I clearly remember my mother winding carbon paper into the roller of her portable typewriter and bashing out articles. Ping! the bell would ring as she reached the end of a line. She would then pull left on a shiny paddle, with relish, to begin a new paragraph. She seemed to type like the wind, it was only a pity she didn’t write more. Was it more time-consuming when making changes was so laborious and a dictionary needed to be flicked through to check spelling? I was forever pouring through a thesaurus and looking for reference books in libraries as a child in the ‘seventies but find computers seems to steal more time.
~The photograph that illustrated an article in Woman magazine taken at the Commonwealth Institute in 1974~
Here is the second part of the article Mum wrote for Woman magazine when the original film of ‘Swallows and Amazons’ was screened in cinemas around the country in April 1974. Earlier pages can be read in a previous post here and there is also a programme she wrote for BBC Radio Bristol on the same subject here.
I’d forgotton that Kit was sent half a Birthday cake but do remember Ronnie Fraser arrived at her party quite tiddly. I am amused to learn we finally left Oaklands Guest House with fifty peices of luggage but I still have a hazel bow and arrow set, which I don’t expect ever fitted into a suitcase.
Please let me know if you would like to see old scripts and letters relating to the original publicity for the film, kept in my mother’s archives.
To read more about Daphne Neville’s adventures in film and television please click here
I have been writing about my experiences behind-the-scenes in film and television for some time. There is one series in particular that still has a strong following, particularly those interested in British medieval history.
As children, back in 1971, we were all excited to hear that HTV was planning to film a series about King Arthur near where we lived in Gloucestershire. We were keen on dressing up and I was already interested in medieval history.
The Arthurian legend had always been portrayed with ladies in pointy conical hats and knights in chain mail riding around with lances, however expectations of turreted castles were soon to be dashed.
Instead, we woke up one morning to find this tent in the field beyond our house, with a full English breakfast being served by location caterers from the back of a two-tone bus. The final scenes of Episode One of the series Arthur of the Britons, entitled Arthur is Dead,starring Oliver Tobias in the title role,was to be filmed on our farm.
We learnt that the drama series, Arthur of the Britions was to be quite different from traditional renditions of the well-loved stories. Apart from anything else the actors had long hair and wore rough hessian garments or sheepskins to reflect the culture of Iron Age England. Everyone was excited about the idea, which seemed more authentic and certainly held more sex-appeal than the Hollywood idyl lodged in our consciousness.
While the lane below the wood that ran along the sides of our valley was closed to traffic, HTV ran cables and moved in with their lights, camera equipment and props amounting to bundles of swords, spears, shields and other weaponry.
Here you can see the Gulliver’s Prop lorry as well as costume and make-up artists with their kit-bags attending to the actors and supporting artistes. Please remind me of the name of the character to the left of shot and who played him. ***
It must have been dark under the trees, as there would have been have been a large 2K light on this tripod. The crew set up carefully and were finally ready to go for a take, recording the battle in the woods on 16mm.
After a short skirmish, Arthur pretends to retreat, leading his men downhill. They are soon followed by the Saxon hordes. The reality was that the wood was much steeper than it came across on television. The actors ended up tumbling down the bank.
We were waiting in the open field in the valley floor. Although naturally marshy, this had been made much wetter by damming the stream that flowed down from the woods. Our local road engineer Percy Baxter dug pits that filled with water and acted as a trap for the Saxons who did not know the secret way through the marshes.
We knew the ledgend and were fascinated to see how the sequence would come together.
As the scene was difficult to replicate it was shot with two cameras, seen here set on wooden tripods. The result was exciting.
Scroll to 19.50 towards the end of the episode to watch the scene here on Youtube:
***Post script: This email arrived recently. I have been given permission to feature it:
“Browsing the web the other day, I came across your website and photos relating to filming ‘Arthur of the Britons’. One photo in particular interested me, the one in which the request, ‘Please remind me of the name of the character to the left of shot and who played him’ appears.
