aide-de-camp cineco Cinecolor AFS Army Fire Service colour Unspecified system AM Air Marshal

xvii Abbreviations and Other Indicators

AOC Air Officer Commanding SL Squadron Leader ARP Air-Raid Precautions SO Section Officer ATS Auxiliary Territorial Service Sgt Sergeant AVM Air Vice-Marshal Sgt-Maj. Sergeant-Major Adm. Admiral Sub-Lt Sub-Lieutenant BBFC British Board of Film Censors (1913-85); Supt Superintendent from 1985, British Board of Film Surg. Cdr Surgeon Commander Classification Top-Sgt Top-Sergeant BOT Board of Trade VC Vice-Chancellor/Victoria Cross B/W Black and white Vice-Adm. Vice-Admiral Bdr Bombardier WAAF Women’s Auxiliary Air Force Brig. Brigadier WAC Women’s Army Corps (US) Brig. Gen. Brigadier General W/C Wing Commander CMP Corps of Military Police WO Warrant Officer/Wireless Operator CPO Chief Petty Officer / Chief Prison Officer WRAC Women’s Royal Army Corps CSM Company Sergeant-Major WRAF Women’s Royal Air Force Capt. Captain WRNS Women’s Royal Naval Service Cdr Commander WVS Women’s Voluntary Service Col. Colonel Col-Sgt Colour-Sergeant Cpl Corporal DC Detective Constable PRODUCTION AND DISTRIBUTION COMPANIES DCI Detective Chief Inspector DI Detective Inspector Some company names are abbreviated wherever they appear, DO District Officer either as a production company or as a distributor. Others are DORA Defence of the Realm Act 1914 given in abbreviated form only where they appear as Det. Detective distributor of a film. Det. Sgt Detective Sergeant AA Anglo-Amalgamated Film Distributors ERA Engine Room Assistant A&cC American and Continental Films FL Flag Lieutenant /Flight Lieutenant ABFD Associated British Film Distributors FM Field Marshal ABPC Associated British Picture Corporation FO Field Officer / First Officer/Flag Officer/ AB-Pathé Associated British-Pathé Flying Officer/Flight Officer ACT Association of Cine and Allied Technicians FSgt Flight Sergeant ACTT Association of Cinematograph, Television GC Group Captain and Allied Technicians Gen. General AFC Alliance Films et Communications Gnr Gunner AFM Allied Film Makers Hon. Honourable AIP American International Pictures Insp. Inspector AIPGB Associated Independent Producers of JP Justice of the Peace Great Britain KC King’s Counsel AP&D Associated Producers and Distributors L/Bdr Lance-Bombardier ASFI Associated Sound Film Industries L/Cpl Lance-Corporal ATP Associated Talking Pictures LS Leading Seaman ATV Associated Television Lt Lieutenant Amb Ambassador Film Productions Lt-Cdr Lieutenant-Commander BAP British Aviation Pictures Lt-Col. Lieutenant-Colonel B&C British and Colonial Kinematograph Lt-Gen. Lieutenant-General Company MO Medical Officer B&D British and Dominions Film Corporation MP Member of Parliament B&TF British and Foreign Films MSgt Master Sergeant BBC British Broadcasting Corporation Maj.-Gen. Major-General BEF British Exhibitors’ Films NAAFI Navy, Army, and Air Force Institutes BFI British Film Institute OC Officer Commanding BFM British Film Makers OP Observation Post BHE British Home Entertainments OS Ordinary Seaman BIED British Independent Exhibitors’ PC Police Constable Distributors PFC Private First Class BIF British Instructional Films PO Petty Officer / Pilot Officer/Police BIFD British Instructional Film Distributors Officer /Prison Officer BIP British International Pictures Pte Private BL British Lion Film Corporation QC Queen’s Counsel BLPA British Lion Production Assets RAF Royal Air Force BSFP British Sound Film Productions RFC Royal Flying Corps BSP British Screen Productions RNLI Royal National Lifeboat Institution BSS British Screen Service RSM Regimental Sergeant-Major BSkyB British Sky Broadcasting Rear-Adm. Rear-Admiral Bry Bryanston Films

