Neville Thompson acted as the online producer on the 1974 film of Swallows and Amazons. He choose an excellent crew and took daily responsibility for scheduling the production on location in the Lake District and later at Elstree Studios where the film was edited and post-synced.
Producer Richard Pilbrow and Production Associate Neville C Thompson on Derwentwater in the Lake District in 1973
Neville was born in Ipswich in 1933. Although gregarious at times, he was a quiet man who was once a maths teacher in Scotland. He had five children to support, but decided to go to RADA and become an actor. When a pair of twins came along he moved the family to Croyden and went into film production. He began work as a location manager for Mike Newell and became a production manager for Ken Russell.
Richard Pilbrow gained the rights and film finance for ‘Swallows and Amazons’ but came from a background in theatre and knew nothing about film production. He asked Neville to help set everything up.
Neville C Thomas (top centre) with Richard Pilbrow, Claude Whatham et al
Neville came to Burnham-on-Crouch for our sailing audition when the dinghy ‘Swallow’ must have been purchased from the boatbuilders William King.
Second Assistant Terry Needham, Associate Producer Neville C Thompson and Production Manager Graham Ford with the unit radio on a sunny day in June 1973
Neville was passionate about film making, becoming known as ‘the last gentleman producer.’ He would have been the one making the executive decisions, the man ultimately in charge of the schedule, personnel, safety, insurance and bringing the film in on budget.
Claude Whatham, Richard Pilbrow, Gareth Tandy, Peter Robb-King, Ronnie Cogan and Neville C Thompson with Kit Seymour and Lesley Bennet trying on hats
His daughter, Mandy, told me that he was a wonderful Dad but had been away a lot. ‘He had eight children in nine years and was keen for them to make their own way in the world.’ Mandy became an occupational therapist, George became a ballet dancer, Chris Thompson went into film making. Neville was diagnosed with Lukemia at the age of 47 but lived another twenty years, ending his days in Woodbridge in Suffolk.
Neville Thompson relaxing on set – photo taken on Sunday 24th July 1973, by Daphne Neville
Neville established a production office at the unit hotel on Windermere. By the time he reached the location he was often exhausted. Everything he’d set up was in motion so, like an experienced parent, he could relax and enjoy the boats.
Richard Pilbrow and Neville Thompson ~ photo:Daphne Neville
When Neville died in Woodbridge in Suffolk at the age of sixty-nine in 2002, Richard told me that ‘Swallows and Amazons’ was broadcast on television as if in his honour.
You can find an impressive list of Neville C Thompson’s production credits on IMDb here
Sophie Neville looks on as Stephen Grendon organises his costume helped by Jane Grendon with Claude Whatham and Neville C Thompson when filming pick up shots near Epsom.
You can find details of how to purchase ‘The making of Swallows and Amazons’ here on line or listen to it on audible and other audiobook platforms.
On Wednesday 27th November at 3.00pm, I will be giving another talka about ‘The Making of Swallows and Amazons’ on a Zoom hosted by the national child literacy charity Schoolreaders.
You can join us by remailing s.glasgow-smith@schoolreaders.org
Since the original film of ‘Swallows and Amazons’ has been out for fifty years, and screened on television more than any other British film, it has a loyal fan base. Paddy Heron of the fundraising charity ‘Children in Read’ says, ‘I have seen that film I don’t know how many times through the decades, with my brother and sisters, with my own kids, and with my grandkids. That film will stand the test of time for ever.’
Jane Whitbread, who founded Schoolreaders ten years ago, tells me that a love of reading is a proven key to future success in life. Around a quarter of all children in England leave primary school unable to read well and yet good literacy improves all round academic achievement. Arthur Ransome’s series of twelve ‘Swallows and Amazons’ books is great for reluctant readers – those who learn to read but fail to develope an interest in books.
Although my handwriting outshone others, I was deeply embarrassed about not being able to read until the age of nine. I battled to crack the code but once through the barrier, soon gained fluency and was captivated by imaginary worlds. Like me, Andrew Harvey said that he was helped by the Arthur Ransome books, “which provided the inspiration to get me through my (undiagnosed) dyslexia.”
Since it was launched ten years ago, Schoolreaders has helped about 80,000 children to read fluently and develop an interest in books by giving them one-to-one support.
