The Swallows and The Amazons in the Capri ~ Suzannah Hamilton, Kit Seymour, Daphne Neville, Stephen Grendon, Simon West, Sophie Neville and Lesley Bennett ~ photo: Martin Neville
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.
Jean McGill, Jane Grendon, Sten Grendon, Kit Seymour, Sophie Neville, Claude Whatham, Simon West, Lesley Bennett, Suzanna Hamilton, Ronnie Cogan, 1973
The Saucepan and her mother, Daphne Neville in 1973
Wardrobe Master Terry Smith with Sophie Neville and her mother Daphne Neville outside the Make-up caravan on location near Keswick in Cumbria
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
The 45th Anniversary of filming the original film ‘Swallows and Amazons’ on Derwentwater, when Ronald Fraser was obliged to walk the plank in a solar topi in July 1973, was marked by a special screening of the film at the Alhambra in Keswick.
Kerry Derbyshire, who played Vicky’s nurse came on stage and we demonstrated how one of the visual effects was achieved.
I brought one of the original arrows that the Amazon pirates fired over my head. It looks so dangerous on film that the shot was cut from the television version but is included in the re-mastered cinemascope edition that we are now able to watch on the big screen. You might be able to spot a few other things that went wrong while we were filming, such as the time I inadvertently slipped up to my waist in water.
Nick Newby from Nicole End Marine came along to tell us how the elegant Lakeland steamer, the Lady Derwentwater, had been converted for her starring role as Captain Flint’s houseboat. She was appropriately dressed for the part by the award-winning set designer Ian Whittaker, who went on to receive an Oscar for Best Art Direction on ‘Howards End’ starring Sir Anthony Hopkins and Emma Thompson. His astonishing list of nominations can been seen here.
Swallow, the 1930s sailing dinghy used in the original film, was at the lakeside for Arthur Ransome enthusiasts to admire. She is looked after by Rob Boden, from Kendal, who is happy to take people for a sail by prior arrangement via the SailRansome website here.
In 1974, my mother, Daphne Neville, was commissioned to write an article about working on the original film of ‘Swallows and Amazons’ for Woman magazine, which claimed to be ‘The world’s greatest weekly for women’. Here are some extracts from her type script:
Simon West, Stephen Grendon, Suzanna Hamilton and Sophie Neville playing the Walker children in ‘Swallows and Amazons’ 1973 ~photo: Daphne Neville
Daphne Neville with Sophie Neville and Simon West on Coniston Water
Our guests: Jane, Michael, Clare and Lucy Selby and their dog, Minnie on the shore of Conniston Water with my sisters Perry and Tamzin in 1973
I was amazed to read some of this. ‘….a dirth of birds’? Was that really how my mother spoke in the early ‘Seventies? I had no recollection that ‘Nomansland’ had been displayed on the front of our double-decker bus. I never remembered there only being bathroom at Oaklands Guesthouse or that Mum had to wash out clothes. I do remember Ronald Fraser shouting, ‘Piss off you little monster’. I have the photo:
Sten Grendon sitting on top of Ronald Fraser during a break in the filming of ‘Swallows and Amazons’ on Derwentwater ~ photo: Daphne Neville
More to follow…. If you would like to see photos of Daphne Neville appearing in movies herself, please click here
You read about how we made the original movie ‘Swallows and Amazons’ in any of these books that retail online and can be ordered from bookshops or libraries:
Different editions of ‘The Making of Swallows and Amazons (1974) by Sophie Neville’
My mother is a squirrel. She arrived at my house, not with nuts, but a large envelope. Amongst other things, this contained the transcript of a piece she wrote almost forty-nine years ago for BBC Radio Bristol, when she presented a programme called ‘Come Alive’. The four flimsy sheets of copy paper have only just been unearthed, along with a similar article for Woman magazine.
Daphne Neville was commissioned to write about her experience working on the original feature film, Swallows and Amazons, filmed on location in the Lake District in the summer of 1973 and brought to cinemas in 1974. Sold worldwide, has been broadcast on television for the last forty years and was last shown on TV in Australia on Boxing Day.
