‘Swallows and Amazons’ (1974) the opening locations of the classic film

Ext : Ulverston Railway Station ~ filmed at The Haverthwaite Railway Station

An article in The Times 1973
A photograph taken for The Times –  all aboard the steam train at Haverthwaite

On the first day of making the original movie ‘Swallows & Amazons’ in May 1973, a huge effort was made to ‘dress’ Haverthwaite Railway Station, at the southern end of Windermere. The aim was to bring across the feel of a bustling 1929 holiday destination. Local people had been previously fitted with costumes in the Ambleside Church Hall, there was a horse and cart, porters’ trolleys laden with trunks and a number of old bikes, which were all of great interest to us.

Having stepped down from the steam locomotive, where the Times photographer must have taken this shot, we children were piled into an open-topped period vehicle, for further publicity photographs.  I liked sitting on the car but thought the photograph was silly, especially since Kit Seymour and Lesley Bennett, who played the Amazons, were wearing ordinary clothes rather than period costumes. The result was later published in both The Guardian and Woman’s Realm. Virginia McKenna was interviewed by journalists while we were hurried away to get on with our lessons. Our tutor taught us Art. I drew the a picture of the motor car.

With Virginia McKenna on the first day of filming
A publicity shot featuring Virginia McKenna, with Kit Seymour, Steven Grendon, Sophie Neville, Lesley Bennett, Simon West and Suzanna Hamilton, taken on the first day of filming and published in the Guardian and other newspapers

The yellow motor used in the film for our taxi was superb. I can only imagine it was far grander than a real Lakeland taxi would have been. Sten, playing Roger, hung out of the window as the director, Claude Whatham, ‘filmed us driving out of the station, along the platform at top speed,’ as I recorded in my diary.

Director Claude Whatham talking to Virginia McKenna

Ext: Holly Howe ~ filmed at Bank Ground Farm by Coniston Water

Arriving at Holly Howe in the yellow taxi was truly exciting. It was not filmed the next day, as I think rain had set in. Claude waited for good evening light. But I remember the thrill of drawing up outside the farmhouse in the old car and pulling on my hat as we spilled out and ran past the big farm horses Mr Jackson was leading into the yard. I’m afraid our OOV (out of vision) dialogue was added later.

The screenplay of the 1973 film ‘Swallows and Amazons’ adapted from Arthur Ransome’s book by David Wood

If you ever go to Bank Ground Farm near Coniston, named Holly Howe by Arthur Ransome in his books, you must run down the field to the lake as we did. As soon as you arrive. And at top speed. And you will be filled by the same feeling of elation as we were when we played the Walker children.

Bankground Farm
Steven Grendon, Sophie Neville, Suzanna Hamilton and Simon West at Bankground Farm above Coniston Water in the Lake District

The slope, formed by glacial scouring and subsequent deposits long ago, is steeper than you think.  You soon learn the art of glaumphing at which I became adept.  What struck me when I returned to Bank Ground Farm one Spring, was that sadly the great trees have gone from around the old farm gate and the boatsheds down by the lake.  They must simply have reached the end of their lives.

Sten Grendon, Sophie Neville and Simon West with Mr Jackson at Holly Howe~ photo: Daphne Neville

Ext: Peak at Darien ~ filmed by Derwent Water

Most Arthur Ransome devotees will know that the Peak at Darien, where once stood stout Cortez, is familiar to readers as it appears in two of the illustrations in the book. Sadly it can not be found below the farm. Mrs Ransome said that you could find the headland on Windermere. In April 2011, when I was on an early recce with Nick Barton, CEO of Harbour Picture Productions, we did pass one promising spot:

A possible Peak in Darien by Lake Windermere

However Richard and Claude chose Friar’s Crag on Derwent Water for the location. I didn’t know it but Christina Hardyment writes in her excellent book, Arthur Ransome and Captain Flint’s Trunk that they had found the very place Ransome had in mind, “without the slightest idea that they were quite right to be doing so.”  She found that Ransome had marked up postcard of Friar’s Peak for his illustrator Clifford Webb to work from in 1930. It feels completely right when you are there, with the iconic view of an island under the towering mountains. It was over a shot of this that they added the opening titles.

Sout Cortez, however, was not there. Neither were we children. By the time we had been transported from Coniston to Derwent Water for this scheduled scene the sun was going down.  We’d been delayed by the make-up artist who was determined to tone down the tans we had developed.  This took ages. He used a very small sponge. My mother was frustrated as she thought that this would never have shown up, but he put his foot down with the result that we were ‘late on set’ for the evening shots. Claude Whatham was very cross about it.

Sophie Neville as Titty arriving too late in the day to film at Friar’s Crag on Derwent Water. The island portrayed as Wildcat Island can be seen in the distance ~ photo: Daphne Neville

One of the big secrets of the film ~

One of the big secrets of the film is that the sequence when we run up to the Peak at Darien and first set eyes on the island in the lake was shot under an oak tree in Runnymede, near the River Thames. We were not an island at all.  It must have been an expensive ‘pick-up shot’, but we enjoyed meeting up again immensely. Claude had made an effort to gather together the same crew members and I was back in my lovely silk dress once more. We knew how to act by then and the joy of being together again shows on our faces.  The result was a scene to set the film off on the right foot.  We were jubilant and so excited, that, like swallows, we could have taken flight.