It’s clear that lives are transformed by reading. The author David Cooper says: ‘I found Ransome when I was six, and that was a revelation. He wrote with the same high standards as apply to writing for adults, which is why people of all ages are attracted to them. It only took a few chapters of Swallows and Amazons to make me want to be a writer.’
You can watch a precious talk with Schoolreaders on Youtube:
If you could volunteer to listen to children read in school for a year, think of contacting the charity Schoolreaders: www.schoolreaders.org
Simon West, Suzanna Hamilton, Sophie Neville & Sten Grendon in ‘Swallows and Amazons'(1974)
Julie Lamming wrote to say, ‘I used to drive my family mad singing “Spanish Ladies” after watching the film for the first time.’ This was the original movie of ‘Swallows and Amazons’ made on location in the Lake District in 1973 and released by EMI Films fifty years ago in 1974.
It took me a while to realise it, but the traditional British naval song Farewell and Adieu to you Fair Spanish Ladies is sung in a number of other feature films from The Buccaneers (1957) to Jaws, which was released in 1975, a year after the original film Swallows and Amazons.
The Buccaneers (1957) and Jaws (1975)
Robert Shaw sings a little more once at sea:
The ships crew come together singing it as a shanty in Master and Commander: The Far Side of the World
A Boston version is also sung in this television drama, Patrick Jane:
Can you think of anymore examples? Please add links to the Comments below.
I classic version of the song can be found here:
I’m afraid I sang it badly and made the mistake of muddling the words, Adieu and Farewell to you Fair Spanish Ladies rendered onto the LP of the film.
You can now listen to the audio book on ‘The Making of Swallows and Amazons’ that explains how the 1974 movie of Swallows and Amazons. It’s available on all the retail platforms and Audible here.
On 6th April, the original cast of ‘Swallows and Amazons’ (1974) gathered to celebrate the 50th Anniversary of the film’s release in London with David Wood who wrote the script.
It was unexpectedly amusing as can be seen in this recording kindly brought to us by Lee Pressmen and volunteers of the Cinema Museum where the original movie was shown before we were invited on stage by Brian Sibley.
Brian Sibley talks to Simon West, Suzanna Hamilton, Sophie Neville, Sten Grendon, Kit Seymour and screenwriter David Wood – photo Lee Pressman of the Cinema Museum
As soon as self-confessed ‘super fans’ arrived, the venue began to buzz with the question, “What was your favourite line from the film?”
“They’ve got India rubber necks.”
“They’re girls!”
“… must be a retired pirate. He’s working on his devilish plans.”
Sten Grendon, who played Roger, said it was undoubtedly: “I said – ‘Yes’.”
I’ve always liked: “X marks the spot where they ate six missionaries.” Although I often use, “Here we are, intrepid explorers making the first ever voyage into unchartered waters,” I think “I’ve got her. I’ve got her!” is the most appealing.
One viewer on Instagram claimed their favourite line was: “Titty that way.”
What is your favourite line?
Do add your line to the Comments below.
A recording of Brian’s interview with the screenwriter David Wood can be watched on this website here.
On 6th April 2024, the author and screenwriter Brian Sibley interviewed award-winning writer David Wood OBE at the Cinema Museum for the 50th Anniversary of the release of the classic film ‘Swallows and Amazons’. This can now be viewed on YouTube. I read a special letter from Dame Virginia McKenna towards the end.
Sophie Neville, Suzanna Hamilton & Sten Grendon with David Wood and Claude Whatham in 1973
Until I listened to this interview I didn’t know that Peter Hammond was originally going to direct the film or that Bernard Delfont was behind financing the movie at EMI. He also brought out ‘Murder on the Orient Express’ in 1974 and ‘The Deer Hunter’ in 1978.
Other secrets are revealed. Mrs Ransome (who held the rights) wanted all the Swallows to have blonde hair and blue eyes.
I’ll feature the Q&A with the cast on another blog in a few days time. Do sign up so you don’t miss it.
Brian said he drew his knowledge from ‘The Making of Swallows and Amazons’, which is now available on audible.