Daphne Neville with Sophie Neville while filming ‘Swallows and Amazons'(1974)
It is interesting to have Mum’s perspective. Some of the details are new to me. She timed this piece for BBC Radio as taking ‘8 minutes’ to read:
Suzanna Hamilton, Lesley Bennett, Sophie Neville, Kit Seymour and Simon West before their hair was cut for the film ‘Swallows and Amazons’ in 1973
~ On Derwentwater in 1973: Suzannah Hamilton, Kit Seymour, Daphne Neville, Sten Grendon, Simon West, Sophie Neville & Lesley Bennett ~ photo: Martin Neville
Daphne Neville with Stephen Grendon, Suzanna Hamilton, Sophie Neville, fellow chaperone, Jane Grendon and Simon West on location in 1973
Suzanna Hamilton, Simon West, Claude Whatham Sophie Neville, Kit Seymour, Jean McGill with Daphne Neville kneeling at Blackpool fun fair in 1973
But Mum, were we ever ‘Film Stars’?
We scowled at the terminology at the time. Ten years later and I thought of us a merely puppets, marionettes of the director who carefully honed our performances. I can now see the contribution we made when I watch the film, but we were never film stars.
What do I wish? I wish that we’d been able to make a sequel and develop our work more fully. The flip-side of this would have been that any more success, or more publicity, might have stripped us of our anonymity, which is the bain of real film stars. We’d have had to go around wearing sunglasses.
The film star Ronald Fraser with Daphne Neville and Sophie Neville in 1973
If you would like to see what we were filming 49 years ago, on 1st July 1973, please click here.
Do let me know, via the comments below, if you would like to see more archive material. I have the draft of my mother’s article for Woman magazine – it’s a different version of the same but with added detail. She needed permission from Anglo EMI Film Distributors before it could be published. There is also a draft of another radio script and a number of letters. If you would like to see vintage photos of Mum appearing on television herself, please click here
If you would like to read more about our adventures filming ‘Swallows and Amazons’, please click here
I was invited to talk about making the BBC TV classic serial ‘Coot Club’ and ‘The Big Six’ at the Norfolk Broads Yacht Club to help celebrate their 80th Anniversary. Titmouse, then 1930s dinghy owned by Hunter’s Yard had been brought down from Ludham for the occasion. The bonus was that I was able to go sailing in one of the classic boats gathered at the club for their Open Day.
Geoff and Rose Angell kindly took me out on Pippa, their beautiful yacht with brown sails that appeared in ‘The Big Six’. I am sure Arthur Ransome would have loved her.
Back in 1983, I spent nine months working on the BBC production when it had been my job to cast the children and teenagers who appear in the drama, many of whom needed genuine Norfolk accents.
We had been looking for young actors who could swim well and were able handle boats. We then spent three months filming in East Anglia when I looked after the children and helped rehearse their lines. I set up this shot for the cover of the Puffin paperback that accompanied the series.
~Author Sophie Neville giving a talk at the Norfolk Broads Yacht Club~
At a forum organised after my talk, Pat Simpson from Stalham Yacht Services explained how he found one of the stars of the series – an old lifeboat suitable to play the Death and Glory. She had been brought from where she is kept at Belaugh for the evening. You can see more photographs of her in the previous blog post here.
Pat provided a number of other vessels for the series including Buttercup and support boats such as the safely boat, a large modern cruiser used as a school room along with another for the costume and make up personnel. He explained that this came as a god-send as boat rentals had not been good that summer. Working on the series was harder than he imagined, ‘We once had to take a boat from Regan to Horning Hall overnight’ but he was pleased that ‘after three months of concentrated work, we got it all done.’
~Robin Richardson~
Robin Richardson, who co-owned Pippa back in 1983, explained how the shot of her being cast adrift was achieved. This wasn’t as easy as first thought as even when Simon Hawes, who was playing George Owdon, flung her stem line on the deck, a gentle breeze was blowing her back against the staithe. ‘Pippa didn’t want to go anywhere’. Robin had to stage the action by throwing out a mud anchor, climbing under her awning and pulling on the line to create the effect of a boat drifting out of control into potential danger. Pippa’s white canvas cover is pulled back here, but you can imagine the scene.