xviii Abbreviations and Other Indicators

CAPAD Co-operative Association of Producers and MRA Moral Rearmament Distributors NA New Agency C&M Cricks and Martin Films NFFC National Film Finance Corporation CFF Children’s Film Foundation/Children’s NFTVS National Film and Television School Film and Television Foundation NofE North of England Films CIC Cinema International Corporation NPFD National Provincial Film Distributors CIRO Cinerama International Releasing NR New Realm Pictures Organisation NRW Filmstiftung Nordrhein-Westfalen COW Cinema of Women NSS National Screen Service CUE Commonwealth United Entertainment P&C Phillips and Carroll C4 Channel 4 Television PDC Producers Distributing Corporation Col Columbia Pictures Corporation Par Paramount Pictures Corporation Cosmo Cosmopolitan Films RAF Royal Air Force Film Unit D&P Denham and Pinewood Studios RAI Radio Televisione Italiana DUK Do-U-Know Film Productions RFD Rank Film Distributors EB Equity British Film Productions RFI Regal Films International EL Eagle-Lion Film Distributors RFS Religious Film Society EMI Electrical and Musical Industries RKO RKO Radio Pictures Ex Exclusive Films RSE Richard Schulman Entertainments FBO Film Booking Offices RTE Radio Telefis Eireann FN First National Pictures RTP Radio Televisao Portugal FOS Films of Scotland Rank Rank Film Productions Fed Federated Film Corporation S4C Sianel Pedwar Cymru Fox Fox Film Company (as distributor before TFD Twickenham Film Distributors 1935) TFI Talbot Freemantle International Fox-Rank Twentieth Century-Fox - Rank Film TOC The Other Cinema Distributors TVS Television South GAS Films George Albert Smith Films 20th Twentieth Century-Fox Film Corporation G&S Greenspan and Seligman Film Services (as distributor from 1935 on) G-B Gaumont-British Film Corporation UA United Artists Film Corporation GEFD Golden Era Film Distributors UFA Universum Film Aktiengesellschaft GFD General Film Distributors UI Universal International Pictures GHW Gregory, Hake and Walker Productions UIP United International Pictures GLA Greater London Arts Univ Universal Pictures GLC Greater London Council Urban Charles Urban Trading Company GN Grand National Pictures VPRO Vrijzinnig Protestantse Radio Omroep GPO General Post Office Film Unit VPS Visual Programme Systems GTO Gem-Toby Organisation W&cF Woolf and Freedman Film Services Gau Gaumont Company W&P Williams and Pritchard Films HBO Home Box Office WB-FN Warner Brothers-First National ICA Institute of Contemporary Arts WDR Westdeutscher Rundfunk ICC International Cinema Corporation WI Western Import IFD Independent Film Distributors WPD Warner-Pathe Distributors IFP Independent Film Producers WTC Warwick Trading Company IFR International Film Renters YCC Yorkshire Cinematograph Company IP Independent Producers YLE Yleisradio ITC Incorporated Television Company YSA Yorkshire Sales Agency I VTA International Variety Theatres Agency ZDF Zweites Deutsches Fernsehen Int Ex International Exclusives JMG Jury-Metro-Goldwyn JPD Jack Phillips Distributors WIDE-SCREEN PROCESSES AND KTC Kinematograph Trading Company STEREOSCOPY Kin Ex Kinema Exclusives These are usually given in full in the catalogue. Abbreviations LFMC London Film-Makers Co-op used are as follows: LIP London Independent Producers LMG Laurie Marsh Group scope Cinemascope or any other anamorphic LWT London Weekend Television process giving similar proportions that MGM Metro-Goldwyn-Mayer Pictures cannot be readily identified MOI Ministry of Information 3D Stereoscopic MP Moving Pictures Sales Agency Todd-AO Mike Todd-American Optical Company MPI Motion Pictures International vista VistaVision

