The ISSUE 170 SUMMER 2021

The Magazine of The British Cinema and Television Veterans

2021: Our Centenary … or not? See page 6 PHOTOGRAPH BY ALLEN EYLES BY PHOTOGRAPH

PLUS: The Newsletter of the Film & Television Charity Issue 170 | SUMMER 2021 | Contents

3 AGM 4 BCTV PROFIT AND LOSS ACCOUNT AND DRAFT BALANCE SHEET British Cinema and 5 FROM THE PRESIDENT Television Veterans 6 OUR CENTENARY … OR NOT? By Allen Eyles Founded 1921 8 I HAVEN’T YET PREACHED IN MALAWI By Bill Dudman An association of men and women 14 THE MAN WHO LOVED BEES who have given more than 30 years to the cinema, film or television industries 16 HIDDEN CAMERA SECRETS By Bob Harvey 20 A CLASSIC TALE By Allen Eyles Officers President – Nigel Wolland MBE 24 1924: BIRTH OF THE VETERANS Vice President – Ted Childs 26 THAT WAS THEN June 1971 and June 1996 Honorary Treasurer – Bob Stanesby FCCA Honorary Independent Examiner – Peter Samengo-Turner 27 BOOK REVIEWS By David Edwards and Allen Eyles 27 DVD REVIEW By Michael Pointon 28 LETTERS By Bob Mandry, Charles Morris, Sir Sydney Executive Committee Samuelson CBE, Michael Pointon, Bob Harvey, Paul Welsh Linda Ayton Sir Sydney Samuelson CBE MBE and Tom Barton Allen Eyles Rick Senat 30 NEW MEMBERS Victor Gallucci Jacky Simons Stuart Hall Felicity Trew 30 IN MEMORIAM Richard Huhndorf Mike Vickers Howard Lanning Jim Whittell 30 RAY HARRYHAUSEN: TITAN OF CINEMA Spencer MacDonald Anthony Williams 31  THE FILM & TELEVISION CHARITY NEWSLETTER Barry Quinton KPES ex-officio: The Film & Television Charity is a separate organisation from Andy Leyshon (Film Distributors’ Association ) The British Cinema and Television Veterans – for contact Phil Clapp (UK Cinema Association) Alex Pumfrey (Film & Television Charity) details, see page 31

President’s Council The Sir Peter Bazalgette David McCall CBE, DL Barbara Broccoli OBE Lord Puttnam CBE Editor: Allen Eyles Stan Fishman CBE Dame Esther Rantzen 13 Tennyson Court, Paddockhall Road, Sir Paul Fox CBE Sir Sydney Samuelson CBE Haywards Heath, West Sussex RH16 1EZ Lord Grade CBE Jeremy Thomas CBE Tel: 01444 455 763 Email: [email protected] Published quarterly by the British Cinema Enquiries concerning all matters of membership including and Television Veterans and sent to current membership cards, changes of address and notices of members as a benefit of membership. bereavements, and all general enquiries: Non-members may subscribe to this magazine by sending £20 for four issues (£30 overseas) to The Secretary at the address Company Secretary shown to the left, remittance payable to ‘British Cinema and Television Veterans’. Kathy Darby British Cinema and Television Veterans Production and Design by Angela Lyons www.angelalyons.com 22 Golden Square London W1F 9AD Printed by Pensord Tel: 020 7287 2976 Tram Road, Pontllanfraith, Blackwood, Gwent NP12 2YA www.pensord.co.uk Email: [email protected]

Magazine © 2021 British Cinema and Television Veterans Limited – a company limited by guarantee. Registered in England and Wales under number 7393345. Registered office: 22 Golden Square, London W1F 9AD. The texts of all the articles remain the copyright of their authors and Website the copyright and other rights in all illustrations are retained by their photographers and sources. Reproduction in whole or part of text or pictorial matter without written permission from the rights’ BCTV.website holder is strictly prohibited. Opinions expressed in articles are not necessarily shared by the British www.britishcinemaandtelevisionveterans.org.uk Cinema and Television Veterans nor by the editor of THE VETERAN magazine. All unsolicited content is submitted at owner’s risk and no responsibility can be accepted for any damage or loss.

2 THE VETERAN | ISSUE 170 | SUMMER 2021 BRITISH CINEMA AND TELEVISION VETERANS LIMITED A company limited by guarantee. Registered in England and Wales under number 7393345 AGM 21 Days’ Notice is hereby Given of the Annual General Meeting of Members to be held on Wednesday 28th July 2021 at 12 noon at FTC, 22 Golden Square, London, W1F 9AD

AGENDA

1. Apologies for absence 2. Notice convening the meeting 3. To receive and approve the Minutes of the Annual General Meeting held on 28 October 2020 4. Matters arising not on the Agenda 5. To receive the President’s Report 6. To receive the Honorary Treasurer’s Report and the Accounts for the year ended 31st March 2021 7. To receive the Honorary Independent Examiner’s Report 8. To approve the Accounts for the year ended 31st March 2021 9. To appoint the Honorary Independent Examiner for the year ending 31st March 2022 10. To note that: (i) in accordance with Articles 8.3 and 8.4 of the Articles of Association, one third of the Executive Committee is required to retire at each Annual General Meeting, these being the longest serving Members. This year the retiring Members are Victor Galluci, Richard Huhndorf, Howard Lanning, Jacky Simons, James Whittell and Anthony Williams. They are all offering themselves for re-election and are automatically nominated (ii) Article 8.1.1 specifies that no more than 6 Executive Committee Members may be elected in any one year 11. To elect up to 6 Executive Committee Members 12. Any other ordinary business

By Order of the Executive Committee Kathy Darby, Company Secretary

Please note:

Forms for any additional nominations can be obtained from the Company Secretary

Members are reminded they may only vote in person and may be asked to show their membership card to prove their eligibility

Any member wishing to attend the AGM should notify the Company Secretary no later than Monday 19 July on: [email protected] or 020 7287 2976

Please leave your email or telephone contact details so we can get in touch with you in case of any changes

THE VETERAN | ISSUE 170 | SUMMER 2021 3 BRITISH CINEMABRITISH AND CINEMA TELEVISION AND TELEVISION VETERANS VETERANS LIMITED LIMITED Draft Profit and Loss Account for the period from 1st April 2019 to 31st March 2021

Draft Profit and 2021 2020 Loss Account for Turnover £ £ Members Subscriptions 39,355 43,263 the period from Members joining fees 485 1,375 1st April 2020 to Events for members 0 767 Other income 0 140 31st March 2021 39,840 45,545 Cost of sales Costs of magazine 17,966 23,685 Costs of events 38 1,482 18,004 25,167

Gross Profit 21,836 20,378

Other Operating Income Donations 1,746 10,455

Administrative expenses Staff costs 21,251 21,174 Rent 3,250 3,000 Other costs 4,380 8,978 28,881 33,152

Operating deficit (5,299) (2,319)

Interest receivable 46 157

Deficit on ordinary activities (5,253) (2,162)

Corporation Tax paid 0 53

Deficit after taxation (5,253) (2,215)

BRITISH CINEMA AND TELEVISION VETERANS LIMITED

Draft Balance Sheet as at 31st March 2021

31-Mar 31-Mar 2021 2020 Draft Balance Equipment Furniture Total Total Sheet as at FIXED ASSETS £ £ £ £ At Cost 31st March 2021 Carried forward 31st March 2020 803 268 1,071 1,071

Depreciation Carried forward 31st March 2020 (803) (268) (1,071) (1,011)

Net Book Value 0 0 0 60

CURRENT ASSETS Cash at bank 52,958 91,758 52,958 91,758

ACCRUALS AND DEFERRED INCOME Deferred income in advance from Members 240 29,980 Accruals 4178 8,045 4,418 38,025

NET CURRENT ASSETS 48,540 53,733

TOTAL ASSETS LESS CURRENT LIABILITIES 48,540 53,793

RESERVES £ £

Profit and loss account Brought forward 1st April 2020 53,793 56,008 Deficit for the period (5,253) (2,215) TOTAL RESERVES AT 31ST MARCH 2021 48,540 53,793

These more detailed accounts have been prepared to give members information on the position of the Company The accounts which will be approved at the AGM and then filed with Companies House will have less detail and will be prepared under the regulations of the Financial Reporting Standard for Micro-Entities (FRS 105) as required by EU and international law.

4 THE VETERAN | ISSUE 170 | SUMMER 2021 From the President From the Office

Dear Members CINEMA PASS Following a year like no other, Most cinemas have now re-opened. Just a reminder we are slowly getting back to that your cinema pass admits you and one guest to some sort of normality, with performances starting before 6.00pm on Mondays to the lockdown restrictions Thursdays (except Bank Holidays). Please remember easing in most areas. I hope that the right of admission remains with the cinema that, like me, you have all and, for the time being, mask wearing is required. been able to obtain your We are, though, not aware of members having first and second vaccinations any difficulty when presenting their pass. Looking TONY PEARCE TONY without after effects. ahead, best not to ask for entry in the first two The good news is that our cinemas have re-opened, weeks of the Bond! although with capacity limits and H&S protocols for audiences to feel safe - but showing a selection of films IF YOU HAVE PAID BUT LACK YOUR people still want to see, with a great line up to follow later MEMBERSHIP CARD this year including, the latest Bond No Time to Die. Due to delays beyond our control, getting Can I ask members who have renewed, if they wish to membership cards out to members this year has use their cinema pass, to check first in person, as each of proved even more problematic than last year. If you the main circuits will have its own guidelines for the use of have paid but not yet received your membership the pass, as will the smaller circuits and independents. At card, please contact us by email or else leave a the present time we are not aware of our members having message on the office telephone number and we any difficulty when presenting their pass (not forgetting the will get back to you as soon as we can: use of a face mask). To show some support for our cinemas on your visit, I am sure a small purchase from the kiosk or a Email: [email protected] coffee on the way out would be welcomed. Tel: 020 7287 297 During this time, our BCTV Company Secretary, Kathy, still working from home with a small team of volunteers - namely Jacky Simons, Richard Huhndorf, Vic Gallucci, Tim Potter and Tony Williams (for the banking) and a bit of help from myself - has been dealing with our busy membership renewal period, with our mail being collected on a regular basis from Golden Square as our office there will not have been fully open until 21 June. I can confirm though, that our BCTV Annual General Meeting for this year will be held From the Editor at 22 Golden Square on Wednesday 28 July 2021 at noon, when I hope to see some of you there. TAKE THE PLUNGE Fortunately, we do not need to celebrate our Centenary Is it time for your career to feature this year as further research, reported in this issue, seems in the pages of THE VETERAN? to conclusively prove that the Veterans’ organisation “Come on, you gaffers, sparks, was founded in 1924 as per the statement on our better projies, wranglers - let’s hear your MICHELLE JENKS informed website rather than 1921 as on our logo. experiences, dramas, laughs, the Just a gentle reminder to members receiving this super one liner jokes that broke magazine who have not yet renewed: please do not forget, the tension. You don’t have to be as we do need your support to continue publishing our famous to be entertaining”, says magazine, paying the bills and being able to continue one past contributor. arranging visits and lunches around the country and “Thanks for organising this – it has certainly been meeting our members, which we have not been able to do interesting remembering and writing down all the during these difficult times. (mostly) fun I had at the BBC”, says another. Please remember to keep an eye on our BCTV website, as we always try to keep you up to date with current Allen Eyles information. Finally, a very big Thank You to Kathy, our Company Secretary, for continuing to keep the BCTV running smoothly from Bethnal Green during the last year: you have been brilliant.