He was on location when Henry Dimbleby, who played Tom Dudgeon, was attempting to tow the Teasel under Potter Heigham bridge. He was rowing Titmouse, pulling hard on the oars but nothing was happening. ‘Stop for lunch,’ Robin advised the director, ‘and the tide will turn.’ This they did, and Henry we able to row under the bridge, towing the Teasel quite easily. Hunter’s Yard, who own Lullaby, who played the Teasle, could not bring her down for the weekend as she had been leased out with other boats, but they sent her transom, painted with her stage name.
Robin Richardson owns the ‘Slipstream’ class dinghy called Spindrift who played Shooting Star in the serial. She was built by her father but couldn’t be with us as they were not able to complete her winter maintenance in time but Richard Hattersley said she came tenth in this year’s Three Rivers race when only 15 of the 98 entries actually finished. It’s a 24 hour endurance challenge, which they completed despite light winds. He sent me this shot, ‘of her battling it out with much larger Thames A Raters.’
I was shown a wonderful black and white photograph of the vessel used to play the Cachalot. She was skippered in the series by the film actor Sam Kelly in the role of the unnamed pike fishermen who the Death and Glory boys simply called ‘Sir’. She is seen here with John Boswell, her real owner who has sadly passed away. His son, the artist Patrick Boswell, brought along an album of behind-the-scenes photos.
The theme of the weekend was ‘Boats of the 1930s’. I explained how Swallow, the dinghy used in the original film ‘Swallows and Amazons’ originally came from Burnham-on-Sea where she was made by W. King and Sons to be used as a run-a-round boat. She was stabilised by a keel that ran the length of the hull, as Ransome described. It makes her rather difficult to turn. You can sail her today and is in the Lake District right now. Please see Sailransome for details.
There was quite a bit of interest in memorabilia from the original movie ‘Swallows and Amazons’. I bought along the white elephant flag captured from Captain Flint’s houseboat in the 1974 film, which was approved by a young Amazon pirate.
After a celebratory dinner, David and Nicky Talbot invited me to spend the night in the comfortable for’ard cabin of Kingfisher, a 1970’s motor yacht moored at the club.
I woke early on the Sunday morning to find mist hanging above the water as the sun was rising on what proved to be another sunny day with a fair wind for sailing.
After breakfast aboard, I was invited out in the 1930s river cruiser ‘Water Rail’, who had also appeared in the serial. We took her down the River Bure to her mooring in Horning where she is still part of the scene.
It was wonderful to be out on the waterways of Norfolk, passing traditional buildings. This was a stretch of river never featured in the television drama as Rosemary Leach, who played Mrs Barrable, took Dick and Dorothea from Wroxham to Horning in a trap pulled by Rufus the pony. One reason for this was that in 1983 we had to use the North Norfolk Steam Railway, since Wroxham Station had been modernised but Joe Waters, the producer, said he wanted to add variety by featuring a pony rather than a motorboat.
We encountered a number of period cruisers, although Janca, who we used to play the Hullabaloos’ Margoletta, sadly could not be with us, as she is still under repair.
However, by motoring into Horning ourselves, we passed The Swan Inn and Horning Staithe where a number of scenes had been shot, including some that featured Julian Fellowes and Sarah Crowden, playing the hated Hullabaloos. You can see photographs of them in an earlier post here.
~Horning Staithe in Norfolk showing The Swan Inn~
Another vessel that interested me was a river launch that reminded me of the 1901 steamboat Daffodil, which I renovated with my father in 1978. I have photographs of her here.
You can read more about the traditional boats used in the series by clicking here.
Gerry Spiller, has written from Woodbridge in Suffolk, to say that she has found an oar labelled TITMOUSE, bought at a boat jumble. Could this date from the early 1930? Does anyone have the pair?