Looking at that photo stirred many memories…
Back in 60’s Bristol, my old chum Bob Baker was trying his hand at script-writing for the media, somehow he got involved with a BBC Children’s series entitled ‘Pegasus’: of which meager entries appear online and actual footage seems non existent.
Bob and I enlisted as extras for a shoot at Berkeley Castle, much fun, beautifully authentic Napoleonic Infantry costumes, several closeups, a hard in-character slap on the face for Bob and a shot of me firing a rifle at an imaginary ‘Pegasus’, the eponymous hot air balloon, as it took off from the castle courtyard carrying the escapee heroes of the plot. An excellent tight closeup only marred by myself who, having fired and watched the imaginary effect of my bullet, lowered the rifle and stared up intently, for what seemed minutes (at nothing) finally relaxed… as my eye was drawn inexorably towards the huge camera lens inches from my face. ‘Christ! He just looked straight into the camera! Cut!’ I was particularly stung by a co-extras unconcealed schadenfreude as he muttered, ‘Shame about that Rog, they liked the look of you, blown your chances now.’ But it was too good to waste and, edited, made it into the final cut: it was however the last close-up I got.
The final location work called for a night shoot, it was raining intermittently and shooting was sporadic, Bob and I spent most of the night in the canteen, drinking wine with our old mate Keith Floyd who had managed to land the catering job – in many ways, the start of his career and of course he went on to considerable success, fame and several television series of his own. Bob and I ran out of cigarettes so, fully accoutred and armed with cocked hats, swords, rifles and bayonets, we strolled down into Berkeley village and went into The Boar’s Head just at closing time, startling the small group of locals, and ordered two pints and some fags. A stunned silence descended as without a word, Bob and I drained our pints and left as suddenly as we had appeared. I wonder if the legend of the two thirsty apparitions from La Grande Armée is told there still?
Bob and co-writer Dave Martin had written a well-researched film script about King Arthur. They knocked on many doors, Hollywood was mentioned; even Charlton Heston was reported to be interested, but finally, in 1973, it was HTV who eventually picked it up, though I see Bob actually gets credit only for the first episode ‘People of the Plough’.Of course, he went on to write many of the scripts for ‘Dr Who’ and ‘Wallace and Grommit’ but this was his first, if modest, success.
I was on my summer vacation and Bob mentioned HTV were looking for extras for ‘Arthur’ if I was interested. When I arrived on set it seemed that half of Bristol was there including many of my drinking mates from Clifton, most of whom had arrived equipped with cider and beer and it became fairly apparent the direction things would take. A few years ago I was reminiscing about those days with one of them, Mike Dauncey, who went on to become a respected BBC Cameraman, but who sadly, recently died. He told me he spent most of his time in the actors tent, along with a few other reprobates, smoking pot. I recall seeing him at the time but had no idea what was going on, though I remember enjoying plenty of the extraordinary amounts of alcohol that seemed to be around. I’m pretty sure Mike is the guy in the patterned doublet with his back to the camera, extreme right.
Vaguely, I recall lots of nonsense, involving charging down hills waving swords and yelling, mock fighting in in the river and defending a primitive ‘Saxon Village’ that had been constructed on a river bank. As always, shooting was a bit piecemeal, scenes being shot out of sequence and us extras standing around as background whilst Oliver Tobias, Jack Watson and, by the end of the shoot, the Celts, had taken the village. Not terribly dramatic at the time, presumably any attendant pillage and rapine was the subject of a different shoot, though I recall a fair amount of fake blood waiting in readiness. Finally the script called for the Celts to set fire to the village. And thus I got my big starring role, as employing all my acting skills, dressed in a ‘bloody’ sheepskin and in closeup, I was required to play a dead Saxon.