Nigel Wolland President

THE VETERAN | ISSUE 170 | SUMMER 2021 5 FRONT COVER STORY 2021: Our Centenary… or not? Allen Eyles answers this timely question

t has largely been taken for granted that our association of Veterans was founded in 1921, if only because our logo has said so for as long as anyone Ican remember. Our website begs to differ, stating the year as 1924 while reproducing our logo with the earlier date. Old issues of this magazine, other than a “Special Edition” – no. 78, are This unsigned article was presumably written by the then editor, the late in deep storage and inaccessible due to the delay in fitting out our office Roger Bennett. It clearly states that the Veterans’ organisation was formed accommodation at Golden Square but I inherited this logo for use on the on the day of Friese Greene’s funeral – Friday 13 May 1921. front cover of THE VETERAN from when I took over as editor with no. 95, When Friese Greene’s memorial in Highgate Cemetery was refurbished Summer 2002. by the Cinema and Television Benevolent Fund in 2009, it made the cover Under the heading “how it all started”, that 78th edition of this magazine, of Issue 124 (Autumn 2009) and I wrote a background article which dated Autumn 1996, declared: referred to:

Cinema Veterans (1903) was formed in 1921 as a result of the tragic … a meeting on Tuesday 10 May [1921], called by William circumstances which surrounded the dead of the Founder of the Blake of Bedford, to bring together many well-known members Industry, William Friese-Greene. of the film industry – R. W. Paul, Cecil Hepworth, W. F. Jury, The year was 1921 and an all industry meeting was being held Fred Griffiths, Will Day, E. G. Turner, F. S. Chambers and Matt at the Connaught Rooms, Kingsway, to discuss the future of the Raymond – at which a decision was taken to ensure that [Friese British Film Industry. The suggestion was made of abolishing Block Greene] be given a funeral worthy of his contribution to the Booking and establishing a British Film Quota. This causes enormous film industry. It was decided to purchase a grave at Highgate controversy and amid the uproar, a feeble voice tried to make itself Cemetery, the last resting place of such notables as Karl Marx, heard. Though called to the dais by the Chairman, Friese-Greene tried Michael Faraday and John Galsworthy … and to mark the spot in vain to make his points, voice failing, was shouted down and helped by commissioning a monument from Sir Edwin Lutyens, who had back to his seat. Moments later the acknowledged mentor of motion designed the Cenotaph among many other memorials. pictures was dead. All he possessed was 1/10d. At a final meeting to settle the financial aspects, Bill Blake put On the day of the funeral, organised by his friends in the industry, forward a proposition that an association be formed to ensure cinemas throughout the land observed a two minute blackout and the that no known member of the industry should pass on in similar Cinema Veterans (1903) was founded. circumstances of poverty. Later, a meeting was called at which Cinema Veterans originally had a membership restricted to those a committee was formed to institute such a scheme. Thus The who had been actively engaged in films prior to 1903. Over the years Cinema Veterans (1903) came into existence. this rule has changed and today membership is restricted to those with There was no written constitution at this time but it was 30 years continuous service in the industry. Membership was extended formally agreed that any man who was actively engaged in the to Lady Veterans in 1975 and in 1978 the name was changed to industry in 1903 would be eligible to join the Cinema Veterans “Cinema and Television Veterans” and membership is open to those in (1903), having been recommended and properly vouched for. both cinema and television. Robert Paul was elected chairman and Bill Blake took the position Charitable work has always been a main function of the Association. of secretary. It is a forerunner of the Cinema and Television Benevolent Fund and A publicity campaign was instituted in the two trade papers, the two organisations work in close co-operation. In addition, it also Kinematograph Weekly and The Bioscope. Known members serves a valuable means of communication to all members, with the of the industry were circularised and in 1924 came the first publication of THE VETERAN magazine three times a year. Veterans Reunion at the Trocadero Restaurant at which 103 Through the courtesy of cinema exhibitors and film distributors, members were present. At this meeting, the souvenir menu or members are annually issued with a pass giving free admission to most programme included small photographs of the members. Veteran cinemas in the country. Robert Paul was elected first President or Chairman. The reunion Each Spring, the Association holds an annual reunion function. became an annual event, held on the first Monday in December. The first was held in the old Holborn Restaurant in 1924. Regular There was no entrance fee or subscription and members were provincial reunions are also held throughout the country. entitled to wear a badge. The main object of the Cinema and Television Veterans is to foster In 1924, the means of relieving poverty in the film industry passed friendship and comradeship throughout the membership. to a newly formed Cinematograph Trade Benevolent Fund….

6 THE VETERAN | ISSUE 170 | SUMMER 2021 The article suggests that the Veterans’ organisation was formed at a final meeting to settle financial aspects of commissioning a sculptor to design the memorial. Kine Weekly (14 February 1924) records that this gathering took place in early February 1924:

A meeting last week of the Friese-Green memorial committee marked Bust of William Friese Greene, on display at Pinewood Studios, the practical conclusion of its labours. The financial response of the sculptor unclear. There are (or were) other busts at Shepperton Trade was meagre, in view of the vital importance this pioneer’s work Studios and at Panavision in Greenford and Hollywood. represents to the members of the Industry. It is only by the greatest (Author’s photograph. See also front cover.) personal efforts on the part of some of the committeemen that even the present sum was reached. For the original function of the fund was two-fold – first to commemorate the dead, and secondly, to look after the living. That this latter consideration absorbed a good proportion of the sum subscribed was an unhappy necessity, but at least the committee used its discretion in a way that will give little cause for criticism. The expense of Mrs. Friese-Greene’s last illness and funeral fell upon the fund, and, in addition, the education of the two youngest boys has been a charge. It is satisfactory to note that one of them is now placed in the technical section of the Royal Air Force, the other has a couple of years more schooling, for which the Trade Benevolent Fund has made itself responsible. Meanwhile, to refer again to the monument on the grave, it has been decided to interview Sir Frederick Lutyens, the famous sculptor, again, and to act, if possible, with his advice and assistance. A small committee has been appointed to this duty, consisting of Will Day, Brooke Wilkinson, Matt Raymond and W. Gavazzi King. These gentlemen have power to take what action seems advisable, and their report and the submission of the audited accounts will finally close the fund.

The Wikipedia entry on Highgate Cemetery lists the monument as the work of “Lutyens”. Frederick Lutyens, a less well known brother of Edwin, died in 1924 – buried on 21 July, which leaves sufficient time for him to have worked on the memorial. The news item indicates that the fund would close. There is no suggestion that it evolved into an association of Veterans. In fact, thanks to on line research resources very recently made available through the British Newspaper Library, it has been possible to conclusively identify the seeds from which the Veterans organisation grew. Turn to pages 24 and 25. This enables the following conclusion: the death of William Friese Greene had no direct connection with the birth of the Veterans but did The Friese Greene memorial at Highgate Cemetery. William Friese Greene’s stimulate the eventual setting up of the Cinematograph Trade Benevolent name is spelled in various ways but I have elected to use the version on his Fund (now the Film+TV Charity). V memorial in this article. (Author’s photograph from 2009.)

THE VETERAN | ISSUE 170 | SUMMER 2021 7 I Haven’t Yet Preached in Malawi Bill Dudman looks back on life as a film cameraman for television

had been fascinated by pictures and sound from an early age. While I was studying A-level Iphysics and mathematics at Haywards Heath Grammar School, Sussex, in 1965, the BBC was one of many employers present at a careers event. I enquired about becoming a TV cameraman and, after sitting my exams, I was invited to an interview by the BBC. However, as I had passed my A levels, I would have to train as a junior engineer. (If I had failed my exams, they would have accepted me on the camera operation side!). Although this wasn’t my choice of career, I accepted the offer to get my foot in the door. After eighteen months of working in TV Outside Broadcasts in the Radio Links area, I noticed an internal advertisement for the post of trainee assistant cameraman based at Ealing Studios. I did not know at the time that the BBC had owned the studios since the 1950s. I quickly applied and after three interviews became one of eleven new trainees. This was not the “camera job” I’d originally applied for but it would prove to be much better. I remember turning up on my first day at Ealing Studios when Doctor Dolittle was being filmed on one of the stages. There were so many different animals and their handlers milling about that I thought, “It’s going to be very different from TV Studio work.” This certainly proved to be the case. In my first year as a trainee, I worked on The Year of the Sex Olympics by Nigel Kneale (35mm colour), Dr. Who – Fury From the Deep (16mm b&w, now a lost episode remade) and Man in the Iron Mask (16mm b&w – the last children’s serial to be shot in monochrome, starring Sir Roger Livesey With the personal Aaton camera that I loved. (All photographs courtesy of the author.) and Roger Delgado).

8 THE VETERAN | ISSUE 170 | SUMMER 2021 Margot Fonteyn signed this photo for me after the Monte Carlo shoot for The Magic of Dance (1979).

A couple of weeks after my Red Arrow flight for Jim’ll Fix It, the producer gave me this water colour painting by Flight Officer Bruce Rigelsford, entitled “We don’t think Jim fixed it.” A treasured possession. According to the Red Arrows website, Bruce Rigelsford was at the time the only official “artist” officer in the RAF.

I had my first experience of helicopter filming on Bird’s Eye View of Britain – Stately Homes. We had landed at Berkeley Castle after shooting a hunting sequence and Lady Berkeley’s butler came down to invite us to take sherry. Lady Berkeley was very keen to show off her new colour television to us and, of course, we found fault with it in some way or other. The result was that Lady Berkeley telephoned her dealer – poor man! – to say that there were eleven gentlemen with her from the BBC who didn’t think the TV was all it should be. In 1975 a young boy asked the Jim’ll Fix It programme if he could fly with the Red Arrows. I was the assistant cameraman on the shoot. The cameraman I was working with didn’t want to Early sequence from The Black Adder (1983) at Alnwick Castle with Rowan Atkinson. go up with them so it fell to me to film the flight. I used a relatively lightweight camera, a Canon Scoopic, and was installed into the rear seat of try and shift it.” This was all very exciting but the years together as a team working on The Two one of the Gnat jets they were using at the time spool was not dislodged from its hiding place so Ronnies – Phantom Raspberry of Old London and the boy was seated in another Gnat. Two we had to land. Fortunately, I had managed to get Town; Ripping Yarns with Mike Palin; Rebecca, complications arose in that the G force on take off sufficient footage for the programme. starring Anna Massey, Joanna David and Jeremy prevented me from lifting the camera off my lap The following years as a qualified assistant film Brett; as well as The Magic of Dance, presented and when we levelled off I found I could not look cameraman were taken up by a lot of foreign by Margot Fonteyn, with Rudolf Nureyev and into the viewfinder due to the flying helmet I was travel, some of it rather exciting, especially flying Mikhail Baryshnikov. While we were filming a wearing. I managed to lift the Scoopic and point to Bahrain and back in a private, fully crewed part of Stravinsky’s Petrouchka at the Monte Carlo it at the other Gnat in the hope I could get some VC10 aircraft to film song numbers for the 1975 Opera House I took Margot’s photo with my new form of “blind” wide shot and after a minute or so Shirley Bassey Christmas Show. We had been due 110 reflex camera and she was kind enough to I had a go at zooming in to get a shot of the boy in to fly and film on a Concorde but the chairman sign it for me. the cockpit. To my amazement, it all worked and I of British Airways said there were technical Another drama series I worked on with Peter said to the pilot that I needed to change the 100ft. difficulties. We did film a song on the Concorde was Marie Curie, starring Nigel Hawthorne and spool of film for a new one to carry on filming. I while it was on the ground at Filton near Bristol. Jane Lapotaire. Peter allowed me to operate the managed to install the new roll but, in doing so, The cameraman on this shoot was Peter Hall, camera during some sequences. A rather tricky the take up spool fell out of the camera into the who had been the focus puller on David Lean’s shot entailed multiple contra tracks and difficult works of the aircraft. I immediately informed the 1948 Oliver Twist. Peter was the cameraman technical dialogue for the actors. After about six pilot who replied, “Let’s try a bit of negative G to I most liked working with and we spent a few takes, Jane and Nigel got it right but the grips

THE VETERAN | ISSUE 170 | SUMMER 2021 9 Getting ready for a night shoot at Alnwick Castle on The Black Adder (1983). My gaffer John Barrott in a blizzard. Patrick Allen as The Black Seal.

and I forgot one of the multiple tracks. The Strauss in the Musikverein. It was going to be a piece orchestra in a relatively small venue. Gene atmosphere was rather tense until Jane, as Marie, multi-camera film shoot and Gene asked if I would disagreed but when we met André coming off said to Nigel, as Pierre, with both of them covered like to operate on one of them. However, when the stage, his first words actually were “That was in make up radiation burns, “Pierre, I suppose the producer, Ian Englemann, heard about this, bloody loud”. a f*** is out of the question.” After that, we all he reasonably had some reservations as I had not 1976 was the year I had to have two passports, succeeded in a good take. been involved in similar projects. Upon hearing due to visiting Israel and Iraq/Syria within weeks The next morning at rushes I was fully about his concern, I quickly bought an LP of the of each other to film Archaeology of the Bible expecting harsh words from the director, John work, read the sleeve notes and then called him Lands with Magnus Magnusson. We were flying Glenister, but it turned out that my lack of a with, at least, some knowledge of the symphony. to Tel Aviv on an ELAL flight before driving up contra track meant he could get out of the shot The upshot was that I was able to operate on the to Jerusalem and staying at the famous American early and I, of course, agreed! film but, to make sure I was familiar with the Colony Hotel that was to be our base for the In 1978 I had a most memorable musical work, I was to accompany Gene on all his recces. duration. Getting through the tight security was experience with another cameraman, Gene This meant a very interesting fortnight in Vienna. tedious and took about three hours but, when Carr. He was asked to go to Vienna and film the When Gene and I were listening to a rehearsal we were finally cleared, we all were upgraded to Vienna Philharmonic Orchestra and André Previn in the Musikverein I whispered to him that I first class (I think the Israel government was keen performing the Alpine Symphony by Richard thought it was “bloody loud” as it was a 120- for us to go). In those days, first class passengers

The Black Adder (1983). One must have the correct make-up on to be burnt by. Preparing to burn Rowan, Tony Robinson and Tim McInerny at the stake. BBC electricians John Barrott and Eric Fever plus two from Lee North try to make a convincing flame effect.