The DVD of the serial is now available on a re-mastered DVD, available from Amazon here
(Do not be tempted by the old version with a more colourful cover as the image quality is very poor)
Swallows And Amazons Forever! (Coot Club & The Big Six) SPECIAL EDITION [DVD]Additional photographs by Richard Hattersly
~Sophie Neville with the yacht ‘Goldfish’ sailing on Wroxham Broad~
The Norfolk Broads Yacht Club have been celebrating life on the Broads in the 1930s, along with the books by Arthur Ransome that are set in East Anglia.
A number of vessels that appeared in the BBC TV adaptations of ‘Coot Club’ and ‘The Big Six’ entitled ‘Swallows and Amazons Forever!’ were on display when I paid them a visit, including Titmouse, the dinghy belonging to Tom Dudgeon, hero of the story that normally resides at Hunter’s Yard in Norfolk.
Tom’s punt, the Dreadnaught was pulled up alongside an elegant Edwardian skiff called Joan B that was once set adrift at Horning by George Owden. She had been brought along by Pat Simpson, a member of the Norfolk Broads Yacht Club.
Pippa, a classic broads river-cruiser with dark sails belonging to Geoff and Rose Angell, was cast adrift at Horning in the dark of night. She came to no harm and was now out on the water, racing against a 1904 yacht with white sails, number 4, called Swallow.
‘White Boats’ or ‘Yare and Bure one-designs’ originally brought out in 1908, were also racing as they have been since the Farland twins, Port and Starboard, crewed for their father in ‘Coot Club’. Ransome refereed to a white boat called Grizzled Skipper who belonged to Chris Shallcross, but no one could remember which of the 140-odd White Boats registered was used in the series. Many members of this class of 20 foot half-deckers are named after moths or butterflies. You can see a fleet of White Boats here racing at Horning, the Swan Inn in the background:
I spotted ‘Brown Boats’, a Broads’ one-design with a distinctive counter stern and spoon bow, which would also have been seen racing in the 1930s. They were first built in 1907 and although a few were lost during the war there are still 88 in existence, although some now have fibre glass hulls. Number 61, called Hanser, is owned by Danny Tyrrell.
Lullaby, who played the Teasel in the series, was up at Horsey Mere with other from her fleet but we had her costume on display. It is a varnished transom painted with the name Teasel.
Janca, the motorboat who played the infamous Margoletta, hired by the Hullabaloos, was unable to come as she is currently being renovated, but Water Rail, a Herbert Woods Delight Class B 1930s cruiser belonging to Liz Goodyear was safely moored alongside other classic boats. She appeared in the back ground of several scenes in the television drama.
I then spotted a distinctive burgee that took me back thirty-five years:
Bird Preservation Society – it was the flag belonging to the Death and Glory, flying next to ‘the little old chimney’ made from a galvanised bucket.
Originally a German lifeboat washed up on the beach at Southwold, she had been bought for the series by Pat Simpson of Stalham Yacht Services, who found her moored at Snape in Suffolk.
Pat kept her for his sons to take out on the Norfolk Broads and it has been operated by children as Death and Glory, ever since.
It must have taken a bit of work to make her sea-worthy but tarred and fitted-out correctly, she closely resembles Arthur Ransome’s illustrations, the homemade cabin mysteriously larger inside than out.
I was asked to sign a copy of ‘The Big Six’ bought along by Professor John Farrington from Aberdeen, who acquired the Death and Glory for his own children in 1989.
‘I took them to the boatyard and suggested they climbed aboard. “Get on!” ‘They were aged ten and eleven.’
‘”But what about the owners?” they asked.
“You are the owners,” I told them.’ He had just bought it for them as an unexpected present. ‘Before long, they rowed it from Stalham to Sutton and back.’
~Sophie Neville signing books for Professor John Farrington~
We were gathered the 80th Anniversary of The Norfolk Broads Yacht Club, which is why they had a 1930’s theme running through their calendar. The day proved a true celebration of traditional boats that would have been seen back then.