XIX BIBLIOGRAPHY

References are arranged chronologically. 1928- 70 Board of Trade Journal 1931- 73 Motion Picture Herald 1932- 35 Film Star Weekly TRADE JOURNALS, FAN MAGAZINES, AND 1932- 39 Film Pictorial NEWSPAPERS 1932- 94 Sight and Sound 1894-1905 The Photogram 1934- 91 Monthly Film Bulletin 1894-1902 Optical Magic Lantern Journal 1935 London Reporter 1896 The Entr'acte 1935- 94 The Cine-Technician (1935-56)/F/7ra and TV 1896-1920 The Stage Technician (1957-91) /Film and TV 1896-1932 The Era Technician and BETA News (1991-92)/ 1898-1906 Music Hall and Theatre Review Stage, Screen and Radio (1992-94) 1900-02 The Showman 1950- 94 Variety 1902-08 The Music Hall 1954- 90 Films and Filming 1904 Talking Machine News and Cinematograph Journal REFERENCE BOOKS 1904-07 Optical Lantern and Kinematograph Journal 1894-1912 Motion Pictures from the Library of Congress 1907-08 World’s Fair Paper Print Collection 1894-1912 (by Kemp 1907- 71 Kinematograph Weekly R. Niver, 1967) 1908- 32 The Bioscope 1894- 1949 Motion Pictures: Catalogue of Copyright 1910-12 Film House Record Entries, 3 vols (Library of Congress) 1910- 12 Picture Theatre News 1914-71 Kinematograph Year Book (1914-60)/ 1911- 12 The Pictures Kinematograph & Television Year Book 1911-14 The Talbot Tattler (1961 -71) 1911- 20 Moving Picture World 1927-34 Spotlight Casting Directory 1912- 13 Top-Line Indicator 1944- 94 Film Review (edited by F. Maurice Speed) 1912-14 Evening News 1946- 94 British Film Yearbook (1946, 1947/48, 1912-16 Film Censor 1949/ 50, 1952) / British Film and Television 1912-22 Kinematograph Monthly Film Record Year Book (1955 / 56-75 /76) / International 1912-94 Cinema News and Property Gazette Film and TV Yearbook (1976/77-82/83)/ (1912-57)/Daily Cinema (1957-68)/ Screen International Film and TV Yearbook Today’s Cinema (1969-71) / Cinema TV (1983/84-92/93) /Screen International Today (1971-75) /Screen International International Film and Television Directory (1975-94) (1993-94) (edited by Peter Noble) 1913-14 Pictures and Pleasures 1913-15 Illustrated Films Monthly 1913-15 Pathe' Cinema Journal/ Pat he' Weekly Bulletin CATALOGUES 1913- 60 Pictures and the Picturegoer / 1895-1913 W. Butcher; Cinematograph Company; Picturegoer Cricks and Martin; Cricks and Sharp; 1914 Cinematograph Exhibitors’ Mail Edison Manufacturing Company; Gaumont 1914- 18 Film Renter Company; Hepwix Films; Jury’s Imperial 1915- 17 Picture Palace News Pictures; Kinemacolor Films; R.W. Paul; 1919-20 Cinema Chat Sheffield Photo Company; G.A. Smith; 1919-20 Trade Show Critic Charles Urban Trading Company; 1919-24 Stoll Editorial News Walturdaw; Warwick Trading Company; 1919-40 Boys’ Cinema Williamson Kinematograph Company 1919-60 Picture Show 1895-1930 National Film Archive! Catalogue IP art III! 1921-24 Motion Picture Studio Silent Fiction Films/1895-1930 (published 1928-39 Film Weekly by the British Film Institute, 1966)

xx ACKNOWLEDGEMENTS

Much of the information on early British films was obtained Parkinson, producer-director; Wally Patch, actor; Miss Lettie from personal interviews with, or letters written by, film Paxton, actress; Douglas Payne, actor; George Pearson, veterans and their relatives. Unhappily, many of these willing director; Roland Pertwee, writer; Edward Hay Plumb, actor- helpers died before they could see their contributions to director; Albert Potter and Miss Gertie Potter, actors; Miss cinema history recorded in print. Mabel Poulton, actress; Mrs Hetty Langford Reed; Stewart First, my special thanks to the following people directly Rome, actor; Don Saunders, technician; Leslie Seldon-Truss, concerned with the production of British films: Sidney Birt writer-director; Miss Connie Somers-Clarke (Mrs Veltom), Acres, son of the pioneer; James Anderson, editor and actress; Warwick Ward, actor; Ewart Wheeler, actor; Miss compilation maker; Dave Aylott, actor-writer-director; Chrissie White, actress; Herbert Wilcox, producer-director; Charles Barnett, writer-director; Miss Dorothy Batley, actress Miss Florence Williamson (Mrs Hunter) and Thomas H. daughter of actor-writer-director team of Ernest G. and Ethyle Williamson, children of James Williamson; Herbert Wynne, Batley; Miss Dorothy Bellew (Mrs Burke), actress; Wally actor-director. Bosco, actor; Miss Billie Bristow (Mrs Pleydell-Bouverie), Particular thanks are due to the following collectors, writer; Miss Estelle Brody, actress; Clive Brook, actor; William enthusiasts, experts, and historians: Professor Robert H. Ball, Carrington, boy actor; Hubert S. Chambers; May Clark (Mrs John Barnes, Kevin Brownlow, Geoff N. Donaldson, John M. Mabel French), actress; Mrs Annie Cooling, actress; Arthur East, David Grenfell, Tony Hawes, Thomas Johnson, Bert Melbourne Cooper, director; R. Howard Cricks, boy actor; Langdon, Raymond Mander, Joe Mitchenson, Kemp R. Gerald de Beaurepaire, writer; Miss Margot Drake, actress; Niver, Liam O’Leary, Michael Poynter, Ray Selfe, Maurice Edward Dryhurst, writer-director; Maurice Elvey, director; Trace, and Mrs Audrey Wadowska. Joe Evans, writer-comedian; Stanley J. Faithfull, photogra­ Research was carried out at the following places: the pher; Miss Lenore Fisher (Mrs Corbett), actress; Lewin Barnes Museum of Cinematography, the British Board of Fitzhamon, actor-writer-director; Kenelm Foss, actor-writer- Film Censors (or Classification), the British Film Institute director; Sidney Gilliat, writer-director; Ken Gordon, camera­ Information Department and Library (now the BFI National man; Frank R. Growcott, actor-stage manager; Miss Lillian Library), the British Museum Library and Newspaper Library Haggar (Mrs Richards), actress; Charles B. Heath; Baynham (now the British Library Newspaper Library), the Kinemato- Honri, technician; Edward Horder, distributor; Miss Elsie graph Weekly offices, the Raymond Mander and Joe Hughes, cashier; Miss Winifred Jackson, actress; Clifford Mitchenson Theatre Collection, the National Film and Jeapes, cameraman; Frank Launder, writer-director; Patrick L. Television Archive Cataloguing Department, The Stage Mannock, writer; Hubert Marno, musician; Miss Helena offices, the Victoria and Albert Museum Gabrielle Enthoven Millais, actress; Miss Joan Morgan, actress; Frank Orford, Collection, and through the National Lending Library for technician; F. Oswell-Jones, scenic designer; Harry Broughton Science and Technology.