The audiobook narrated by Sophie Neville
A copy of the paperback is currently being auctioned to raise funds to help a little boy called Max who is very ill. You can see how the bidding is going on jumblebee
Sophie Neville, Suzanna Hamilton and Kit Seymour on BBC Breakfast
‘Can you speak to BBC Breakfast?’ I was asked. ‘They want to interview the cast on Zoom tomorrow morning.’
It was Saturday 29th June. We were at Windermere Jetty in Cumbria for the 50th Anniversary of ‘Swallows and Amazons’, the 1974 film was being screened in the room below us and a huge number of enthusiasts were eager to chat about how we’d made it. I had just come in from sailing Amazon, John Sergeant, president of The Arthur Ransome Society, was about to arrive and we had books to sign, but I knew it was important to act fast. The BBC would need time to contact StudioCanal in order to use the film trailer. I grabbed my lap-top and attempted to persuade the production team we had lots to talk about while finding a good signal. The best place was on a staircase, which was fun when Captain Nancy and Mate Susan rushed past, but a more interesting background was required.
‘What time do you want us on air?’
‘7.40am.’
‘Ah – the museum doesn’t open until 10.00am. Can we chat to you from the terrance of our hotel? It overlooks Windermere.’
‘It might be best if we send out an outside broadcast unit.’
I wasn’t told the item would also go out on Look North and North West News.
I woke early the next morning to find Keith, the BBC cameraman, setting up his equipment. Rain clouds cleared as I unrolled Arnaldo Putzu’s 1974 film poster and plonked David Wood’s screenplay on top of it with a few flags but worried about my hair, which was not behaving. We had Peter Robb-King, one of the greatest make up designers in the world with us. I should have asked for his help. All I did was remove a car key from around my neck.
Sadly, Simon West who’d played Captain John had already left, but Suzanna Hamilton and Kit Seymour emerged from their rooms and we lined up for the shot.
Was I organised? Did I tell them, ‘We need to get three points across!’ ?
No.
Someone quietly suggested I could mention The Arthur Ransome Society who had organised the weekend festival, which was free for all.
Sophie Neville, Suzanna Hamilton and Kit Seymour setting up for BBC Breakfast
Keith fitted us with earpieces and explained that there would be a delay between questions asked in the studio and our answers. We couldn’t see the presenters but could hear the film trailer being played. When we were asked us to introduce ourselves, I didn’t realise they needed to know which characters we’d played until I got to Kit Seymour, who had been Nancy. Straight forward and honest, she managed to answer the difficult question:
‘What’s it like… how does it feel?’
‘Listening to stories of how the film has changed people’s lives,’ she admitted, ‘was quite an emotional experience.’
Suzanna, explained in her beautiful voice, that since the the story was set in the 1930s it hasn’t dated, and we were able to chat naturally about our mission to encourage the next generation to get out on the water. We chatted about the movie memorabilia and David Wood’s script – that as children we were never allowed to read and the amazing time we were having at Windermere Jetty museum where one little girl arrived dressed as Titty Walker with a green parrot on her sholder.
I held Swallow’s flag and managed to speak about the acquisition and renovation of the dinghies, aware that there were no boats to be seen on the hotel terrace. However BBC Breakfast have brilliant vision mixers. The best film clips of Swallow and Amazon literally sailed over my words and I grabbed the chance to talk about The Arthur Ransome Society on national television before they bid us farewell.
When John Sergeant asked me how it had gone I had to admit that we tripped up on the time delays, but we celebrated the much loved film bringing news that Swallow and Amazon are being made available for anyone to sail and that grants are available for children to take part in outdoor activities mentioned in Arthur Ransome’s twelve books.
Many thanks to all those who left encouraging feedback on social media. I forwarded it to the production team.
Eileen Jones – This is fascinating , about the landscape more important than costume. Just introduced another generation.
Amanda Whatley – Great interview, congratulations on the reunion of the boats and people.
Jon Porter – Fantastic
John Greenhough – Great memories of this film.
David Elms – Delightful interview Sophie.
Amanda Currie– I ‘m so sorry I didn’t get there Sophie, my stupid body keeps letting me down, I would have so loved to meet you all.
Robin Jett – I love your delight about the boats. The boats are back! What fun! Great to see how ‘Susan’ and ‘Nancy’ have grown up too. I can see aspects of each character in each actress, but I expect, if you had all played different characters, that might still be true.