I had been asked to give a talk about filming the series, which I will relate in my next blog post. The re-mastered DVD, for which I wrote the DVD extras, is available on Amazon here:
Swallows And Amazons Forever! (Coot Club & The Big Six) SPECIAL EDITION [DVD]You can read more about how these boats were used in the series here
If you are able to watch the Oxford and Cambridge Boat Race or catch it on BBC Television, you might catch sight of the Queen’s Row Barge Gloriana, her gilded dolphins glaring into the dark water of the Thames.
She will lead the Boat Race Flotilla ahead of the actual races, a warm-up act for the crowds waiting along the bank for the great event.
She will be promoting the Future Blues – a year-round community outreach project that aims to increase the total number of school rowing clubs in the UK by 50%. The Boat Race Company say, ‘We hope this initiative will leave a legacy of not only social upliftment but diversity and education for the future.’
I was fortunate enough to join the crew as they rowed from Chiswick Pier up to Putney Bridge in 2018. I wore the black cap of my rowing club, City Barge and the red shirt of the Gloriana:
After mooring up near the Putney boatsheds where television cameras were lining up under the sponsors’ banners, we rowed our passengers down the official four-mile course. I’m on the right of this shot (above) wearing a black City Barge cap.
The Men’s Boat Race, from Putney to Mortlake, was established in 1845 and has also been used for The Women’s Boat Race since 2015.
Our flotilla was joined by standing-up oarsmen from City Barge, rowing Italian and Maltese vessels, while members of other rowing clubs joined us in Thames skiffs and a variety of traditional craft.
They added colour and brought life to the River Thames reminding onlookers of her past glory.
Glimpses of this rich history are depicted on the cabin walls of the Gloriana, while hand-painted pictures of water birds adorn the ceiling.
As in the days of old, food and drinks are laid on for guests including excellent English sparkling wine, which has become a feature of the day.
While the men’s eights to row the course in under 17 minutes, it took us 52 minutes to reach Chiswich Bridge in the Gloriana.
However, we were pulling 9 tons. Since we were a crew of 18 oarsmen, we each pulling the equivalent of half a ton, against the stream but with the tide. It’s exhausting.
We had more than twenty passengers on board – representatives from schools nearby who hope to participate in the Future Blues scheme.
The big thing for the oarsmen is to keep together. This is trickier that you might imagine as the curve of the hull makes alignment tricky.
We were watched by thousands crowded along the riverside. The challenge was in raising our oars to salute almost every crowded pub or boat-house along the route.
These wooden oars are 16 foot long and quite a weight. I look at myself now and wonder how I did it.
I have managed to lift my oar in Venice after rowing the Voga Longa but found it tricky in the Gloriana.
Our cox was gracious but it was clear I need more practice. I got there in the end.
Once under Chiswick Bridge we were able to wait for the racing eights to come through after the finish.
We had been asked to grace the back of shot for the BBC coverage of the event.
This put us in a prime position to watch the crews pull in and gather for the prize-giving.
We almost became part of the antics that otherwise could only be seen on television.
Back in 2018, Cambridge University won both the Men’s and Women’s races with ease and enjoyed traditional celebrations despite the cold.
Almost as soon as we published the second edition of ‘The Making of Swallows and Amazons (1974)’ in May 2017, a number of facts and stories washed up on the incoming tide. I didn’t know that Ransome was aged twelve – Captain John’s age – when he first met the Collingwood family on Peel Island. I knew he went to Rugby School but not that he was given the study once used by the English author Lewis Carroll. I’m not sure if that inspired him to write children’s books but he certainly borrowed the term galumphing from Alice’s Adventures in Wonderland (1865).
~ Lewis Carroll’s plaque at Rugby School ~
I never knew that Rusland, where Arthur and Evgenia Ransome lie buried at St Paul’s Church, means ‘Land of the Rus’ – the name for Russia, where of course they met in what was then Petrograd when Evgenia was working as Leon Troski’s private secretary. Thanks to the feature writer Maggie Dickenson, I’ve learned that this kneeler at St Paul’s was embroidered by Jean Hopkins:
Brian Crawley has just written in to say that, in 1973, our visit to the charcoal burners was filmed less than a mile to the west of the church in Glass Knott Wood. I gather the remains of the wig-wam’s fireplace can still be seen. I didn’t know it was so close, and just assumed we had been in the Grizedale Forest. I’ll have to add it to my map!