Unfortunately it had been steadily raining all day and the ‘village’, built largely from straw and dummy plastic wickerwork, refused to ignite. I was lying very close to the ‘village’ and began to get a bit concerned as, from my worms eye view, I watched the crew enthusiastically chucking gallons of petrol over the village to get things going. It all seemed to take a long time and as I lay there in the rain, I remember hoping they hadn’t forgotten that the dead Saxon was actually an extra and not a prop. More time went by setting up the shots but eventually the scene was in readiness. Action! shouted the director and with cameras rolling, three ‘Celtic horsemen’ with flaming torches galloped down on the village, narrowly avoiding trampling me, threw the torches at the ‘buildings’ and galloped off. For several seconds nothing happened, then suddenly with a huge WHOOMPH! all that petrol just went off, The heat where I was lying was incredible, the grass between me and the village began to steam then turn yellow and smoke, I began to smell wet, then burning wool, as my sheepskin began to smoulder, fortunately too sodden and thick to actually catch fire, but lying there, I discovered an earnest empathy for those Guy Fawkes dummies I had chucked on bonfires as a kid. The crew were oblivious to my plight as the director called for several takes and the scene took over an hour to shoot until eventually the flames died down and a wrap was called.
Months later the series appeared on TV, I saw very little of it but did see that scene; by modern standards it looked fairly amateurish, obviously phoney as you could see the plastic ‘wickerwork’ melting, but my closeup was excellent, I looked just like a corpse, very realistic, despite gently steaming.
Bob and Dave Martin always referred to the series as ‘Arthur in The Stinging Nettles’ but what struck me about that photo is that it looks more like the set for some fey setting of Lothlórien. What a bunch of fairies!
So back to that plea, who was the character on the left? Well, if it’s the guy having his face touched-up on the extreme left, I’m afraid it was no actor, just an extra that played a corpse. Me.
I seem to have banged on a bit, strange how a photograph brings it all back, apologies if it just seems like some old blokes boring memories – but then again, that’s exactly what it is!
‘Forty years after she enchanted film-goers as Titty in Swallows and Amazons, Sophie Neville has found a new audience… telling the behind-the-scenes secrets of the film of Arthur Ransome’s classic novel.’ The Daily MailThe Making of Swallows & Amazons ‘…is based on diaries, letters and old photographs which Sophie has turned into a heart-warming account of making the movie, which starred Virginia McKenna and Ronald Fraser.’
’The Telegraph~ Culture: ‘Set in the Lake District in 1929, the film follows four young adventurers who sail a dinghy around Lake Coniston, cook for themselves over campfires and sleep in makeshift campsites.’
‘…The occasional chaos and terrible weather during filming contributed to the eventual popularity of the extraordinary and very much loved film.’ The Times
‘The film Swallows & Amazons is 40 years old, but thanks to its careful period evocation, its respect for Arthur Ransome’s original book and the performances of its child actors, it’s become a timeless classic. One of those children was Sophie Neville, who played Titty, and who kept a diary during the filming. That diary, with her adult recollections, is this book. It’s a fascinating insight into filming on location in the Lake District… Classic Boat
‘… The result is compulsive reading as she recalls that cold wet summer, while the camera crew wrapped up warm and she shivered in her skimpy dress as Able Seaman Titty Walker. Sophie brings to life all the many memorable characters who worked on the film and in particular the other children, the Director Claude Whatham who developed a great relationship with his young cast and the stars Virginia McKenna and Ronald Fraser. Nor are the other young actors forgotten for there are diary contributions from Suzanna Hamilton who played Susan, Stephen Grendon who played the Boy Roger and Kit Seymour who played Nancy Blackett. The text is supported by numerous illustrations showing life on and off the set.’ Roger Wardale, author of Arthur Ransome: Master Storytellerand other books
‘You don’t need to be a Swallows & Amazons fan to enjoy this book – it’s universal!’ Winifred Wilson, Librarian of The Arthur Ransome Society
‘This was a most unusual and interesting book. I picked it up expecting to browse through it, and found myself so drawn in to Sophie Neville’s detailed, amusing and insightful description of film making in the 1970’s that I was unable to put her book down. As Arthur Ransome fans, my family and I have always loved the film, and felt that Sophie Neville was ‘just right’ as Titty. What fun it has been to be introduced to the young twelve year old Sophie with her intelligent awareness of the challenges facing the production crew while she shivered in her cotton dresses. The many photographs and illustrations contribute richly to bringing the 1970s setting to life. Sophie recorded her experiences beautifully, and in so doing, added one more valuable book to the cultural heritage of all Arthur Ransome fans.’ Juliet Calcott, English teacher,South Africa
One way or another, much of my childhood and teenage years were spent hanging around on film sets. When I was fifteen I had the opportunity to work as a film editor’s assistant for Tony Woollard when he was editing Abide With Me, an adaptation of Winifred Foley’s childhood memoir, which was directed for BBC Television by Moira Armstrong.