The Black Adder (1983). Brian Blessed as Richard IV in fine form giving a sermon. Frank Finlay as Witchsmeller Pursuivant about to shoot an FX sequence for an episode. Me, Martin Shardlow and Ian Buckley tracking some galloping horses.

10 THE VETERAN | ISSUE 170 | SUMMER 2021 Letter after The Black Adder won an Emmy. Rowan as the Archbishop of Canterbury taking his vows in the winning episode

could pass the time in the cocktail bar on the it being used in a BBC film was during Tinker top floor. It was there we met the Archbishop of Tailor Soldier Spy with Alec Guinness when it Malawi who was also going to Jerusalem but had allowed DoP Tony Pierce-Roberts to light a fair little cash for his trip, so we gave him a lift after chunk of London on a night shoot. (By the way we had picked up our hire cars. my wife Kay was heavily involved in sorting out Once we had settled into the hotel, sound the film crewing and equipment for Tinker.) To recordist Ron Brown took possession of all our my surprise, David said he’d use it on the next duty free booze and converted part of his room sequence which was set in a beautifully designed into “Bar Gladys”, as he liked to call it. It was Jewish bakery. The first shot was a day interior normal for the Archbishop to pop in for a few where a 2.5 HMI would have sufficed. David, drinks in the evening and many rather inebriated however, had the Wendy light built outside the theological discussions took place. When it was bakery and ten minutes after it was turned on, the finally time for him to return home, I remember shop front started to melt. I imagine the designer him holding both my hands and saying, “You must was not too pleased with this outcome. come and preach in Malawi” – an offer I have yet Early in 1983 I was asked to go to Alnwick to take up. Castle in Northumberland to film a new I was promoted to film cameraman (DoP today) comedy drama entitled The Black Adder (later in 1981 and after a mandatory spell working in Blackadder), written by Richard Curtis and Rowan current affairs, which was not for me, I managed Atkinson, and starring Atkinson with Peter Cook, to return to working in Light Entertainment and Brian Blessed, Elspeth Gray, Tony Robinson and Variety. Frank Finlay. Apart from being both demanding In 1982, I and my team were sent to the and great fun to work on, it turned out to be one Czech Republic to cover Barbra Streisand both of the coldest location shoots I remember and, if directing and starring in her motion picture Yentl. you ever watch the first series, please note that all Before we left, our producer contacted the feature the snow and blizzards are real! unit to ask if they needed anything taken out Later that year, I began my first of two years to the location – they replied that they needed with The Two Ronnies – so much more fun cauliflowers and Tampax so these were duly than serious drama, and the budgets were often packed with the rest of the gear. bigger. I remember being asked during the first Early on in the filming, I managed to have production meeting how many generators would Filming Doctor Who special effects on a chat with David Watkin, the feature’s DoP, I need because some of the night shots involved 35mm film in 1987. during a coffee break. I mentioned that I had lighting a long street, so having a generator at never seen his massive “Wendy light” being used. each end made sense. The luminaire was made up of banks of Dino The director/producer in both years was lights and I think it took about 2000 amps at Marcus Plantin and most of the time we made 110 volts to power it. The only time I remember the 15-minute mini-feature films shown near the

THE VETERAN | ISSUE 170 | SUMMER 2021 11 Burning Jim Broadbent at the stake in Ben Elton’s Happy Families. Checking exposure on Happy Families shoot with Rik Mayall in 1985.

with all the technicians, actors and production staff mixed together. This was with the approval of all who had worked on the programme. It was disapproved of by the BBC management but that didn’t stop it going out! This year also brought some programme awards: the “Archbishop” episode of Blackadder won an international Emmy award, a first for the BBC, and series two of The Young Ones was given a BAFTA, another first. At the start of 1985 I awoke in a hotel in Cardiff and found half of my face had become numb and immovable, My assistant kindly rushed me back to Ealing and a visit to my GP resulted in a diagnosis of Bell’s Palsy – something one can’t say when one is suffering from it! I had to have many months off on sick leave as I could not close my left eye or speak normally. However, I did recover most of my facial muscle movement, after which producer Paul Jackson offered me an eight-week film shoot on a new comedy drama written by Ben Elton entitled Happy Families, to star Jennifer Saunders, Dawn French, Adrian Edmondson, Rik Mayall, Lenny Henry, Sandy Toksvig, Stephen Fry and Jim Broadbent. The production was based in the area Training my Aaton camera the Woodhouse way. around Alton, Staffordshire, and part of the episode with Jim involved burning him at the stake, but this was a doddle as I had filmed Rowan Atkinson, Tony end of each show. These proved to be valuable Exterior using just a small amount of soft fill for Robinson and Tim McInerny almost receiving the experiences for me as the subject matter was so the artistes who, apart from the two Ronnies, same fate two years previously. varied. “Tinker Tailor Smiley Doyle” was a MI5/ included Patrick Troughton (who had been the This was one of those longer shoots, so that police parody; “Snivelling and Grudge”, a Robin Doctor Who in Fury from the Deep). All went to when it came to an end it left a strange, almost Hood-era fantasy; “Sunshine Boulevard”, Sunset plan and I was later told by the camera manager lonely feeling; but it had been great fun. Boulevard era shot in b&w; “Raiders of the Last that a drama producer had asked where the Although most of TV filming used 16mm Kodak Auk”, spoof of Raiders of the Lost Ark; “Murder Is location was! and Fuji film, 1987 proved to be a 35mm year for Served”, Hercule Poirot murder mystery, with Pat Before I filmed for the 1984 season of The Two me. I was involved in a long and complex model/ Routledge; “Campers”, saucy silent movie; and Ronnies I worked on the second and final series of special effects shoot directed by SPFX Supervisor “Mileaway”, fantasy “Middle Ages”. The Young Ones with producer Paul Jackson, and Mike Kelt, who later went on to form the Artem “Mileaway” was the first time I had to light a the final sequence was memorable. The episode SPFX Company based in Perivale, Middlesex. The large set on stage two at Ealing Studios and the was called “Summer Holiday” and it culminated show was called Star Cops and, despite the success camera manager was concerned if I could cope as in a five film camera shoot of a London of the filming, I was not credited on the final show I had never lit anything so large before. As it was Routemaster bus being driven over a cliff into a as, apparently, the producer did not want a film to be lit as a day exterior, I – with the valuable quarry near Rochester, Kent. The destruction of credit on a TV studio production. This I found help of my gaffer John Barrott and his team – the bus was meant to show the demise of the bizarre and left me somewhat miffed. stuck up three 6K HMI lamps to act as sunshine, Young Ones but when the bus finally landed it On the lighter side, one of the other making sure they never overlapped to prevent was upright and in fairly good condition so Paul programmes I worked on was Training Dogs The double shadows, followed by lots of 6K tungsten Jackson, the special effects supervisor and I went Woodhouse Way. Barbara Woodhouse could be spacelights to be the clouds. We then had to light into a huddle to work out how to kill them all off exasperating to work with at times but I took her a massive “cyc” with all the background detail and the decision was to blow the bus up! The final advice and used it to train my Aaton Film camera painted on it. After that, I treated it as a Day end credits were displayed in alphabetical order to be more obedient!

12 THE VETERAN | ISSUE 170 | SUMMER 2021 Trying to impress Pat Routledge with “Riders in the Sky” on the set of Keeping Up Appearances. Filming titles for Channel 4 in 1996 with Stanley Me being made up to take Pat Routledge’s part during an exterior car sequence. Baxter.

Through the Dragon’s Eye (1989) was the most will or even shoot it themselves. This resulted in expensive drama that BBC Schools Television two rounds of redundancies which I survived and had ever undertaken. Shot entirely on the stage amazingly allowed me to be hired, as a member at Ealing Studios using Betacam SP cameras, of BBC staff, to film sequences for The Stanley the budget was little short of £1,000,000 for Baxter Christmas Special, transmitted on Channel ten 20-minute episodes. Nearly all the filming Four in December 1996. I expect working on The involved extensive use of blue and green screen Two Ronnies helped me get this job and it was a technology and it was the first time I had to pleasure to work with Stanley and producer Tom decide on camera and lighting positions three Gutteridge of Mentorn Productions. I had first months prior to shooting so that the scenic worked with Tom on BBC Nationwide on a piece artists could get perspectives correct in the about the building industry and the reporter was background images. Richard Stilgoe. How things change! The writers had a lucky break early on in the As the Film Department at Ealing had to become production as some of the characters were Ewok- more commercial, I undertook an MBA module at like creatures which they called “Widgers”. One Bradford University on marketing and helped the of the young actresses mentioned that “widger” new marketing manager to promote our facilities. was Jamaican slang for “penis” so the writers I was also part of the BBC smart new technology changed the name to “Widgets”! Me playing the part of an American DoP in an team looking at new ways of working and training My last decade in the Film Department included episode of As Time Goes By. production staff. filming the title sequences for the 1992 (35mm) As luck would have it, I got to know the account and 1997 (Betacam SP) General Elections. The managers at both Panasonic and Sony and when I 1997 shoot resulted in a rare complaint about my took an early retirement deal, leaving on Halloween work when the graphic designer, who had been all over the place. Nothing was mentioned during 1997, I had been offered a job with Sony UK as a co-directing, reported that the helicopter shot flying shooting but after we had wrapped, Rob Newman production advisor to “talk tecchie to luvvies”. This over Beachy Head lighthouse was over exposed, said to me, “That was the most inappropriate lasted until 2001 when I went freelance, not as a despite the fact that we had all approved the shots lighting I’ve ever seen. It was perfect”. That’s cameraman but as a consultant/trainer. I mainly soon after landing. I was thereby summoned to the going on my tombstone, I thought… worked with cinematography students at the edit suite at Television Centre, to be shown the One of the more unusual locations was a two- National Film and Television School, Beaconsfield, offending shot and be generally admonished. The week session on board the QE2 to film the 1993 many of whom found work in the film industry. V VT editor overheard the conversation and butted Christmas Special. We took a lot of kit on board, in by slightly reducing the lift on his monitor and including two Betacam SP cameras, a Steadicam quietly said, “Is that what you wanted?” The shot operated by Adrian Smith, and portable lighting. was then accepted, again, and I left for Ealing. The Being on board was a strange experience and not graphic designer’s complaint cost her budget the one I would have paid for. day rate for a film cameraman. In 1995, I was asked to play the part of an In the early 1990s I was involved in filming American cameraman as part of a storyline in all four series of Keeping Up Appearances, As Time Goes By, starring (not me but) Judi starring Pat Routledge and Clive Swift, who Dench and produced by Syd Lotterby. The actual worked so well together. I was responsible for lighting director on the video shoot was Graham the photography of all sequences not recorded at Rimmington whom I knew as we both belong to TV Centre. As I was working with an excellent the same lighting society (STLD). The grips and camera operator, Chris Kochanowicz, most of my myself were the extent of the “real” film crew day was involved with lighting and, on a couple of portrayed in the scene and I was using one of occasions, when there was little or no lighting to our old Mitchell cameras as a prop – I knew this be done, I donned a costume and stood in for Pat camera well and had used it on past SPFX shoots. – non-speaking, of course! During the coffee break, the actress playing the During the filming of Newman and Baddiel in production assistant asked me if I was a proper Pieces, starring Rob Newman and David Baddiel, cameraman or an actor. I replied that if I was an I was involved in a night shoot in a joke shop, a actor I would not have got away with slagging off location that I found after the original shop had the lighting all morning! pulled out. Typically, everyone was thinking on The period from 1991 brought many unfortunate their feet and I wasn’t given any guidance as to changes to the BBC when John Birt became the required look in the joke shop. Left to my Director General. The BBC Film Department My first go at remote camera during own devices, I decided to use every coloured gel was hit hard with “Producer Choice”, where filming of the 1997 General Election. that was on the lighting van and splash many hues productions were allowed to hire freelancers at