The Russian edition of Swallows and Amazons, that can be borrowed from The Arthur Ransome Society library, has proved a great source of reference. Donated by the Gatchina Library it is the only copy in the UK. I learnt from the comments at the back that the Black Jack is a pirate flag, which I’ve always called a Jolly Roger, and that ‘in one’s mind’s eye’ is an expression used by William Shakespeare in Hamlet. “Tip us a stave” means “give us a song”, a term used in Treasure Island.
Other flotsam and jetsam on my tide-line is a wonderful quote to accompany this behind-the-scenes photograph when re-reading Winter Holiday written by Arthur Ransome in 1933:
“What’s in that box?” asked Roger.
“It’s just about big enough for you, isn’t it?” said Captain Flint.
~ Sten Grendon playing Roger in the Panavision camera box in 1974~
A member of the Arthur Ransome Group on Facebook commented on how annoying it was that Ronald Fraser made a funny face when he first sipped the tea Suzanna Hamilton offered him. Captain Flint ALWAYS enjoyed Susan’s tea.
There was some discussion amongst members of the same Arthur Ransome Group about how female characters depicted in ‘Swallows and Amazons’. Eddie Castellan wrote: ‘Ransome is remarkably non-sexist for his era and remains so by today’s standards. Mind you, most great storytellers realise that weak female characters are simply dull…great storytellers seem to give women better roles than mediocre ones.’
Fionna Grant added: ‘Arthur Ransome had a range of roles for his female characters from Nancy to Susan to Titty…. not only represented, but honoured for their contribution to the group…All the kids in Swallows and Amazons are encouraged to learn through achievement but they are also allowed to choose their own path, follow their own interests.
At a talk given about the Norwegian explorer Fridtjof Nansen given by Simon Browne, at a meeting of The Arthur Ransome Society, we were given a definition of the word Hero: one who combats adversity through integrity, bravery or strength, often sacrificing personal concerns for the greater good.
Titty was brave but all she really did was to grab a chance to swipe Amazon. It meant she had to sleep on board, which was rather uncomfortable, but what made Titty a true heroine in the film was her determination and persistence: she woke up early and persuaded Roger to help her find the treasure hidden on Cormorant Island. Like Ransome himself, she was prepared to grab a chance, take a risk – even if it meant being cold and uncomfortable for a while.
I received another lovely note on Facebook from Zena Ashberry (nee Khan) who appeared as a film extra in the Rio scenes shot at Bowness-on-Windermere when she was a little girl, despite being of half-Asian descent:
‘I was nine at the time and my sister was eight. I remember going through an audition – which was really just a panel of three or four men looking at Mum, my sister and me to see if we would be in keeping with the ‘look’ of the film. They seemed very keen on having Mum. My sister, at the time had sandy coloured hair and so was not at all problematic, however I was very dark and because they wanted Mum they said that they could hide ‘it’ by putting me in a white dress and hat! How times have changed…obviously I remember other things too, like feeding the horses which pulled the open carriage and the horse standing on my foot oouuch!, the strange awkwardness of having to act ‘naturally’ whilst being watched through a camera, having to repeatedly carry out the same activity to ensure a good shot – how many times did we throw stones into the lake? The ice-cream tricycle with real ice cream mmmm a treat … being watched by crowds of tourists gathered along the footpath and flower beds. It was a strange and unreal experience, doing what as children we would normally do but doing it in ‘dressy-up’ clothes that weren’t from our own dressy -up box and playing the game with Mum and her friends with total strangers telling us what we should do…just a bit bewildering really, but funny in retrospect.’
Please let me know if you have any points of interest that I could add to ‘The Secrets of Filming Swallows and Amazons (1974)’ that you think might of interest to readers. The great thing about ebooks is that they can be updated and re-loaded free of charge.