At the age of nineteen I found myself working for a prop buyer on a Saturday Night Thriller calledDark Secretthat LWT, London Weekend Television, were making at my parents’ house. I was struck by how nice the technicians were.
Our house was often used as a film location. You can’t hear the noise of traffic there. For some reason this always involved hose pipes (to provide water for the location caterers) and parking a huge number of vehicles. Our house was turned into a restaurant for Dark Secret, and then became known as a love nest, for the BBC costume drama House of Elliot which amused my father.
My mother thought the best way to occupy us children during school holidays was to send us filming. I was forever driving my little sisters to one location or another. Call times could be hideously early.
My sisters weren’t always so sure about this but they were well paid, which was one thing.
Appearing as supporting artists in Tenko, the BBC serial about female internees in the Far East during WWII, was hateful. Apart from the fact that the location catering was good, it made one feel exactly like a prisoner of war, or rather a female civilian internees. Dressed in rags with our hair filled with grease, we were unable to move far or even sit down anywhere except in the filthy sand of the prison camp. The only good thing was that we were allowed to sunbathe, albeit in costume. What I did gain was the opportunity to watch a film crew in action day after day. It was all good experience for a girl who was soon to become a film runner herself.
David Stott, the Ambleside lad who worked as a unit driver on the film of Swallows & Amazons in 1973 after he left college at the age of 19, has written from America:
‘I really enjoyed reliving Swallows & Amazons through your book.’
‘Oh my, what a trip down memory lane it was for me – so much that l had forgotten was rekindled. I cannot believe that it was forty years ago.
‘I think that I started work (on the film in) mid-June, which would fit in with finishing college. From your daily schedule it was when you went back to Coniston with Virgina McKenna on her second visit.’
David remembers the problem of being locked out of Bank Ground Farm by Mrs. Batty. ‘I really could not blame her as the whole place had been turned into a circus and her house ripped apart.’
‘The first morning I met Richard Pilbrow was in his bedroom for some strange reason and remember thinking, ‘What a total mess. How can anybody live like this?’
‘My main contacts were Neville Thompson (the On-line Producer) and Graham Ford (the Production Manager). They were all based at Kirkstone Foot Hotel that was owned by friends of my parents, Simon and Jane Bateman. Others stayed at the Waterhead Hotel down by the lake, where I would pick them up and take them to the location.
‘On arrival at the location I remember well the catering van and the breakfast that awaited us. Having just competed three years studying hotel management at college I was amazed how two people with very limited equipment could produce the number of meals they did. The washing up was done on a trestle table outside the van with bowls of water carried to location in large milk churns.
‘I did not have much contact with you and the other children, as you were under the watchful eye of your Mum and Jean McGill. Jean’s Mum was called Girly McGill and used to run a nursing home in Ambleside. As a child I used to deliver eggs to the home with my Dad. Jean had a brother who I think everybody called Blondie.
‘Sten was a bit of a handful at times and held up shooting on a number of occasions while he was calmed down. I rather envied Simon West; I wished I had the chance he did to act in a film. To this day I’m a frustrated actor.
‘Dennis Lewiston (the Director of Photography) always seemed to be holding a light meter in the air or perhaps he was warding off the clouds. I found him a little unapproachable.