THE VETERAN | ISSUE 170 | SUMMER 2021 13 The Man Who Loved Bees

ohn Charles Bee-Mason MBE (1874-1957) so loved bees that he changed his surname to include them. He made pioneering films Jabout bees and took a bee with him in a matchbox for company on a trip to the South Pole. Now his film-making is commemorated in an installation by Alan Potter as part of the Burgess Hill Green Circle Public Art Trail, at Hammonds Ridge Meadows on the edge of the West Sussex town near Tesco. This is despite the fact that, when in later life he became a Urban District councillor, he feuded repeatedly with other councillors, was successfully sued for libel and jailed for refusing to keep the peace… The Bee’s Eviction (1909), of which just over two minutes survive in the BFI’s archives, shows an unprotected Bee-Mason relocating swarms of bees (he claimed to be immune to their stings). It played at the Coliseum in London’s West End for several weeks. The Bee Hunter and Bees and Their Enemies followed in 1910, then The Life of the Honey Bee (1911) revealed the inner workings of a hive. This 8-minute film can be viewed free of charge on the BFI Player website. The Bee Master and Evicting Unwanted Tenants followed in 1914 before Bee-Mason took his cameras to the front of the First World War in Belgium and in 1916 made The Wartime One-Armed Handyman and Bolivia – his work was edited into a feature, Through Green Hell, but about an injured soldier and Waste Paper and War (1917) about the apparently never released. importance of recycling. During World War Two Bee-Mason earned his MBE by organising the He was the cameraman on several dramatic features including collection of honey for the war effort. After the war he set up a bee farm Father O’Flynn (1919), The Worldlings and A Cigarette-Maker’s in Sussex and lectured about his life. He died in London at the age of 82. – Romance in 1920. In 1921 he went on explorer Ernest Shackleton’s Editor. expedition to the Antarctic as both a stills photographer and moving For a lively full account, see Kevin Gordon’s The Remarkable Adventures of a picture cameraman. He later filmed two Arctic expeditions, then in Sussex Bee-Keeper, Film Maker, Explorer and Rebel, posted on line by Sussex 1928 moved to warmer climes on an expedition to the jungles of Brazil Talks in 2020 with excellent illustrations V PHOTOGRAPHY BY DAVID BISHOP DAVID BY PHOTOGRAPHY

14 THE VETERAN | ISSUE 170 | SUMMER 2021 Recent issues of THE VETERAN have featured public displays recalling Buggleskelly station, the Gaumont Doncaster and Valentine Dyall. If you have a striking commemorative feature in your area, let us know.

THE VETERAN | ISSUE 170 | SUMMER 2021 15 Hidden Camera Secrets Bob Harvey explores the techniques of a most successful TV series

idden cameras have been used widely network runs and syndication, featuring among being sold two left-handed teacups instead of two by journalists and television producers its writers and presenters Woody Allen and Buster right-handed ones. Hover the years to expose corruption and Keaton. British practical joker Jonathan Routh The series was off the air in the UK for seven wrongdoing by politicians, corporate executives presented his own version of Candid Mike for years until producer Peter Dulay acquired the and dishonest tradespeople, but its application in Radio Luxembourg in 1957, made in association European rights to the title from Funt and re- filming comic situations involving members of the with Allen Funt and distributed on Pye Records. launched the series in 1974, without Routh but public has never been more successful than the Stunts included taking a piano for a ride on the featuring Arthur Atkins and Peter performing wealth of stunts found in the back catalogue of Tube and Routh posting himself, covered in many of the stunts himself. The revised Candid one of the most successful TV series of all time. stamps, to Wandsworth. Camera, made for London Weekend Television Candid Camera had begun life as Candid In 1960 Candid Camera was launched by ABC under the watchful eye of Programme Controller Microphone, a series created by the American Television in the UK, in black and white, with Michael Grade, attracted an audience of 7.1 Allen Funt for radio broadcast in 1948, using Routh and Arthur Atkins as the practical jokers million viewers when the top-rated programme hidden microphones to catch unsuspecting people and the show was presented by British comedian This Is Your Life was achieving a marginally higher in the spirit of fun. Following its success, Candid Bob Monkhouse. The series ran between 1960 8.5 million. Camera was launched for television in the States and 1967, during which Routh received a black Peter had written extensively for many comics, in 1949 and became a top-rated TV show in both eye from a disgruntled customer who was upset at including Victor Borge and Eric Sykes, before being contracted by ABC-TV to write on Comedy Bandbox (1962) and on Frankie and Bruce (1966) Bob Monkhouse. which co-starred two comedians surnamed Howerd and Forsyth. In 1969 he moved to Yorkshire Television for a long run as writer/producer of Sez Les, starring Les Dawson. Peter also managed artists such as Keith Harris and Larry Grayson, in between producing The Tommy Cooper Show and Opportunity Knocks. His father, Benson Dulay, had been a renowned magician in the Twenties, so Peter’s understanding of prop-making combined with comic timing made him the perfect producer and presenter for Candid Camera. Filming comic situations covertly was the biggest problem facing the team, so designer John Landon was enlisted to construct a camera hide based on one of Benson Dulay’s illusions that utilised a sheet of acetate and a reflection of a poster to conceal the production unit and divert attention. John’s design work on Candid Camera is a testament to his ingenuity, every prop used in the series being designed and built by him. It was sheer luck that, during a period when I was between contracts, Peter was looking for a film editor who had worked in comedy. My past experience on comedy formats, including two

16 THE VETERAN | ISSUE 170 | SUMMER 2021 Doughnuts flying off a conveyer belt as an A secretary is slowly engulfed in smoke as she answers operative tries to stop them. telephone calls about a ‘smokeless’ stove.

Marty Feldman shows, paid off in a way I had not expected and led to a long and rewarding association with Peter and the Candid Camera franchise, starting with the first series in the long hot summer of 1974, based at Twickenham Film Studios. It featured a cavalcade of visual tomfoolery, from doughnuts flying off the end of an out-of-control conveyer belt as a perplexed operative tried to stop them, to skittles exploding on impact in a bowling alley, and a woman answering telephone calls about a new energy- efficient ‘smokeless stove’ that poured an endless stream of smoke into the room, eventually engulfing her in a cloud of thick smog. Following the success of the first series, Michael Grade commissioned a further thirteen episodes, this time with the inclusion of Jonathan Routh. Michael recognised that audience ratings could be escalated significantly by contracting the hidden camera icon. Routh complemented the regular team perfectly, lending his surreal brand of humour, from a birdman ‘landing’ on Wimbledon Common and persuading onlookers to give him a tow to get him airborne again to a waiter distracting customers as a thirsty tulip drank from their teacups. All of these stunts are classics that have stood the test of time, still transmitted nearly fifty years after they were made. Most of the fun was, of course, had on the road, away from the confines of the cutting room where I Jonathan Routh. worked my way through several hours of material, sifting out the comic gems that would end up in the final shows. Whilst Peter had done everything the budget on film stock and processing. Back in that could not be used, the more costly and time- possible to ensure that the set pieces worked 1974, there was no digital video photography, no consuming it all became. For the crews themselves, effectively, he was still reliant on the comic timings cost-effective tapes or camera cards to record onto, long days had to be spent concealed behind of the on-screen team, the props, and the general no miniature cameras that could be concealed the camera hide that was built into suitable but public playing their innocent part in the subterfuge. invisibly inside rooms, no real-time viewing of confined areas of premises such as dry cleaners and This meant that entire hours might pass before the set pieces, location sound having to be picked up travel agents, often next to toilets – or crammed right mark stepped into shot and the stunt worked by the operatives themselves or by microphones inside a camera van filming through one of the with the necessary precision. hidden inside ornaments such as vases, and no windows. Spending long hours cooped up in a For Peter, this meant filming enough material to instant playback to check that everything was okay. metal box in temperatures of thirty-five degrees was put into thirteen half-hour shows without blowing And the more stunts the production team filmed not the most comfortable experience and everyone

THE VETERAN | ISSUE 170 | SUMMER 2021 17 Birdman’s ‘take off’ on Wimbledon Common. A thirsty tulip drinks from a customer’s teacup.

just prayed that they would be rewarded with uproariously funny stunts. Fortunately, there was an ample supply of the gullible and the confused who wandered into unsuspecting situations and took the bait offered to them by Jonathan, Arthur Atkins, Shelia Burnette, Ken Wilson and Peter, and the results are a testament to their quick-thinking in unpredictable situations, along with their finely tuned comic abilities. Many shows have attempted to emulate the success of Candid Camera but few have mastered the skills required to make hidden camera comedy work at its best, the most basic being that the general public, caught on camera, has to perform rather than members of the production team. In the majority of copycat hidden camera shows, actors or presenters give an on-screen performance that elicits little more than embarrassed laughter from the public, who don’t do anything meaningful so there is no usable interaction. This form of hidden camera filming involves little technique on the part of the actors and at best is lazy in its execution. One of the best examples from the Candid Camera archive I can use to illustrate this point involves Arthur Atkins and Sheila Burnette in “Arthur’s Alibi”. This scenario takes place in a dry cleaner’s, where an unsuspecting member of the public, a dustman, has called in to collect his cleaning. Whilst engaged in conversation with Arthur, Arthur’s wife (Sheila Burnette) calls in and asks her husband where he spent the night. Arthur immediately turns from Sheila to the dustman, saying “I was with Mr. Smith all night, wasn’t I, Mr. Smith?” The dustman, realising that Arthur is talking to him and is in need of an alibi, confirms that he had spent the night with him, even though he has never seen Arthur before. The premise for this stunt is simple but requires excellent comic timing from the operatives in order to gain maximum value from the dustman, who has unwittingly found himself in a less than desirable situation. The technique required for such a situation is to allow the mark (the dustman) to run with the deception, even though he is visibly uncomfortable with the fabrication, and for the operatives to become observers and not performers as “Mr Smith” relates to Sheila details of the night’s bonding session he has had with Arthur. It is a classic stunt that works because both Arthur and Sheila understood the psychology of the situation Peter Dulay and Sheila Burnette.

18 THE VETERAN | ISSUE 170 | SUMMER 2021 A screen grab from Arthur’s Alibi.

The film shoot in Dublin. Back row from left to right: Alan Maloney, the author, Peter Dulay and Ken Wilson. Front row is the RTE production team.