I’m hoping to give a number of talks on ‘The Making of Swallows and Amazons’ this summer. Please click here for details.
When the 1974 film of ‘Swallows and Amazons’ first came out in cinemas it stirred up quite a bit of interest in the media.
This script for a programme made for BBC Radio Bristol has recently been discovered in a box in my mother’s attic. Typical of the early ‘seventies, it is a carbon copy, so is rather feint, but it a little bit of media history in itself:
It’s intriguing. What did we say in the interviews that they ran in?
Sadly, two of the first newspaper reviews of the movie were not complimentary. Last year, when interviewed by Tim Fenton at Pin Mill on the Orwell, Professor Hugh Brogan said that one of these articles was so ignorant and so angered him that he resolved to write the truth about Ransome’s distinguished career. This involved years of research but resulted in his biography, ‘The Life of Arthur Ransome’.
I haven’t been able to find the article Hugh read but he remembered it being ignorant of Arthur Ransome’s politics rather than the film. His beautifully written book sparked an enormous amount of additional research and television documentaries, including ‘The Secret Life of Arthur Ransome’, which can be viewed on iPlayer.
Since The Lutterworth Press published the seconded edition of ‘The Making of Swallows and Amazons’ in May last year, a number of other stories and facts have reached me. I’ve learned that the creamy yellow taxi in which the Walker family arrived at Holly Howe was a Vauxhall 20/60 R type saloon, 1928 – 1930 model hired for the film by the property buyer Ron Baker, whose name I must add to the credits. When the Altounyan children stayed at the same farmhouse, which in reality is called Bank Ground Farm, their hostess was called Mrs Jolly. Apparently her husband, Mr Jolly, did not live up to his name.
The lady in blue who waved from the deck of MV Tern after the Swallow’s near miss was played by Lorna Khan. Here she is with her daughter Zena and a yellow Austin Heavy 12/4 tourer, after they appeared in the Rio scenes. You can see other film extras and supporting artists in 1929 costume, patiently sitting in the Browns of Ambleside coach behind them.
Photograph (c) Zena Ashbury
Did you know that missionaries in Africa used semaphore? Until I read a Russian edition of ‘Swallows and Amazons’ I’m afraid I didn’t know that Darien was the former name of the Isthmus of Panama, that the Rio Grande flows from South Colorado to the Gulf of Mexico or that ‘Shiver my timbers’ was a curse used by R. L Stephenson in Treasure Island.
Nick Owen had been living at Elterwater for seventeen years before he learnt the fishing scene from ‘Swallows and Amazons(1974)’ was shot there.
It had not occurred to me that the film was recorded in the annals until I was sent this excerpt from the third edition of ‘Time Out Film Guide’ (1993). Perhaps I should bring out a third edition of ‘The Secrets of Filming Swallows and Amazons’.
Please let me know if you would like to see more archive material from the attic.
To read more about Cider With Rosie (1971) directed by Claude Whatham, starring Sten Grendon as Laurie Lee please click here
The 4th Waterberg Trust Challenge Ride, which set off on 21st January 2018, proved fast, fun and fulfilling. Thanks go to all those who sponsored me on Justgiving.com and helped me to raise funds in other ways.
Crossing the game reserves of South Africa was a joy, especially since we encountered a number of newborn animals.
50% of funds raised go to Save The Waterberg Rhino to support the war against wildlife poaching.
Riders paid their own travel costs. We had a great team who’d worked hard on both their fitness and fundraising.
Some days were long but we were blessed with good weather. When the going got tough, we dismounted and walked.
Seven different game reserves were traversed in six days, with 187kms being clocked up on the GPS.
I felt hugely encouraged by everyone who supported me on social media and returned with dreams of exploring further afield. You can see more photos of the ride on The Waterberg Trust website.
What you can do to help
Share posts found on The Waterberg Trust’s Facebook page: please click here
~ Sten Grendon playing Roger in the Panavision camera box in 1974~
Sophie Neville 