‘My recollection of Sue Merry the continuity girl was setting up her folding table and tapping away on a portable typewriter.
‘Ronnie Cogan the hairdresser and I spent hours chatting. Once the shooting started, we had nothing else to do. He was such a nice man.
‘I was thrilled when I met Virginia McKenna and had to drive her around. One day I had to drive her to Grange railway station. I was so fascinated by her tales of working with lions in Born Free that I drove slowly to maximise her story-telling time. We almost missed the train and had to run from the car park.
‘One of the wettest days I remember is when the scene of Octopus Lagoon was filmed above Skelwith Fold Caravan Site. I don’t remember the support buses being around that day, but I do remember having to sit in the car for hours on end. Maybe the buses were somewhere else.
‘I know I was invited to the wrap party but cannot remember a thing about it.’
David Stott has emailed me, sending a photo of himself with his friends in the summer of 1973:
‘It was taken at college just before l started work on Swallows and Amazons… I am the one on the right with the yellow sweater. Love the hairstyles. Fashion-wise it was the era of Crimplene, as evident in my friend Pauline’s dress. I remember I wore a brown Crimplene jacket when I was driving the unit car.’
For the last twenty-six years David has been the resident proprietor at the Crossways Hotel near Willmington, a beautiful Georgian restaurant with rooms in East Sussex near Glynebourne, which makes the perfect place to stay if you are lucky enough to get tickets for the opera.
David recently added more tales of impro-parrot-y to the comments:
‘I also remember the incident when Ronnie Fraser sang “Drunken Sailor”. I delivered him back to location from a very drunken session at The Lodore Swiss Hotel, dragging him from the bar. He was not a pretty sight. Was it that the same afternoon that he had to fall into the lake? My memory is a little sketchy, but l seem to remember he was pretty far gone on that occasion as well.’
‘My neighbour Mrs. Dora Capstick was employed to show Captain Flint how to play the accordion. Of course I think the music was dubbed at a later date.’ I can only suppose that she taught him how to play the sea shanty, What shall we do with the drunken sailor? since that is what he was playing in the shot at the end of the film.
‘I had forgotten the name of the parrot lady, Mrs. Proctor, she lived in a cottage in one of the old yards in Kendal. I was scared to death of Beauty and I don’t know how you could bear to have him on your shoulder.
‘I vaguely remember your mother and I was friendly with Jean McGill the unit nurse who was another local Ambleside Girl.’
‘I was friendly with some of the production assistants but cannot remember their names. Quiet a few hours were spent on the double-decker buses that were used on location.
‘Another memory I have is having to wait for the London train to collect the rushes then get them back to the Kirkstone Foot Hotel for an evening screening and felt very privileged when l was allowed to stay and watch them.’
Does anyone else remember helping to make the movie Swallows & Amazons, or coming to watch the filming in 1973? Please do add your memories in the comments box below.
Thanks to the encouragement and help of my blog followers and Arthur Ransome enthusiasts around the world, I have managed to put my diaries, letters, old photographs and documents together into a 68,000-word memoir.
“Sometimes extraordinary things do happen to ordinary people. Little girls can find themselves becoming film stars. Long ago, and quite unexpectedly, I found myself appearing in the EMI feature film of Arthur Ransome’s book Swallows and Amazons, made for a universal international audience. I played Able-seaman Titty, one of the four Swallows. Perhaps it would be more accurate to say that I became Titty for a while, wearing thin cotton dresses and elasticated navy blue gym knickers, which the camera crew soon referred to as passion killers. The book was written in 1929 and although the film adaptation was made in the early 1970s it had an ageless quality and has been repeated on television year after year, typically on a Bank Holiday between movies starring Rock Hudson or Doris Day.
I got the part of Titty because I could play the piano. Although I had no ambition to be an actress, at the age of ten I was cast in a BBC dramatisation of Cider with Rosie. They needed a little girl to accompany the eleven-year-old Laurie Lee when he played his violin at the village concert. I plodded through Oh, Danny Boy at an agonising pace.