Sophie Neville and Sten Grendon in Swallows and Amazons 1974
When I played Titty Walker in 1973, I tried to capture something of the style of the 1920s and portray her as the nine year-old girl in the illustrations Arthur Ransome’s drew in his book Swallows and Amazons. Although I shared the Scots/Irish/English ancestry of Titty Altounyan, a real little girl who the character had been based on, I lacked her Armenian heritage and dark, bobbed hair. However, Mrs Ransome had insisted that in the film Titty was to be played by ‘an English Rose’. Dame Virginia McKenna had accepted the part of our mother, who grew up in Australia, it seemed right that one of her children might have fair hair.
Virginia McKenna and Sophie Neville on Peel Island ~ photo: Daphne Neville
My Scottish grandmother would have been aged sixteen in 1929. She loved clothes and had great style. People say that I look like my mother but I bear a greater resemblance to Granny in her youth.
I’d inherited my father’s long legs, which made me a couple of inches taller than Simon West who played my elder brother, John. Since this would clearly look wrong on screen, I was encouraged to devise ways of disguising my height, but this was difficult to do in boats.
Sophie Neville as Titty and Simon West as John
We often had to sit on the ground in Swallows and Amazons. The long legs needed to be folded up, exposed as they were by the short dresses or divided skirts designed by Emma Porteous.
Sophie Neville as Titty
I remember meeting Emma at a fitting at Angels Costumes on Shaftesbury Avenue in London when I tried on the original silk dress worn for our arrival at Holly Howe. It came with a straw hat similar to one I’d worn as a child.
Simon West, Stephen Grendon, Suzanna Hamilton and Sophie Neville as the Walker children dressed as they arrived at Holly Howe at the start of their holiday in the Lake District ~ photo: Daphne Neville
I had no idea how well known Emma Porteous was to become. She designed the costumes for the James Bond movies, along with Aliens and Judge Dread. Finding the boy’s school uniforms must have been a bit dull for one so talented but she found elegant vintage dresses for Dame Virginia McKenna who looks elegant in every scene.
Stephen Grendon, Simon West, Virginia McKenna, Suzanna Hamilton and Sophie Neville, trying not to look as tall as she was in 1973 ~ photo: Daphne Neville
Emma had most of my clothes made up for me. These included a brushed cotton nighty, worn at Holly Howe, pajamas for camping, and a swimming costume with little legs. Mine was far from glamorous being red, wooly and apt to ride up in the most unflattering manner. I was given a smart yellow coat to wear in the train, but it was too hot in the compartment and, although pretty, it was never seen in the finished film. It had buttons in the shape of flowers and may have been an original garment from 1929.
Sten Grendon, Suzanna Hamilton and Sophie Neville
The silk dress revealed my ‘passion killers’. These navy blue elasticated gym knickers were an item of clothing requested by Claude Whatham, the film director, who remembered wearing long underwear himself. He insisted that I tucked my dress into these voluminous knickers, which the crew called ‘passion killers.’ This seemed natural as it was common practice. I’d done it myself, as had the Altounyan girls, but the tucking in became difficult to maintain and my legs were too gangly to warrant exposure. The knickers contained a hanky, used on two occasions. Growing up in the 1960’s – with a Scottish grandmother – I’d keep a hanky in my own over-knickers so found this quite natural. Even aged eleven my school uniform listed gym knickers (brown) and underpants.
Sophie Neville as Titty in 1973
Emma admitted to my mother that the dresses she’d had made for me would have been longer in 1929. She chose shorter, ‘out-grown’ hemlines as a nod to ‘Seventies fashion but these made my skinny legs look even more alarming.
Mum liked the pale yellow dress with scalloped detail. I didn’t then, but do now, although I don’t have the right colouring wear either yellow or green.
Simon West and Sophie Neville on Peel Island in 1973
By the time I was pretending to be Robinson Crusoe, the yellow dress had been paired with a grey cardigan buttoned up to my neck for warmth. The quality of the material gave it a more natural, scruffy look than the white spotty dress with a Peter Pan collar. This looked a bit new for Titty, although it was much like the dresses Granny made for me, by hand, when I was aged nine. There was a little bit of smocking below the shoulders. I rather preferred Susan’s low-waisted gingham dress.