A screen grab from The Wedding.

and how to allow the dustman to carry the dialogue crumpled into momentary panic and he protested going to be inflicted, and these guys were not rather than themselves. If any members of Peter’s that there must have been a misunderstanding kidding. Finally, with my body pinned up against team indulged in such egocentric routines, they and that he was already married. Jonathan the van door with a fist in my face, I instructed the would get an ear-bashing they were not likely to responded with one of the best one-liners in cameraman to hand over the tape. It was with huge forget. There were times, however, when I thought the history of hidden camera filming: “But, Mr. relief that we watched them walk off down the even Peter was pushing his luck. Badcock, this is bigamy.” street, even though they were carrying an entire One evening, after a late night rushes viewing It wasn’t all fun and games making Candid morning’s worth of filming in their hands. session, I asked him what stunt he had planned for Camera, and my brush with near disaster came I have no idea what the two men were planning the next day. His eyes lit up immediately. “We’ve in Dublin several years later during the making of at the café that day, but I have no doubt it involved rented an office in Richmond”, he said, his face The Candid Camera Connection for RTE, which criminal activity, such was their desperation to infused with mischief, “which for our purposes is a I co-directed with Peter and which was, for the secure the evidence. One thing I do know is registry office. Jonathan plays the registrar and Ken first time, recorded on videotape rather than film. that we would have had our faces permanently Wilson and Eve Adam play the bride and groom.” The first week passed without incident, save for disfigured if I had not complied and at the end of He could hardly contain his excitement. “Then an unfortunate incident involving Ken Wilson the day nothing is worth putting a crew at risk. we bring in a male passer-by from the street to act picking Peter’s pocket at a bus stop, unaware that I decided it might be wise to call a wrap at this as a witness – and we marry him to the bride!” the member of the public they were attempting to location since, even without the tape, we could He chuckled his trademark chuckle, hardly able ensnare was an off-duty policeman. But this was identify the men if called upon – a thought that to contain himself. I responded with a respectful only a preamble to the unwanted surprise during would certainly occur to our assailants before too “Sounds terrific, Peter”, thinking it was an idea the second week. long. That said, situations that were liable to cause almost certainly bound for failure, which meant an We had parked the camera van on the upset or offence were rare during the making of the entire day of filming would be wasted. pavement outside a street café where two burly series and most passed without incident. The following evening, I sat and watched the men were deep in conversation whilst drinking When Candid Camera departed from our rushes of “The Wedding”, open-mouthed at the afternoon tea. Peter walked up to their table, screens in 1974, I went on to make several corporate unfolding saga. A local milkman, who had been sat in an empty chair opposite them, produced presentations using similar techniques to target lured away from his float to be a witness, entered a packet of biscuits, and proceeded to dunk the unsuspecting employees in humorous situations the room and announced his name as Mr. Badcock biscuits in their tea. The men took the situation for playback at annual conferences and Christmas to the registrar’s assistant. I turned to Peter with in their stride, not the least bit phased by the shows, whilst Peter was contracted as a hidden obvious suspicion and he shrugged his shoulders. intrusion – until Peter revealed that they were camera adviser on programmes such as the UK’s Late “I know. Nobody will believe it’s not a set-up.” being filmed by a hidden camera. Late Breakfast Show, presented by Noel Edmunds, Every time the name Badcock was mentioned on At this point the two men went berserk, one along with numerous shows in Europe, including camera, Ken, Eve and Jonathan struggled to keep of them throwing the crockery from the table in a Banana Split, a series he made with Ralph Inbar straight faces. rage, the other hurling his chair into the air before for TROS, Holland. I learned a great deal from Mr. Badcock went through his entire wedding they headed towards the van in a blind fury. What him during our twenty-five-year association, not vows, even kissing his new ‘bride’ as the stunt followed was a terrifying few moments as we tried just about the mechanics of television and theatre concluded. When Jonathan announced he was to placate them. I offered to wipe the sequence production but the importance of timing and the off to his next appointment and wished the happy from the tape, but that didn’t satisfy them; we art of how to reel in a mark with the minimum of couple well for the future, Mr. Badcock’s face either gave them the tape or serious injury was interference from the shows’ presenters. V

THE VETERAN | ISSUE 170 | SUMMER 2021 19 A Classic Tale Allen Eyles recalls a small cinema circuit that made a big impact

lassic Repertory Cinemas was an the cinemas were maintained to a high standard policy – and the news theatres could find new life extraordinary venture in finding new life for and regularly redecorated so that none could as Classics. Faced with the declining audiences Cearly, outmoded picture houses of modest be looked down on as fleapits. Advertising was of the 1950s, many Classics went Continental size in populous locations. These Classics were professional and prominent, and showmanship for periods, became Cartoon Cinemas for a while outranked by newer, larger cinemas and unable to was encouraged. The company advertised not and, as a last resort, turned into Tatler Clubs access the latest big releases. Instead, the company only in the local press but in film magazines and showing “uncensored” films. Even when the booked good prints of old films, including foreign- took whole page advertisements in What’s On in flood of top quality old films to television started language titles, on low flat rates (rather than the London to reach a wider audience whereas other and eventually undermined much of the circuit’s percentage terms required for new films) and cinemas forced to play old films usually relied on raison d’être, Classics continued to screen many quickly made the expression “repertory cinema” small advertisements and a local walk-in audience. vintage titles, though concentrating on more an asset to the point where it could build a brand- The Classics were kept technically up to date and recent ones not yet sold for home viewing. Bingo new flagship house devoted to the policy. experimented with programming. And they made rarely came into play, even though Classic had a From the very beginning, Classic was prepared a habit of garnering more press publicity than most subsidiary company for the purpose. to spend substantial amounts of money, improving of the major circuit cinemas they were competing The Classic story became badly muddled by and sometimes virtually rebuilding old cinemas against. the bold takeover of forty-eight rundown Rank before re-opening them, and reconstructing Merged with a circuit of newsreel cinemas, (Odeon and Gaumont) cinemas offered for sale in frontages and entrances of others in later years. All the Classics could be refreshed with changes of 1967. These were re-named Classic. Although the

20 THE VETERAN | ISSUE 170 | SUMMER 2021 In 1937, Classic’s founding genius Sam Seeman opened the first purpose-built repertory cinema in this country. The Classic Baker Street was the flagship of the circuit. Seating 489, including a balcony with around 180 seats, it opened with a film that now seems appropriately “classic” – Mr. Deeds Goes To Town – although it was then only a year on from its highly successful general release. In this exterior shot opposite (courtesy of Nigel Strick), the film showing is Jane Eyre (1943), a regular repeat booking across the circuit. The auditorium shot (courtesy of Nick Fyffe) shows a console at left installed for automated projection in the 1960s. The Classic was shamefully closed in 1973 and demolished. The basement cinemas in the redevelopment are now part of the Everyman chain.

company did well from the deal, it transformed the focus and policy more towards first run. Other chains – Cameo and Essoldo – came under Classic ownership and further diluted the role of surviving repertory cinemas. Three of the London Classic cinemas – the Baker Street flagship, Notting Hill Gate and Chelsea – were so successful in their repertory policy that they never needed to deviate from it – or even show more than a single feature at a time – until the last years when some double bills and first runs crept in. In a bizarre turn of events, the London Classics at Tooting Bec and Kilburn outlasted all the local competition – including the celebrated Granada Tooting and Gaumont State Kilburn – and then could play their choice of all the new releases, still combined with weeks of older material – but by then these cinemas, too, were unfashionable, out on a limb, and had to close. Three of the London Classics are still operating as listed cinemas – the Ritzy Brixton, Rio Dalston and Gate Notting Hill. It is questionable whether they would have survived as cinemas without their years under Classic’s control. This feature is concerned with the cinemas which operated the repertory policy. I am especially glad to write it as the Classic cinemas meant a lot to me as a youngster. They were a business and their standards of programming were not always that great but they provided a very wide range of choice in London, The Classic Notting Hill Gate survives as The Gate cinema, still with a single screen. It was playing numerous films that rarely cropped up here that Sam Seeman had his first success with a repertory policy, in 1933, when it was the elsewhere, and I saw many great pictures for Embassy, and it was another of the key three on the circuit. Its frontage was completely rebuilt the first time on their screens as well as many without closing to include one of the company’s Clare’s Chocolates shops. This is now part of the rarities. Picturehouse circuit. (Undated photograph courtesy of Ray Dolling.) It could be a toss-up whether Random Harvest (with Ronald Colman and Greer

THE VETERAN | ISSUE 170 | SUMMER 2021 21 Garson) or Alfred Hitchcock’s Rebecca or the Marx Brothers in A Night at the Opera was the most frequently shown film at the Classics. British films like Oh, Mr. Porter!, 49th Parallel and The Seventh Veil wouldn’t be far behind. Of course, there were many other cinemas showing old films in the boom years – like the Duke of York’s at Brighton, the Tolmer near Euston and Imperial (later Electric) Portobello Road in London, to mention just three. But, for a long time, their owners were unadventurous in their programming and did not invest in their buildings or promote their cinemas. Much of what was done to modernise Classics we might now regret from an architectural viewpoint, but it seemed necessary at the time to impress audiences and keep them coming. There was no other circuit like the Classics and, through its advertising so widely, film enthusiasts could easily find what they were The Classic in King’s Road Chelsea was the third key London Classic. Formerly the Electric, it became showing (and some even came over from part of Sam Seeman’s circuit in 1936, passed to other hands in 1937 and returned in 1957 with its Paris). Of course, the circuit showed a lot of exterior then being totally modernised in 1958. This shows it on closing in 1973 with Humphrey Bogart ordinary pictures – especially outside London classic Key Largo (1948). It was demolished without any replacement cinema - another regrettable loss. and particularly in later years. But before (CTA Archive, photograph by Marcus Eavis.) television and videotapes took over the role, the Classics can claim much of the credit for keeping numerous great films in circulation. An individual Classic could not compare to the Everyman at Hampstead or the National Film Theatre (now BFI Southbank) in overall programming standards but as a group, in geographical spread and size of audience, they arguably had a more substantial role in encouraging a love of the cinema. The name Classic is introduced for the first time, at South Croydon in 1934. This cinema remained in the circuit until closing in 1973 and went through a period showing foreign films and an unsuccessful phase as a Tatler Club. The exterior view shows it as modernised in later years. (CTA Archive.)

The Classic Tooting Bec, south London, with its striking corner neon sign, late 1950s. This was one of the longest running Classics, originally the Central Hall of 1910, taken over in 1936 and completely modernised internally. It closed in 1983. (Spencer Hobbs collection.)

This is the introduction to a full 50-page history of Classic Repertory Cinemas that appears in the 2020 issue of PICTURE HOUSE, the annual magazine of the Cinema Theatre Association. The 100- page edition can be obtained at its cover price of £8.50, post free, by sending a cheque (payable to Cinema Theatre Association) or the usual credit card details to Jeremy Buck, CTA Sales, 34 Pelham Road, London N22 6LN. To purchase online, email sales@cta-uk. org for information on how to pay using PayPal. (Orders through the CTA website shop will have postage added.) V

22 THE VETERAN | ISSUE 170 | SUMMER 2021 The Classic Dalston, north London, is seen here in 1950. Rebuilt over five months in 1937, its height conceals the remains of an earlier cinema. This went through phases as a cartoon cinema, Classic Continental and Tatler Club. It outlived heavy competition and is now the independent Rio cinema. (Courtesy of Rio Dalston archive.)

The Classic Eastbourne as a cartoon cinema, circa 1958. (The Cinema Museum.) This was a former news theatre that ran as a Classic from 1945 to 1965.

The Classic Sheffield in 1979. Opened as the Electra in 1911, this was part of the circuit as a newsreel cinema from 1954 and became a Classic repertory cinema in 1962, closing in 1982. Demolition had already taken the building next door. (Photograph by Allen Eyles.)

The Classic Kilburn was a late addition to the circuit, the former Envoy taken over in 1955 and considerably improved, lasting until 1984. (Photograph by Allen Eyles.) A typical selection of programming in July 1970 from the weekly full page ad in What’s On in London. Croydon and Dalston are in a Continental phase. Portsmouth is a cartoon cinema.

The Classic Brixton, south London, was the former Electric The Classic Manchester showing a notable Pavilion of 1911, and only joined the circuit in 1965, lasting French film. (Undated. CTA Archive.) through some difficult years to 1976. It is now the main This was the former Tatler News Theatre, auditorium of the Ritzy with its original frontage (heavily taken over circa 1955, and later part of the damaged by war time bombing) restored. (CTA Archive, independent Cornerhouse complex. photograph by Tom Ruben.)