‘Do you think you could play a little faster?’ the Director asked.
‘No,’ I said, flatly. ‘These are crotchets, they don’t go any faster.’
Claude Whatham must have remembered my crotchets, for two years later, in March 1973, my father received a letter. It arrived completely out of the blue, from a company called Theatre Projects.
We are at present casting for a film version of SWALLOWS AND AMAZONS which Mr Whatham is going to direct. We were wondering if you would be interested in your daughter being considered for one of the parts in this film.
From ‘The Secrets of Filming Swallows & Amazons’ by Sophie Neville
Preview copies of ‘The Secrets of Filming Swallows & Amazons’ at the Cruising Association dinner at the Water’s Edge Bar and Restaurant, Mermaid Marina on the River Hamble.
“This heart-warming memoir is illustrated with colour photographs, most of them taken at the time by Sophie’s family, and contains links to behind-the-scenes home movie footage for readers with browser-enabled tablets. It delivers a double helping of nostalgia for both fans of the era of Arthur Ransome, and the groovy times of the early 70’s.” ~ from the Amazon Kindle description
Also available for other reading devices on Smashwords
Thank you again for all of your time and patience, and to those of you who contributed comments, questions, and aspects of local history on this blog. I would love to know what you think of the book!
One of the questions I was asked when we returned from filming ‘Swallows and Amazons’ in 1973 was about the food. This could only properly be answered by going into considerable detail.
When on location, our breakfast, coffee, lunch and tea were provided every day from the back of a location catering van staffed by a couple called John and Margaret who had come up from Pinewood. My mother always refered to their van as ‘The Chuck Wagon’. There wasn’t perhaps as wide a choice as there is with location catering today, but good hot meals were produced on time, whatever the weather and wherever we might be. If we ever filmed on a Sunday there would be a full roast meal. At other times they would enchant us with a choice that might include spaghetti, a dish that was new to England – or at least where we lived – in 1973. It was the kind of special meal that my mother would cook for a dinner party, served with a spoon and fork so you could swirl the pasta properly. As children we were allowed to go to the head of the queue so that we could avoid having to queue up in the rain. We’d take out plates to tables in one of the red double-decker buses. You could help yourself to knives and forks and paper napkins on the way in. We had to be careful not to get food on our costumes.
I remember when location caterers first started providing salad buffets in addition to hot lunches in the 1980s. It was such a relief not having to queue. Salads were not regarded as food for the working man back in the early 1970s but Suzanna thought otherwise. Indeed she would eat little else.
Despite the fact that Suzanna often only ate tomato sandwiches for lunch, the catering budget must have been considerable. The call sheet always seemed to specify ‘LUNCH for approx 70 persons’. When friends came to visit us on location my parents were sensitive to this and bought a picnic, which was very much how we lived normally. This was always carried in a wicker basket and set out on a car rug, cold squash in one thermos flask, hot coffee in another. Triangles of processed cheese with ham and pickle sandwiches. No cool bags or bottles of wine. You couldn’t buy ready-made sandwiches from petrol stations or supermarkets then but if you went to a bakery they would make you a filled bap while you waited.
As anyone who has read Arthur Ransomes’ books will know, the Swallows were very organised when it came to provisions. Milk from the farm, buttered eggs, seed cake, apples, molasses (toffees) and grog – I loved it all. I wasn’t too sure about fried perch but the pemmican and potato cakes cooked by Man Friday with a great knob of butter were utterly delicious. And I loved the buns from Rio. We didn’t have peas to shell on the film. Apples must have seemed a realistic alternative.
Again we have to rely on The Mate Susan for details. Surely she was modeled on Ransome’s own efficient wife Evgenia? In this extract from her diary Suzanna mentions that Richard Pilbrow’s two children came to watch the filming. She knew Abigail from London.
Mum became worried quite early on that Suzanna wasn’t eating enough. The solution came when she was taken out to dinner at a restaurant where she was able to chose from a wide menu.