Simon West, Suzanna Hamilton and Sophie Neville
Did anyone find jackets for us to wear out on the water? No! We froze but the flimsy costumes we wore sailing to the island do give them impression of an idyllic summer holiday.
Sophie Neville, Suzanna Hamilton and Simon West sailing Swallow in 1973
Emma only ever made one visit to the location, early on when Dame Virginia McKenna was on set. Our clothes were looked after by the wardrobe master Terry Smith who kept them crumpled up in suitcases rather than on a costume rail. He had no assistant or dressers except for my mother who helped him fit the film extras with costumes and had me wriggling into mine.
Wardrobe Master Terry Smith with Sophie Neville and her mother Daphne Neville outside the Make-up caravan on location near Keswick in Cumbria
Apart from the school shoes I arrived in, we wore white(ish) gym shoes, which were forever getting wet. I would have preferred gumboots but the Swallows wore ‘sand shoes’ in all the books, so that was that. Terry dried them with the help of a gas heater, which once leaked dangerously in the Routemaster bus that was used as our dressing room. There could have been an explosion.
Sophie Neville as Titty Walker
People often ask what my favourite costume was. This undoubtedly consisted of the floral blouse and dark divided skirt, which equated with the illustrations in the books. I went to such an old-fashioned convent so was used to wearing a tailored divided skirt on the school games field and found it always hung well. Mum buttoned up the collar so that I could wear a vest underneath when we were sailing. It was in this Tomboy-ish outfit that I discovered the treasure and bordered the houseboat. Ultimately this style sold the movie, although my blouse was painted an alarming shade of pink on the film poster designed by Arnaldo Putzu. I got away lightly. He depicted Virginia McKenna in orange.
Sophie Neville in ‘Swallows and Amazons’ (1974) by the film poster artist Arnaldo Putzu
I was asked recently if I was able to keep any of my costumes. I was told they would be used in other films and wonder if they could still be at Angels Costumes.
I do still have the dress I wore to the premier, along with a pink gingham prairie dress that my mother wore to the wrap party that has shot back into fashion.
The Neville girls off to the premier of Swallows and Amazons in 1974
My mother wore Donny Osmond caps on location. One of these sunk to the bottom of Derwentwater, but I wear a purple velvet one of the era. It should probably be on display at the V&A but I find it useful in the rain. The film producer, Richard Pilbrow, sent me Swallow’s flag. It is the very best of accessories anyone could wish for.
The navy blue woolen hat that I wore to the original sailing audition has been attacked by moths but was stuffed into a cupboard with other memorabilia from the film. I’ll bring as much as I can along to Windermere Jetty for the 50th Anniversary of ‘Swallows and Amazons’ on 29th and 30th June 2024. Join us there if you can.
The Arthur Ransome Society has been able to reunite Swallow and Amazon for the fiftieth Anniversary of the 1974 film and to preserve them for future generations. Come to see them both – and even sail Amazon – at Windermere Jetty museum in Cumbria on 29th and 30th June when John Sergeant will be hosting a Q&A with the cast and crew.
Celebrating 50th Anniversary of the movie ‘Swallows and Amazons’ in 2024
The challenge is on to fully restore Swallow so that families can set her sails and live out the pages of Arthur Ransome’s iconic books today.
Sophie Neville when president of The Arthur Ransome Society
At the age of twelve, I was cast as Able Seaman Titty when the original film Swallows and Amazons was made on location in the Lake District in the summer of 1973. Dame Virginia McKenna played my mother and the six of us children had fun making Ronald Fraser walk the plank. Now hailed as a classic sailing film, I’m assured it has been broadcast on British television more times than any other movie and is currently streaming on Amazon.com and Netflix Europe.
The cover of the original VHS version of ‘Swallows and Amazons’
One secret is that the film was made on four different lakes – Coniston Water, Windermere, Elterwater, Derwentwater – and a smelly lily pond. We were able to use Bank Ground Farm as Holly Howe and Brown Howe as Beckfoot, home to the Amazon pirates who careened their dinghy on the lake shore in the company of a 45-man film crew from Pinewood Studios.