xxi DENIS GIFFORD, 1927-2000

Although Denis Gifford’s British Film Catalogue has become founded the Association of Comic Enthusiasts and in 1976 a classic reference source for film historians, his interests and organised the first national comics convention. When he expertise extended well beyond British cinema, encompassing eventually applied his vast knowledge to writing books, he animation, comic-book, television, and radio history, and began with Discovering Comics (Shire, 1971/1991). Denis Denis was justifiably proud of his reputation as ‘number one went on to become a prolific author, producing over 50 nostalgist’. wide-ranging titles including A Pictorial History of Horror His career took off early when some of his drawings were Movies (Hamlyn, 1973/1983), The Illustrated Who’s Who accepted for publication by The Dandy while he was still a in British Films (Batsford, 1978), Encyclopedia of Comic pupil at Dulwich College in south London. At school he had Characters (Longman, 1987), American Animated Films: The collaborated with his friend Bob Monkhouse to produce their Silent Era, 1897-1929 (McFarland, 1990), and Entertainers own comic. Denis became a skilled strip artist on such in British Films: A Century of Showbiz in the Cinema (Flicks children’s comic papers as The Beano and after the war his Books/Greenwood Press, 1998). However, his greatest cartoons featured in the London Evening News and other achievement remains The British Film Catalogue. First newspapers. published in 1973 by David and Charles/McGraw Hill, it While continuing as a freelance artist, he turned to writing was the product of 20 years’ exhaustive research. He trawled comedy scripts for radio programmes such as The Light through huge numbers of trade papers, journals, and other Optimists in the 1950s. He devised the popular radio panel primary sources and personally traced and interviewed - game Sounds Familiar in 1966, which transferred successfully some for the first and only time in their lives - directors, to television in 1972 as Looks Familiar. His television career performers, writers, and technicians from the earliest days of had begun in 1954 when he was drafted onto the writing team film. This third, fully revised and extended, edition of The to try to save the first BBC series starring the comedians British Film Catalogue is accompanied for the first time by Morecambe and Wise, Running Wild, from being a critical Denis’s previously unpublished and unique volume on non­ disaster. Denis went on to supply the script for the comedian fiction film. Derek Roy on the opening night of ITV in 1955 and in 1964 co-wrote the first comedy show to be broadcast on BBC2, The Alberts’ Channel Too. Other work included devising games for the BBC’s family show The Generation Game and scripting PUBLISHER’S NOTE children’s TV programmes such as Junior Showtime. Denis Particular thanks are due to Cathy Surowiec, who accepted also made a number of compilation films with his friend the the daunting challenge of proofreading this entire volume film editor Dennis Drinkwater for Associated British-Pathe. with such enthusiasm and took on much extra research, and Denis retained a life-long love for comics and his to Elaine Burrows of BFI Collections, who dealt promptly collection of more than 20,000, acquired over 60 years - with many queries at all stages of production with unfailing and which occupied every inch of space in his house - was patience and cheerfulness. the largest and most comprehensive collection in the UK. He Claire Chandler, Editor

xxii 1895 00004 1895 MARCH

00001 UNTITLED KINETOSCOPE COMEDY R.W. Paul d Birt Acres Comedy (Taken for showing in the Edison Kinetoscope; projected later in the year)

MAY

00002 THE ARREST OF A PICKPOCKET (40) Birt Acres d Birt Acres Crime Policeman catches pickpocket, who slips from jacket but is caught by sailor. (Kinetoscope film)

DECEMBER

00003 TOM MERRY, LIGHTNING CARTOONIST (40) Birt Acres d Birt Acres Tom Merry Act Stage cartoonist sketches Kaiser Wilhelm. (Date uncertain)

00004 TOM MERRY, LIGHTNING CARTOONIST (40) Birt Acres d Birt Acres Tom Merry Act Stage cartoonist sketches Bismarck. (Date uncertain)

1