THE VETERAN | ISSUE 170 | SUMMER 2021 23

1924: The Birth of The Veterans An Editorial Investigation

he death of William Friese Greene It would seem that in 1921 (see pages 6 and 7) did Mr. Blake was so well Tbring a collaboration of men who known in the trade would be active in the running of the that no contact details association of Veterans. It is possible were necessary. The that a reunion of surviving trade Bioscope issue with pioneers was discussed by the figures the same date as that behind the fund to build the Friese of the Kine letter aired Greene memorial in Highgate Cemetery Mr. Blake’s suggestion at their final meeting in February 1924 as the second item in or before. its chat column: However, it was not until late August that W. N. (Bill) Blake approached the two leading trade publications – The Kinematograph Weekly and The The Bioscope of 4 Bioscope – with the suggestion that September 1924 pioneers of the earliest years of the film reported in its chat trade might welcome a one-off reunion. column: He provided the following letter, the last of three to appear in the Kine issue dated Thursday 28 August 1924 on page 50:

Below: The Kine Weekly (23 October 1924, page 58) highlights what might be considered the inaugural meeting of The Veterans, raising the possibility of an annual reunion.

24 THE VETERAN | ISSUE 170 | SUMMER 2021

This first reunion duly took place on Tuesday 9 December 1924 and became an annual event. The committee behind it was named on the front of the menu (reproduced in issue 78 of THE VETERAN) as well as in the text below: F. W. Baker, Will Barker, E. E. Blake, Will Day, F. Griffiths, Cecil Hepworth, Sir Wm. Jury, R. W. Paul, Matt Raymond and E. G. Turner.

This was just the start of an amazing eleven page feature covering the reunion, including photographs and short profiles of most of the participants. There was also a two-page account of the occasion in the Kine Weekly. All this will no doubt help form the contents of the issue marking our real Centenary in 2024 when, hopefully, our executive committee can come up with a gala event to mark the occasion. V

THE VETERAN | ISSUE 170 | SUMMER 2021 25 –––––––––––––––––––––––––––– JUNE 1971 –––––––––––––––––––––––

Sierra Madre, Key Largo, Casablanca, The Maltese The Classic cinema chain is acquired by Tigon Falcon, The Petrified Forest, Passage to Marseille and Films in a £7 million deal, and will continue under To Have and Have Not. its present management.

The Dirty Dozen achieves another full outing on the Film ’71 takes place at the Royal Lancaster Hotel. ABC circuit, having originally played for two weeks A Chinese delegation visits British studios. in October 1967 and for a further week in the London area in January 1968. John Davis, Rank chairman and chief executive, is knighted in the Birthday Honours. The ABC Southampton closes for twinning. Derek and Rodney Eckart’s Star Group are to The ABC Tooting re-opens after being reduced in invest £500,000 in the production of three films. size and restyled. The ABC Chesterfield closes for similar treatment. A major feature film about the FA Cup is to be John Moulder-Brown and Jane Asher in Deep End. sponsored by the Esso Petroleum Company. The ABC Sutton Coldfield closes for good. Films and Filming lists as “new productions” being Studio 2, the news and interest cinema ABC’s Broadway Hammersmith closes for two filmed: Young Winston, The Pied Piper, Diamonds underneath Studio 1 at Oxford Circus, London, nights of ceiling repairs. Are Forever, The Gingerbread House, All Coppers goes over to feature films. Are…, Mary Queen of Scots, Up the Chastity Belt, The Odeon Epsom closes, leaving cinemagoers David and Catriona, The Ruling Class, The Boy Star re-opens the former Curzon Sutton, with only the ABC Ewell two miles away. Friend, The Magnificent Seven Deadly Sins and subdivided into three screens as Studios 1-3. Please Sir! The Broadway Meir and Gem Haltwhistle close. Manchester Council bans advertising the title of The National Film Finance Corporation will be the Border Films release Do You Want to Remain The Regal Skipton, formerly Odeon and Classic, re- given £1 million by the Treasury as part of a new a Virgin Forever?, so it is shown under its original opens with twin cinemas in the former balcony and plan to encourage more British film production. West German title: Willst du ewig Jungfrau bingo in the stalls. Films Minister Nicholas Ridley hopes the bleiben? government will not need to advance any more The Essoldo Stockport re-opens as a twin. The money to the NFFC. Roger Corman’s long banned The Trip is shown circuit has restyled 14 cinemas in three years, for the first time in the UK at weekends at the reducing their capacity to 6,320 seats while The Rank Organisation acquires a one-third ICA Cinema. increasing the rate of admissions. interest in Rome’s Technocrome Laboratories.

New British film Deep End has its West End run at The Futurist Scarborough goes live for the summer Passing on: Michael Rennie and Gene Gerrard; the Academy Oxford Street. season with The Bachelors Show. E. V. H. Emmett, narrator; Jack Parsons, film producer and exhibition executive; Norman The London Pavilion runs daily changes of The Pier Pavilion at Lytham St. Annes shows films Wilkinson, cinema manager; Lord (John) Reith, vintage Humphrey Bogart films: The Treasure of instead of live shows for the holiday season. first BBC director general.

––––––––––––––––––––––––––––– JUNE 1996 –––––––––––––––––––––––

There are Sunday organ concerts out of Channel 4 is to spend £100 million over four normal hours at the State Grays and Cannon years to part fund new films. (former Granada) Walthamstow. Peggy Su! is the first film to use Elstree Studios The Penultimate Picture Palace at Oxford since its compulsory purchase by Hertsmere re-opens after a £40,000 facelift as the Council. Stanley Kubrick is reported to be Ultimate Picture Palace. negotiating to make Eyes Wide Shut there, his first film in ten years. The Windmill at Great Yarmouth closes as a cinema. Oher films in production include The Fifth Element, The Saint and The Designated Mourner The BFI appeals against the decision of at Pinewood; In Love and War, One Golden the Arts Council of England not to provide Afternoon and The Wings of the Dove at £360,000 of National Lottery support, as Shepperton; and, on location, The Full Monty Marianne Jean-Baptiste and Brenda Blethyn in recommended by its advisory panels, to Love Secrets and Lies. (Sheffield), Fever Pitch, The Scar, Element of Doubt and the Devil, a film about Francis Bacon. and Vicious Circles (Paris). Sunday 2nd June is National Cinema Day when cinemas charge £1 admission for previews, The revived Granada Films is to develop Passing on: Albert R. “Cubby” Broccoli and revivals and current releases. 1.1 million and produce six comedies in the £2 million Andrew Mitchell, producers; Peter Glenville, admissions are achieved with 168,000 for range over the next two years with Rank director; Pamela Mason (ex-Ostrer/Kellino), Spy Hard. Film Distributors handling cinema and video actress; Harry Poole, distribution executive; release. Vivian Ellis, composer and writer. The top draws of the month are The Rock, From Dusk to Dawn, Up Close and Personal, Secrets and The Arts Council of Scotland provides backing As stated in some previous issues, we would Lies, Now and Then, Muppet Treasure Island, Fargo for Follow the Moonstone, Until We Meet Again be glad to make space available for a parallel and The Juror. Down Periscope and Moonlight and and In Search of Eric Campbell - Scotland’s First recap of television history 25 and 50 Years Ago if a suitable contributor would supply it. Valentino make a strong start. Movie Star.

26 THE VETERAN | ISSUE 170 | SUMMER 2021 BOOK Reviews

WHO’S THAT GUY? and went up to 1998; his theatre credits I am glad that he loves the same classic The Sometimes ‘Knightmare’ Life started in 1944 with his last recorded swordfighting duels that I do - which of an Unknown Actor stage play in 1974. Guy also had numerous are, of course, as tightly choreographed By Marcus James Heslop radio credits as well as being an excellent as any musical number but rather more voice over performer and narrator with his dangerous, and rely for their impact not just Amazon. Paperback. £14.99. smooth, relaxing and comforting voice. on the performers but the use of camera, The book recalls some memories of settings and music, as in the climactic clash Guy’s private life from his long-term between Errol Flynn and Basil Rathbone partner, Felicity. One could look at Guy (and their doubles) in The Adventures of with his pipe in mouth and see a very Robin Hood (1938). In The Mark of Zorro contented man at peace with the world - (1940), the author states, “Rathbone and an image that truly reflected his persona. I Power produce, to me, the best duel filmed must also give immense credit to Marcus to date” but doesn’t go into much detail. setting out to spot and identify Guy in TV My choice would be the balletic Stewart and films as, in some cases, if you blink Granger/Mel Ferrer set-to that courses you can miss him. through a theatre, across the front of the Readers will get a great deal of pleasure boxes, in Scaramouche (1952). Critically, the from learning about the little-known Guy genre was brilliantly surveyed by Jeffrey Standeven. In future, you might well find Richards in his 1997 volume Swordsmen yourself saying “That’s Guy there!” instead of the Screen – From Douglas Fairbanks to of asking the question, “Who’s that guy?” V Michael York, but Wilkinson’s practical eye Reviewed by David Edwards might have provided a fuller understanding of the technicalities involved. Instead, we Marcus James Heslop is a film fanatic with TAKE ONE, ACTION! have a 40-page list of “Andy’s Memorable a great passion for film that is superbly By Andy Wilkinson Films” with unremarkable comments: Taxi displayed in this, his first book, very aptly Driver was “The break-through film for titled Who’s That Guy? The Book Guild. ISBN 978-1-913551-35-3. Robert De Niro”. And the book is filled out One might first think it very strange Paperback. 338 pages. £9.99. with nearly 90 pages of a guide written in that the author should choose to write 1997 relating to fencing as a hobby/sport. a book about an unknown actor, but I was surprised to learn that Wilkinson Guy Standeven was a unique performer has directed a fictional feature and that who never received the recognition he it was a western, filmed at Pinewood deserved. As an agent who gave Guy and in Kent, Birth of a Legend: Billy the Kid hundreds of jobs and bookings over many & The Lincoln County War (2011), about years, I can honestly say that Guy was so which he goes into some detail. Republic modest that he would never have expected once considered a Roy Rogers outing set popular recognition and probably would in Scotland, but is this the first western have been a bit embarrassed by it. He shot in the UK? Some claim to fame here, might well have felt amazed by this book perhaps? V that someone should show such interest, but perhaps he might also have felt some inner pride without displaying any outgoing reaction or emotion. DVD This book gives readers a great insight Review into Guy’s stage parts, TV appearances Reviewed by Allen Eyles and of course his film work, with each section thoroughly researched with Here is “The memoir of a film STARS IN YOUR EYES immense love and passion. Guy’s radio swordmaster, film & theatre director, actor, 2-DVD set, Network 7956151. 93 mins plus credits are also covered along with many writer and radio executive” confessing to 128 mins extras. Also released on narration credits. You will also discover still awaiting his lucky break. He notes: Blu Ray. £12.99 DVD, £19.95 Blu-Ray. many complimentary comments from “my pen leans towards writing for friends http://networkonair.com/ assistant directors and production and colleagues, for that small eclectic personnel along with some fascinating bunch of professionals, fencing coaches, Reviewed by Michael Pointon tales from fellow co-workers and agents. fencers and stage-fighting actors” – he Some of those co-workers are actors and has had such an erratic, unobtrusive After a long campaign raising funding to some fellow extras (crowd artistes) as career that they do make up the primary restore this `lost’ British 1956 production Guy was able to blend his work between audience for this book. from Adelphi Films, activated largely by acting and crowd work and that made him Wilkinson worked on Kevin Costner’s Mark Newell, Network have now released unique. His film credits started in 1952 and Robin Hood: Prince of Thieves (1991) and 72 Stars In Your Eyes on DVD and Blu Ray. Its go up to 1998; his TV work began in 1956 other film and TV productions, mainly as accompanying detailed and informative a swordsman and action performer, but booklet by Allen Eyles and Kate Lees arrived after the swashbuckler cycle had tells us that, billed as a ‘comedy-musical- largely petered out. I wholeheartedly agree romance’, filmed in Eastman Colour and with his comments: “Sadly… the European `Camerascope’, it was “the most ambitious style of swordplay has been replaced by an and expensive film” by Adelphi and was Eastern style of martial art sword-fighting” to be their final production. They had and “CGI swordfights are unrealistic, already made several films starring variety unbelievable and nonsensical”. performers in the ’50s including You Lucky