David Blagden, David Cadwallader, and David Bracknell looking at the Amazon’s bottom with DPO Denis Lewiston in the background with the Panasonic
Careening the Amazon at Brown Howe, Coniston Water – photo: Daphne Neville
We were only given a couple of days to get used to handling Swallow and Amazon before filming began. Although happy out on the water, the director, Claude Whatham, knew little about boats. To make up for this, we had instruction from a sailing director in the form of a good-looking actor called David Blagden who presented a television programme called Plain Sailing. He’d recently raced crossed the Atlantic in a nineteen foot yacht called Willing Griffin but was unfamiliar with blustery Lakeland winds and did not know how to break down a script. Simon West, aged eleven, who played Captain John, ended up explaining to Claude how to get a decent shot while I tried not to shiver. My costume was designed by Emma Porteous of James Bond fame but consisted of nothing more than a short yellow dress and an enormous pair of navy-blue gym knickers.
Amazon, flying the Jolly Roger, with her seamed white lugsail and heavy centerboard is a lovely boat to sail. Although vital to the story, no one took into account that I needed to take her, on my own, from Secret Harbour on Wild Cat Island and drop her anchor off Cormorant Island. I was given a grey cardigan to wear but had not been asked if I could row. Having grown up handling a Thames skiff, I managed to use the leading lights we’d set up to negotiate the narrow channel and threatening rocks in one take. I repeated the action with Dennis Lewiston, the lighting-cameraman, and his 35mm Panavision camera in the stern but grew so tired that I needed to be carried ashore by a frogman acting as our safety officer.
Sophie Neville in The Amazon with DOP Denis Lewiston, his 16mm camera and a reflector board ~ photo: Martin Neville
Sophie Neville having captured the Amazon, with the lighting cameraman and 35mm Panavision Camera in her stern. Swallow is moored alongside – photo: Martin Neville
Titty later anchors Amazon off Cormorant Island on Derwentwater, but the shot of her wrapped in the sail, sleeping aboard, was taken in Mrs Batty’s blacked-out barn at Bank Ground, with the boat rocking on a cradle made by the unit carpenter. This was for a night scene when Titty is disturbed by burglars hiding a heavy trunk that turns out to contain Captain Flint’s treasure. When the action was repeated out on Derwentwater near One Tree Island, I got soaked. Rain had collected in the furled sails.
My one regret is that we didn’t follow the book when sailing the Amazon back to Wild Cat Island. The wind was up and Claude Whatham needed Captain John to sail Swallow ahead of the Amazon which is the faster boat. I originally took the tiller, as Titty is urged to in the story, but had trouble with the rudder. Mate Susan, played by Suzanna Hamilton, is at the helm on the cover of the Puffin paperback brought out to accompany the film, whilst I am fending off.
One of the film stills taken from the pontoon was used on the cover of the Puffin edition of ‘Swallows and Amazons’ brought out in 1974 to accompany the film.
The second part of the scene was shot on Coniston Water, with the Amazon Pirates, Nancy and Peggy ‘dancing with rage’ on Peel Island. A shot of this was used on the cover of a hardback and a DVD distributed by the Daily Mail.
Not many sailing films have been made and it was unusual for a movie to feature so many scenes set in two small dinghies. Mike Turk, whose family had been boat building for centuries, and Nick Newby of Nicol End Marine near Keswick, took up the challenge of adapting a cross-shaped pontoon to act as a mobile camera mount so that our dialogue could be recorded. This extraordinary vessel had two outboards but wasn’t easy to handle. The dinghies were wired to it with underwater cables but tended to pull away. Swallow’s mast broke the first time she was rigged, but the idea eventually worked and only Sten Grendon, playing Roger, fell in.
Amazon rigged up to the camera pontoon – photo: Richard Pilbrow
Somehow David Cadwallader, the grip looking after the camera equipment, managed to keep the horizon horizontal using no more than a spirit level on the tripod. Shadows were lifted from our faces by using reflector boards and, since the whole movie was post-synced at Elstree Studios, the audience can hear what we say.