Sophie Neville, Claude Whatham and Simon West with Richard Pilbrow, right ~photo:Daphne Neville

The opening titles ~

I would have to check with Richard Pilbrow to be certain but I think that Simon Holland, the Art Director, penned the SWALLOWS and AMAZONS graphics for the opening titles.  I remember a discussion about the font type. A very fashionable script used on the poster of the film was favoured. I said that I thought they ought to use the handwritten capitals that Clifford Webb had penned on the map in the opening cover of the book and copied by Simon Holland (and me) on our chart. This was chosen.

Click on this image to see the poster of the film

The Seventies’ font, above, had been used for the titles of  Lionel Jefferey’s movie The Railway Children, which starred Jenny Agutter. As a viewer I felt that this soon dated it, whilst Swallows and Amazons sailed onto our television screens in the 1980’s and 1990’s, indeed into the 21st century, without being spoilt by what became most unfashionable graphics. Of course now that particular retro font is all the rage.  For sometime a DVD has been available which gives you both films.

'The Making of Swallows and Amazons (1974)'

Get a behind-the-scenes look at the classic film by purchasing ‘The Making of Swallows and Amazons’ published by the Lutterworth Press, available online and at all good bookshops.

‘Swallows and Amazons’ the screenplay of the 1973 film, adapted from Arthur Ransome’s book by David Wood

The screenplay~

Arthur Ransome’s book was adapted for the big screen by David Wood.  The first time I saw this script was early in 2011 when my mother pulled it from the back of a wardrobe. It’s really only now that I fully appreciate how beautifully it was crafted.

The opening scenes ~

Talking to the engine driver at the Haverthwaite Railway Station on the first day of filming 'Swallows and Amazons' in 1973 (Photo: Daphne Neville)
Talking to the engine driver at the Haverthwaite Railway Station on the first day of filming ‘Swallows and Amazons’ in 1973 ~ photo: Daphne Neville

The film opens with a shot of a steam train passing through Cumbria. This does not feature in the book but was a powerful first image and good way of introducing the Walker family, setting the period and the very Englishness of travelling up to the Lake District for the summer holidays. It was a wonder that this was possible; The Lakeside and Haverthwaite Railway , with it’s restored steam train, had only been open and running for two weeks ~ on 2nd May 1973 to be precise. It was a private concern run by a bunch of enthusiasts on the old Furness Railway branch line. The engine was a Fairburn 2-6-4 tank locomotive of 84 tons, of approximately 1930s vintage, standard guage and coloured black-berry black

Swallows Script page 1
The origianl screenplay of ‘Swallows and Amazons’ adapted from Arthur Ransome’s immortal book by David Wood in 1973

~ The crossings out were made by my mother, in the tradition of marking a scene that has been recorded ~

Swallows Script page 2
The original screenplay of ‘Swallows and Amazons’ adapted by David Wood for Theatre Projects in 1973

What I never knew until I read the third scene today was that we added quite a bit of dialogue. I can’t remember if it was improvised or given to me by Claude but I said quite a bit more than was scripted, and recoded the fact in my diary.

notes to the text ~ Mrs Price was the lady who owned and ran our guest house. Our tutor, Margaret Causey, taught us in a converted red London double decker bus.
Swallows Diary 14th May page two
I took note of my dialogue in the pages of my diary. Here it was supplimentary to the script

Swallows Diary 14th May page three

The railway carriage ~

Claude Whatham was keen to shoot the film in ‘story order’ as much as possible as he thought this would be easiest for us to comprehend. INT.RAILWAY CARRIAGE. DAY was, however, a difficult scene to execute. Once the railway carriage contained movie lights, the director, a huge 35mm Panavision camera, the cameraman and assistant, with microphones and an assistant sound recordist there wasn’t any room for me.  When it came round to the shots of me I had to give my lines to imaginary family members. They were no longer there – the camera had taken their place. It also got extremely hot.

Virginia McKenna, Simon West, Suzanna Hamilton, Kit Seymour, Lesley Bennett and Sophie Neville at the Haverwaite Railway Station in 1973 ~ photo: Daphne Neville

Story order ~

I look back on all this now and feel our opening performances, so vital to capture the audiences attention, were understandably rather wooden. Later on, when I was directing films that featured children I tried to schedule unimportant, ‘running around scenes’, which were easy for them, so that they could get used to working with the crew before tight close-ups were required.  I found that even six year-olds were unfazed by recording scenes out of story order, in fact they were probably less disorientated than the adults.

Continuity ~

With Virginia McKenna’s magazine, our picnic and Susan’s tapestry the matter of continuity in this scene was important. We greatly enjoyed learning about this technicality, so vital if the shots that make up the scene are to cut together smoothly. Numerous Polaroid shots were involved, which was exciting as these cameras had not been around for long and we enjoyed watching the photographs develope.  We did our best to be helpful and keep an eye on the picnic, but somehow it all went wrong. The continuity in this opening scene is out. This probably because Sue Merry, the Continuity Girl could not get in –  into the railway carriage, that is. There was simply no room for her.

A transcript of the entire screenplay of ‘Swallows & Amazons’ (1974)  can be found by clicking here