As a result Suzanna was often given steak for supper back at the Oakland’s Guest House while the rest of us had whatever was on offer, which was a bit of a swizz.
Suzanna was of course completely right about insisting on eating salads and fresh fruit. She chivvied, encouraged and begged both the caterers and Mrs Price for more and more fresh raw food. She loved strawberries. Virginia McKenna won her heart by bringing her two boxes of fresh strawberries when she was ill with tonsilitis at the start of the filming. These would have been early English strawberries and a great treat in 1973. John and Margaret managed to find enough for us all later in the summer. They were presented in a manner that would have pleased the men working on the film crew but Mate Susan wasn’t so happy about this.
I’ve included this photograph before but it provides proof that food was an important issue. Please note that Mate Susan is first in line, inspecting everything on offer.
This photograph of Richard and Neville sitting on the deck of Captian Flint’s houseboat in the pouring rain must epitomise the struggles they went through to work around the weather and bring ‘Swallows and Amazons’ in on budget.
It was Claude Whatham’s dream to end the movie with an aerial shot of Swallow and Amazon sailing away from Captian Flint’s houseboat. He had a helicopter pilot standing-by with a special cameraman, but it wasn’t to be. He needed bright sunshine for the shot to cut with our farewell sequence after the battle. We waited three days but the weather was too dull and wet to film anything useful. I’m so glad. Claude ended up freezing the simple shot that captures Arthur Ransome’s book completely. It was used on the front of one of the first VHS copies of the movie.
I’m afraid we hung about the very nice Water Head Hotel in Ambleside getting bored and precocious, or so the evidence suggests. Since John and Margaret, our location caterers, had returned to Pinewood Studios, we were taken to the hotel restaurant for lunch.
We loved that cinema in Ambleside. Was it the same then as Zeffirellis, the cinema in Compston Road operating today? The adults must have found it a good means of keeping us peacefully entertained, but then again they were all film-makers, who loved movies. Zanna didn’t come to the cinema that afternoon. She walked four miles up Wanstell Pike with Jane Grendon.
Albert Clarke, the stills photographer on the film crew, had given us contact sheets of the black and white photographs that he had taken during the filming. I spent my time at the Kirkstone Foot Hotel, where Claude and Richard were staying, with a tube of Copydex ~ or ‘rubber solution glue’, as they kept saying on Blue Peter, sticking the tiny photographs into the scrap books that I had been keeping.
Richard Pilbrow kindly let us choose large 10’x 8′ versions of the photographs, which we are able to take home to our families. I kept mine all these years, never using them for anything, but treasuring them as a memory of those happy, fulfilling days spent in Cumbria in 1973.
You can now read about making the movie in the ebook ‘The Secrets of Filming Swallows and Amazons’ or the paperback entitled, ‘The Making of Swallows and Amazons (1974)’ available at most online distributors or to order from your library or local bookshop.
‘It would make a superb lighthouse,’ but not for a good few years yet. The scots pine planted by The Arthur Ransome Society on the northern end of Peel Island was growing well when I last paid it homage. I hope I don’t spoil the magic if I explain that the pine used in the 1973 film of ‘Swallows and Amazons’ is on a promentary above Derwentwater. An appropriate tree was chosen that overlooked the location we used for Houseboat Bay.
If you can avoid being distracted by Bavid Bracknell’s trendy two-tone trousers you can see a bit more of the lighthouse tree location with the lake beyond. I’ve been told it is Friar’s Crag. Can anyone tell me more about the bay on Derwentwater where Captain Flint’s houseboat was moored for the film?
As a child reading Swallows and Amazons I was always deeply impressed that Captain John managed to climb the pine tree in Arthur Ransome’s drawing. Simon West was able to use branches but he really did climb quite high. The camerman had a scaffold tower.
Suzanna wrote that, ‘In the late afternoon the Amazons were filming on the pontoon. Kit wasn’t feeling well.’ Lesley was feeling a bit better. There was a ‘flu-like bug going around. Neither of them look that well in the resultant photograph but they survived.