Richard Pilbrow and his film crew on the camera pontoon with Eddie Collins operating the 16mm camera. Simon West and Stephen Grendon sail Swallow. Suzanna Hamilton is climbing aboard the Amazon with Sophie Neville
Filming Swallow and Amazon from the camera pontoon – photo: Daphne Neville
The pontoon on Derwentwater with Richard Pilbrow, Bobby Sitwell, Denis Lewiston, Claude Whatham, David Cadwalader and Sophie Neville aged 12 playing Titty. Eddie Collins looks on ~ photo: Daphne Neville
Sophie Neville on the camera pontoon on Derwentwater – photo: Daphne Neville
The first Amazon, a chunky sea-going fourteen-footer with a standing lugsail purchased in Barrow-in-Furness by the Altounyan family in 1928, was originally called Mavis. After being restored, she was renamed Amazon in line with Ransome’s books but remains too leaky to take out. She now resides in the John Ruskin Museum at Coniston where she can be visited like a great aunt.
None of us children knew that the Amazon we sailed had been used in the 1963 BBC adaptation of Swallows and Amazons made in black and white with Susan George playing ‘Kitty’ as Titty was renamed. Looking at the photographs, it would have been good if Amazon’s hull had been painted black but her varnished planks are a nod to the 1970s when everyone was busy stripping pine.
By 2003, she was owned by the White family who I met when they brought Amazon from Kent to Cumbria to feature in Countryfile and an episode of Big Screen Britain. Ben Fogle met their twin daughters on Peel Island, looking very much like Nancy and Peggy in damp bathing costumes having been swimming in Coniston Water. It has been extremely generous of them to pass such a precious boat on to The Arthur Ransome Society.
Amazon will soon be available to hire at Hunter’s Yard, Ludham
Amazon at Hunters Yard – photo: Marc Grimston
Amazon is currently being kept at Hunter’s Yard near Ludham where you can apply to sail her on the Norfolk Broads, along with the Titmouse and the Teasle, (a cabin cruiser called Lullaby) and a punt called the Dreadnaught featured in the 1984 BBC adaptation of Coot Club. Swallow is also there under restoration, needing a new keel.
Amazon being restored at Hunter’s Yard, Ludham
Amazon at Hunters Yard – photo: Marc Grimston
The plan is for both Swallow and Amazon to be on display at Windermere Jetty in Cumbria for the weekend of 29th & 30th June 2024. We hope some of the steamboats used to dress the Rio scenes set at Bowness-on-Windermere such as Osprey and George Pattinson’s launch Lady Elizabeth can be in attendance. Windermere Jetty is currently restoring the steam launch Esperance used by Ransome as his model for Captain Flint’s houseboat, and you can find the fourteen-foot RNSA dinghies used in the 2016 movie of Swallows and Amazons moored in the wet dock.
In 2021, everyone at Windermere Jetty gasped when Rupert Maas valued Swallow highly on BBC’s Antiques Roadshow, but the true worth of both Swallow and Amazon is akin to Captain Flint’s hidden treasure: instead of gold ingots his trunk contained precious memories of friendship and adventure. They no doubt kept him on course when the storms of life blew in and gave him plenty to write about. Just as Arthur Ransome’s books grant us solace, my prayer is that many will be able to grab the chance of sailing the little boats that take us into the stories immortalised on film so long ago.
You can read more of Sophie Neville’s memories in The Making of Swallows and Amazons’, published by the Lutterworth Press and now available as an audiobook narrated by the author
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’
Thanks go to all those who have looked after and lovingly restored the inspirational boats that appear in the adaptations of Arthur Ransome’s books. If you would like to help by making a donation towards the restoration, the link is:
Sophie Neville speaking about Richard Pilbrow at the National Theatre
I was invited to speak at the National Theatre by Fred Pilbrow who rehearsed the presentation at his studio in London.
He put together the most extraordinary celebration of the life and works of his father, Richard Pilbrow, who died recently at the age of ninety.
The most talented technicians in the theatre world gathered to speak on his life and works. A recording of the event has been made available on Youtube.
Sophie Neville speaks about making ‘Swallows and Amazons’ (1974) at 1.15.15
It was a fitting tribute to the man who lit up the lives of many and produced a movie that apparently has been broadcast on television more than any other British film and fifty years after the premier in Shaftesbury Avenue is streaming on Amazon today. Read more in ‘The Making of Swallows and Amazons’ now available on Audible.
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’
Sophie Neville 