THE VETERAN | ISSUE 170 | SUMMER 2021 27 People with Tommy Trinder and Fun At St. Fanny’s with Fred Emney as well as the early Letters Goons film Penny Points To Paradise (all now released on DVD). The screenplay by Talbot Letters can be sent by post to Editor – Rothwell, to become a leading force behind The Veteran, 13 Tennyson Court, Paddockhall the Carry On series, is centred around Road, Haywards Heath RH16 1EZ or by email to the battle for survival then being fought [email protected] between the vanishing world of music hall and the burgeoning rise of television. Veteran Maurice Elvey, one of the most FEEDING TIME prolific of British directors whose career I enjoyed reading the article on the Odeon Holloway had started before The Great War, is also [last issue] as one of my cinema connections was credited with having `devised’ this film. helping out on Film Transport. While I was at Pat Kirkwood and Nat Jackley in teacher training college at Clacton I came home Star billing is given to Nat Jackley but Stars in Your Eyes. (Adelphi.) to London early every Friday, worked at the Odeon although the rubber-necked comedian on Friday night and all day Saturday, then travelled and master of funny walks was popular make it appeal to a younger audience: up with the Southend FTS van. I helped collect on stage and TV, he was not a box-office `Rock ‘n’ Roll with Laughter!’ But among films through central London and when we got to draw in films and is probably best known several reasons that justify its reissue are the depot on the North Circular, I transferred over to the Clacton van and got back to college early today for his appearance in the Beatles’ the chance to view Jackley in full flood Sunday morning. Magical Mystery Tour. Pat Kirkwood played performing part of his popular eccentric The Odeon Holloway was one of the cinemas on Nat’s wife. She was a star attraction in army drill routine, garbed in full scarlet the Clacton route and we had to put the films into the theatre and, although she had made uniform with bearskin, and his cross talk the side of the stalls. At two o’clock in the morning films, was particularly successful on TV. act with Jimmy Clitheroe echoing their you could hear all the rats scurrying around getting They portray a show business couple earlier hilarious appearance together in the fat on tasty morsels left by the evening’s audience! Happy days! whose stage livelihood is threatened Mancunian Films’ production Demobbed. BOB MANDRY by the fresh medium of TV and go into We can also see the young Joan Sims By email management, leasing a run-down variety before her Carry On fame and there are brief theatre to showcase their acts. Somehow, glimpses of Freddie Frinton as a barman TATTY CINEMAS Jackley doesn’t seem at ease with straight before he achieved immortality in the comic I enjoyed the piece about the Empress in Billinge lines during their more dramatic scenes sketch ‘Dinner For One’, still re-run every [last issue]. I’ve looked through my Kine Year Books together although Kirkwood’s vibrant New Year’s Eve throughout Europe. Dorothy and find that the cinema is listed from 1930 to 1934 but without any details. From 1935 to 1944 personality comes across in everything Squires, who gained a cult following over the proprietor is shown as G. R. Allen of Broadoak, she does. It’s perhaps revealing that the years, delivers her songs passionately in Higher Lane, Lymm. And all the while with Morrison she doesn’t refer to this production in her only cinema appearance. We also catch sound. In 1945 Wilcock, Payne and Sagar are listed her memoirs. Her friend and biographer Bonar Colleano in one of his last roles before as the proprietors. Then from 1946 for two years Michael Thornton claims she “had some his premature death in a car crash two years Messrs. A. Sagar, W. L. Sagar and T. Wane seem reservations about the film, feeling that she later. Jack Jackson, who’d made some good to have been in charge, the cinema now being equipped with Wenzell sound, a system of which and Nat Jackley made a most incongruous jazz records on trumpet with his band in I have never heard before. From 1948 to 1953 the and unconvincing married couple”. the ’30s before he started a new post-war proprietor is given as W. Severn of Charlotte Road, But Pat’s vivacious delivery of the songs career as an imaginative disc jockey, makes Edgbaston. Then from 1954 there is no mention, written for her by her husband Hubert a rare appearance on film. One other rather as the article observed. The KYB entries are not Gregg provides the highlights of the touching scene reflecting the precariousness always correct, however. There were two cinemas whole film. Gregg also played the role of of the profession shows West Indian pianist/ in Haltwhistle, Co. Durham, of which one, the Westgate, went unrecorded throughout its 25-year television producer Crawley Waters and composer Reginald Foresythe briefly playing existence. several sidelong jibes are levelled against at a rehearsal, almost anonymously. In the I think 1953 and certainly 1951 is a little early for TV in general which was also a challenge ’30s he had been a creative force in avant- the Empress to have given up of its own accord. to the diminishing cinema circuits. (There’s garde swing, sometimes compared to What might have happened is that the licensing a veiled reference to BBC TV’s then Head Duke Ellington with his imaginatively-named authority insisted on some improvements to the of Light Entertainment, Ronald Waldman.) pieces such as ‘Serenade To A Wealthy projection box (or the rest of the cinema, for that matter) and it was considered not worth the It should be remembered that the newly- Widow’ and ‘Dodging A Divorcee’, recorded expense. A similar thing happened at my local launched ITV was a factor leading to the by such masters as Fats Waller and cinema, the Winter Gardens, Hoylake, at about that closing of many provincial music halls Benny Goodman. time. In this case it was deemed that the emergency which were often owned by the same Extras on DVD with this release include exit from the projection room was unsatisfactory, conglomerates. ”All these fine old music A Ray of Sunshine (1950), cashing in on plus it had a wooden floor. A much larger projection suite was then built, the width of the building, with halls are closing down”, complains one quickwitted comic Ted Ray’s popularity an above-average sized projection room. This, on character. in his BBC radio series Ray’s A Laugh. This reflection, was a most opportune occurrence from There is also a scathing reference to has a revue format linked by Ray and my point of view. It meant that as a young child the desperate attempts by some variety featured artistes include Wilson, Keppel (10) I could be in the box without being in the showmen to attract the public by staging and Betty (as wonderfully bizarre as ever), operator’s way. Had the box been the size of some striptease revues instead of proper variety: Ivy Benson and her Girls Band, Janet Brown I have come across since, I probably would not have been allowed to hang around and my career ”the only way to fill a theatre nowadays performing some of her clever impressions could have ended up vastly differently! This cinema, is to take all your clothes off!” There is before her Margaret Thatcher days and incidentally, was once listed as having 610 seats a prescient line delivered by one of the Morton Fraser’s Harmonica Gang with a but finished up with 380 and my own Rex at Elland characters at one point where desperation young Dave King, to become a well-known once had 500 seats but is now just comfortable is setting in about their production’s future: comic and later a talented actor. Nitwits On with 296. So I think it’s quite possible that the “Sometimes it’s more profitable to put on a Parade from 1949 features Sid Millward’s Empress could have had 700 seats at one stage. In fact, I note 700 seats are recorded in 1936, then flop” - shades of Mel Brooks’ The Producers comedy band with their slapstick musical 780 the following year but by 1947 650 seats are a decade or so later! routines, compered by a young Max quoted, which had dropped to 550 by 1953. In this Although it’s hardly a masterpiece, this Bygraves in a nightclub setting, and case I expect that some rows of seats were taken film is a valuable reminder of changing The Kilties Are Coming (1951), is a song- out to provide spares for the others! times in entertainment – one of the lines and dance compilation of Scottish acts I have never experienced a cinema quite like the used to publicise the film shows the presented by Peter Sinclair, `The Cock o’ Empress though I have worked in some pretty tatty fleapits in my time. Haltwhistle’s other cinema, desperate way every angle was used to the North’. V the Gem, was a very basic affair but I only saw it

28 THE VETERAN | ISSUE 170 | SUMMER 2021 each day. Of course, I was also the one that did “Dicky Banks” – the Central over two years. During that time Brent Walker had the reverse dusty operation each evening. The removed all the copper wiring, the generators, stage Collyhurst, Manchester. Imperial was the place where the Chief and Second equipment, furniture and even kitchen sinks. projectionists, father and son, had the benefit of the We inherited dressing rooms that had fungus variable speed operation of the Western Electric growing due to water leaks, no heating, an Universal Base. At that time (1941) the adjustable underground car park that was partly flooded frame speed was handy to make sure the final ‘The and an asbestos-contaminated backlot. It took a End’ made its appearance in time for the two projies giant leap of faith and £10 million to carry out the to leap out of their box and catch their last bus refurbishment and build the two giant new sound home to Wednesbury – three or four miles away. stages which were opened by Prince Charles in 1999. SIR SYDNEY SAMUELSON CBE I should write a book about the campaign and By email all the intrigues, twists and turns. How I was against Stanley Kubrick re-opening the studio MAKING HAY with the filming of Eyes Wide Shut. The visit from The piece on Cliddesden, “Next Train’s Gone!” [last Mohammed Al Fayed and his son Dodi (later issue] rings a strong bell as a colleague of mine tragically killed in that car crash with Princess as a bingo hall and subsequently derelict. I was with whom I made two South Bank Shows is a great Diana). My meeting with George Walker and given the accompanying picture of the Central, Will Hay fan and together we visited the remains how I bought just ten shares in their company so Collyhurst, Manchester, aka “Dicky Banks”, some of the station in the early ’80s and submitted the I could attend their AGM in London and harangue years ago with only the information that it was in idea for a TV documentary to be called Buggleskelly their actions. My clash with Michael Winner on the Manchester area. The cinema was demolished Revisited. I’d already helped Ray Seaton with his live television when he described Elstree as “just a in about 1938 along with the slum clearance of the biog and several contacts were still around who series of tin sheds off the A1” and I called him “rent surrounding area. would have contributed – my longtime friend Max a quote” (but he later sent me £200 towards the The Cosy Nantwich is another example of Wall had known Hay well, for example – but our campaign funds). a cinema closed as a result of more stringent proposal was met with indifference so we kept it on We held a public rally of 700 in the old Venue licensing requirements. This was in 1950. Was our list of unmade projects. It’s great to know the theatre in Borehamwood and gathered 15,000 there an amendment to the Cinematograph bench exists and that you’ve drawn attention to it! signatures in a few weeks, which included the Regulations round about that time, or some general I also recall going to the fixing of a plaque on Hay’s likes of Sean Connery, Harrison Ford, the casts of tightening up of the rules governing premises to Norbury home in the ’90s, and by happenstance EastEnders and Emmerdale and many others. which the public had access? I discovered a plaque on a house he had in There were some dark days along the way Ramsgate. Then there is his memorial in Streatham but, as my Mum used to say, if you start a fight, CHARLES MORRIS Vale Cemetery… stay in until you win or lose – or, as we say in Northern Morris Cinemas MICHAEL POINTON Borehamwood, carpe diem. The suits in London By email By email did not realise you don’t mess with a council house kid from the Wood. We had some great letters of I was intrigued by the piece by Tony Williams about WHODUNNIT support from stars and I must have done about one the terrible old flea pits because not only did I know Having found time to catch up on recent issues, hundred radio, television and press interviews with of such so called ‘cinemas’, I worked in some of I came across Valerie Ashton’s excellent article media around the World. them during the Second World War as a holiday [issue 168, page 26-7] on her life with comedy Today Elstree Studios is thriving, home to great relief third projectionist. Like the one depicted, they scriptwriter Brad Ashton which made it abundantly productions and expanding. It is a long way from 25 could be awful in every respect. One can see that, clear that it is she who has been writing his one- years ago when we were faced with a semi-derelict at some, an added wooden staircase was the route liners all this time. Shame on you, Brad, for passing site. I am not part of the present but I am proud to to the projection box. I would love to know what off such gems of comic genius as your own. Time have been part of the past. equipment was in that particular edifice. to own up and let Valerie regale us further with her PAUL WELSH MBE A similar broken-down construction I came to delightful insights into Life With The Ashtons, no Chair, Elstree Screen Heritage know in the Black Country area was the Olympia holds barred. By email Darlaston – a former skating rink (I assume BOB HARVEY for roller skating rather than ice skating) with By email MAKING CONTACT hand-fed low intensity arcs and the screen fitted Brad Ashton replies: I am neither confirming or Are any members able to help me contact former when talkies emerged. The Olympia one was no denying that piece was written by my wife. I’m not colleague Ralph Brown who started working at ATV longer perforated, the tiny holes having been re- that disloyal. However, I have written a retort to Bob Birmingham as a cameraman in the 1970s. If you whitewashed so many times. One of my morning Harvey’s letter [see next issue]. can, I’d be grateful if you could contact me. jobs as a visiting third projectionist was to pin-prick TOM BARTON a few hundred of those holes each morning. The By email secondary effect this produced was a permanent TIME FLIES I know time flies but I cannot believe this year Tel. 01772 432357 shadow of the shape of the screen speaker. [email protected] Another charming feature was that, each marks the 25th anniversary of the saving of Elstree Studios. In 1996 Hertsmere Council stepped in and lunchtime, the resident Chief locked up the building FILM ON FILM until about 6pm as there was no programme shown purchased the remaining 15 acres of the studio for This is a major shout out to everybody in the other than in the evening. I lived in Streetly, Staffs, a under £2 million whereas a few years before Tesco film-making industry – companies and individuals long bicycle ride for me which included peddling over had bought 12 acres of the site for £19 million. alike. I want you to donate as much used 16mm, Barr Beacon. Not wishing to do that journey twice – The original intent of owners Brent Walker 35mm or 8mm film editing equipment as possible home and back each afternoon – the only alternative was to sell the whole studio for retail on the front – Moviolas, editing blocks, horses, split spools, was to be locked into the old rink by the Chief, whose area and housing on the backlot. I was privileged rewinders, Steenbecks – anything that you have, only set of keys spent the afternoon in his overcoat to Chair the eight-year campaign to save Elstree that can be maintained and passed on to student pocket. What a misery for a 15-year-old. Studios – which was somewhat longer than I filmmakers, artists, colleges and Universities. After a few weeks, the box office cashier took imagined when we started. It was launched by Likewise, any student filmmakers, artists, pity on me and invited me to her home for each Patricia Carr who was at the studio working Universities and colleges that need film editing afternoon. She could not actually push the boat out as production supervisor on Indy 3. In fact, the equipment, please get in touch and tell me what food wise because strict war-time rationing was campaign was in two parts – the first being against you want. already in place. Luckily, bread and potatoes were the sale by Cannon Films but it was out of the This will be, apart from the cost of spare parts, surprisingly never rationed during war time, and I trying pan into the fire when it ended up with transportation and “out of pocket” costs, a FREE OF discovered that a baked potato in its jacket with a Brent Walker. CHARGE service. little salt sprayed on the inside was not bad at all if In the beginning we had the support of George I can donate my time, storage space (it’s cheaper you were hungry enough. Lucas and Steven Spielberg, for whom it had been a in the West Country!), tools, a bit of transport There was one really nice, custom-built modern second home since the mid-1970s with the Indiana (whatever I can get into my Shogun) and my cinema in the area, at a place called Tipton, which Jones and Star Wars trilogies but they were not collected contacts and information. even had a Wurlitzer coming up and down, doing interested in buying the site. However, when we It’s so important to allow first-time filmmakers three entertaining programmes each day. As a ‘non eventually won, they both sent me nice letters of to experience the highs and lows of making films on local boy’ and visiting Third, I was never allowed congratulations which will either end up in a yet to film. The industry has been good to me – and most to cross such a glorious set of cinema front steps be built local film museum or go for sale on ebay of you – and I’m happy to try and give something during my time at Darlaston. when I kick the bucket. My old friend Sir Sydney back to allow this fantastic artistic medium to be Another flea pit in that part of the world was the Samuelson was a great supporter. enjoyed by the next generation. Imperial Walsall. One of my jobs was to pull a rope When Hertsmere took over the studio in 1996, I STEVE FELTON which ran through the void of the auditorium roof was appointed Chair of Elstree Studio partnership 07973 842593 to effect the only opening of the screen curtains company and we were tasked to refurbish, rebuild and relaunch the facility which had been closed for

THE VETERAN | ISSUE 170 | SUMMER 2021 29 changes of owners – Cannon, Pathe, MGM, New Members Virgin – and when it became Cineworld in In Memoriam mid-2006 he was Head of Film until leaving These are some of the latest members to have in October 2014. He has been Head of Film DEBRA BOWRING, Abergavenny been approved by the Executive Committee of for Everyman Cinemas since January 2015. 26 June 1938 - 31 March 2021 the British Cinema and Television Veterans to join our ranks and they are warmly welcomed. KEVIN PHELAN BILL CARTLIDGE, Southampton The following short profiles have been compiled A volunteer projectionist at Battersea Arts 16 June 1942 – March 2021 from details on application forms and Centre in 1980, in 1981-83 he was usher, supplementary research where necessary. cleaner and projectionist at the Odeon JOHN CROSS, London Streatham, then (1983-89) projectionist 2 May 1940 – 15 March 2021 at the Mercury Preview Theatre. 1989-93 PAUL COTGROVE, Hadleigh found him technical manager/facilities CLAUDIA DE LOTBINIERE, London He was a negative cutter at Tru-Cut manager at Prominent Facilities, then 1993- 20 April 1930 – 8 January 2021 in London (1981-87), film treatment 98 as head of film services/producer at the technician at Studio Film Labs/Soho Computer Film Company. From 1998 to COLIN EDWARDS, Chertsey Images (1987-91), technical manager of the 2001 he was head of film services/producer 2 September 1942 – 12 March 2021 Films and Television Dept. of The British at the Moving Picture Company, then (2001- Council (1991-2003) and film distribution 12) head of film production at Lip Sync Post. DAVID ELLIOT, Newcastle and marketing manager for Lagoon Since 2012 he has been post production 3 June 1942 – 27 February 2021 Entertainment (2004, assistant) and Ivory supervisor and producer at Phelan Good Tower Entertainment (2005-6) and film Film Consultancy Services. He is a former HAROLD FARLEY, Great Missenden producer at Kadam Film and Video (2006- council member of BKSTS/IMIS and AMPS, 3 February 1934 – 4 March 2021 7). He has been managing director of and serves on the committee of Cinema The White Bus since 2007. He is also Technology. ALLAN FOENANDER, London secretary for the Lindsay Anderson 17 July 1929 – 1 June 2021 Foundation and patron and programmer for JOHN V. WATSON, Bexhill the Leigh Film Society. Starting a career in management with Rank’s RON FRANCIS, London Tenpin Bowling division from 1963, he joined 2 May 1928 – 15 March 2021 COLIN GOUDIE, Lochgoilhead Classic Cinemas as a manager and then He joined BBC TV at Ealing Studios in 1982 Cinema Clubs controller in 1968. He next MARILYN IMI, Esher as a trainee assistant editor and worked worked for the Star circuit in Leeds in film his way up to film editor on Spender, booking (1969-73), joined Border Films in AIVAR KAULINS, Stanmore Between the Lines, Inspector Alleyn etc. London in film sales (1973) and then VPS/ 19 January 1936 – December 2020 (1989-93). As a freelance film editor, his Goodtimes (1975), overseeing the TV area TV credits include The V Word (1993), Ain’t release of Flame (1975), went to Hollywood STUART NEWTON, London SW15 Misbehavin’ (1996), A Lust for Life: Ruth to market a film treatment (1977), became 23 February 1945 – 24 January 2021 Ellis (1998), Plain Jane (2000), Holy Cross manager of the Focus cinemas at Sevenoaks (2003), Lusitania (2006), George Cross and then Brentwood (1977-80), sales KENNETH ROGERS, Sutton Heroes (2010), Air Aces (2012). Cinema manager for Poseidon Films in London, 10 May 1930 – 22 April 2021 work includes Wettin’ Day (2001), Man administrative supervisor of the Wellington Dancing (2002/3), Beyond Narnia (2005), Theatre and Pier in Great Yarmouth and WALLY SCHNEIDERMAN, Edgware Monsters (2008/9) Forever (2012), Star booking for a cinema at Hunstanton, Norfolk. 27 August 1922 - 8 April 2021 Wars Rogue One (2015/6), The Show He managed Cannon cinemas including (2017/8), To Olivia (2018/9) and Prisoners Sidcup and Cosham (1985-7), moved into TONY SPRATLING, Northwood of Paradise (2020/1). accountancy, book keeping and financial 4 October 1930 – 10 March 2021 services as a sole trader while dealing in ROY GOWER, Horsham cinema memorabilia. He has written books BOB WARBEY, London He joined ABC/EMI Cinemas in 1975 as a on Twickenham and Teddington studios, 15 May 1942 – 14 May 2021 post boy and moved into film programming wide screen and CinemaScope, and the there circa 1977, staying through various history of the Regal Swaffam.

BACK COVER STORY Open now, daily 10am-5pm, until Sunday 20 Feb 2022 £12-14 (Over 60s: £10-£12)(online booking essential: nationalgalleries.org) Ray Harryhausen: OR view from home: book a £10 digital package to enjoy on your computer, phone or tablet at any time a virtual experience of the show, comprising five newly-recorded short films, Titan of Cinema Titan of Cinema exhibition materials including newly-digitised artworks, storyboards and movie memorabilia, as well as Scottish National Gallery of Modern Art (Modern Two) access to live Harryhausen events. 75 Belford Road, Edinburgh, EH4 3DR (Based on a press release and on line information.)

At the heart of the display are Harryhausen’s creatures like Medusa, the Kraken, and Bubo the owl, as well as his iconic skeleton army from Jason and the Argonauts. See Harryhausen’s sketches and storyboards as well as original movie posters. Find out just how Dynamation works - the illusion of layering backgrounds and footage of real actors to show them interacting with models on film - which Harryhausen developed and used to incredible effect. And have a go at fighting the mighty Talos and deadly Harpies in a green screen set-up. Download a free phone app before you arrive to listen to an audio Skeleton models guide by John Landis; unlock extras including movie trailers, behind the scenes from Jason and the info and more; bring a skeleton warrior to life in a reality feature. Argonauts, 1963.

30 THE VETERAN | ISSUE 170 | SUMMER 2021 Newsletter Summer 2021

2020 – An Extraordinary Year

Building a community we’re devastation that Covid was success, raising over £11,000 you, please drop us an email at proud to work with having as fellow freelancers’ for the Film and TV Charity. [email protected]. We were incredibly proud and work disappeared through Doctor Who creatives and cast honoured that in 2020 when lockdown. Inspired by Captain got involved, producing unique Visit a cinema times were really challenging so Tom, he decided to walk the content and insight as fans We’re really excited to get back many people stepped up and length of the country starting watched episodes of Doctor to the cinema. This year is looking organised such a wide variety of at Land’s End and ending at Who ‘together’. great with new releases including fundraisers for us. From birthday John O’ Groats. John raised over This year, as we emerge the much anticipated No Time To donations on Facebook, to John £5,000 to help charities support into a new summer where Die, which alone is estimated to walking from Land’s End to John people that needed it most, we we’re beginning to enjoy new account for 10% of all UK cinema O Groats, to Emily leading a were delighted to accept John’s freedoms and finally meet up revenue in 2021. We hope you all Doctor Who watch-along, we donation. with friends and family again, the enjoy getting back to the cinemas were blown away by people charity is launching a summer and are able to safely support taking the charity to their hearts. Emily fundraiser to celebrate people your local cinema by seeing some In 2020 over 6,085 people Emily is an interviewer, producer getting together again. We invite amazing blockbusters that are made use of our Support Line. and editorial assistant for the people to get together and coming to the big screen this year. Fundraisers like these make an Doctor Who Magazine. Doctor fundraise for the Film and TV enormous difference to helping Who: Lockdown was created Charity. We’d really love to see Don’t forget to visit us on the Charity support our industry. for fans so they could still have what you get up to. Whether Facebook at facebook.com/ an event to participate in while you want to do a sponsored FilmTVCharity, John everyone was at home isolating. walk, run, picnic, BBQ, pub witter @FilmTVCharity or John is a 60 year old camera The simulcast worldwide watch- quiz, watch-along or even Instagram at instagram.com/ operator who saw the along event was an amazing skydive, we’d love to hear from filmtvcharity/ RAY HARRYHAUSEN: TITAN OF CINEMA See page 30

Ray Harryhausen (1920-2013) animating a skeleton model from The 7th Voyage of Sinbad, 1958. © The Ray and Diana Harryhausen Foundation.

Medusa model from Clash of the Titans, c1979 ©/Collection The Ray and Diana Harryhausen Foundation.