Father loves the Lakes. He’d say, ‘Just look at that scenery…’ He joined us, with my sisters Perry and Tamzin, to take part in filming ‘Swallows and Amazons’ in 1973

My father has always grabbed a chance to go to the Lake District.  As a young man he once took advantage of a military travel warrant to climb in the hills and later made it his job to visit the Colfast Button factory in Maryport, every month, when he worked for BIP. He would stay at the Pheasant Inn at Bassenthwaite Lake, latching visits onto a weekend, so he could explore Cumbria.

Martin Neville in Cumbria with his dog

This was in the late 1950s.  When I came along he took us to stay at Goosemead Farm. We climbed Castle Crag and you only have to glance at the photographs to see how happy I was to be there. We had a sheepdog called Luppy who came too. She was a great character and much loved. Found as a stray before I was born she was still around when I left home to be in Swallows and Amazons.

Sophie Neville as a small child visiting the Lake District

Arthur Ransome had been Dad’s favourite author as a boy. He said that he would wait in anticipation for another book to be published. He’d bought me the whole set, collecting them from various second hand shops. I had read the whole lot, bar Coots in the North,  by the time I was twelve.  He set my destiny.

My father left the dogs at home on 26th May so that he could drive my younger sisters up to join us for two weeks and watch the filming. He found Peel Island on Coniston Water and was there to meet us when the boat came in at the end of the day. My sisters stood smiling on the rocks, dressed for the weather in matching red jerseys, duffle coats and gumboots.

My sisters Perry Neville and Tamzin Neville waiting for me on the shore of         Coniston Water

My parents had booked a Bed and Breakfast in Ambleside across the road from the Oaklands Guest House. I immediatley noticed a sign declaring that you had to pay 10p to have a bath. ”Ten pee!’  Mum glarred at me, furious. ‘Do be quiet, they’ll hear you’.  I had moved to share Suzanna’s room, since Mrs Price had a long-standing booking for the back room Mum and I had been using. Her guest house was full to bursting since she had students from the Charlotte Mason College of Education lodging with her aswell as all of us and her own three children. The only real problem was that we had nylon sheets and the bedding kept slidding off in the middle of the night.

My sisters, Tamzin and Perry, who must have been about eight and nine, struck up an instant rapport with Suzanna Hamilton. She asked them to baby-sit her pet slow worms. These had come up from London with her in a small glass aquarium, which she had put in the fire place in our room. I don’t know what Mrs Price thought.  I wasn’t very keen on handling them and have no idea how she fed them but Perry was intrigued. Suzanna had also brought her ukulele. She would sit on her bed playing Ain’t She Sweet, Sunny side of the Street, Playing on my Banjo and other Norman Wisdom numbers, completley fluently and with great gusto. My sisters were entranced. They may have even shared the room with us and the slow-worms. Mum can’t remember.

Dad had already made plans for sailing that first Bank Holiday, when Richard Pilbrow had scheduled a break.

27th May page 2

I remember the Hula-hula girls well. Although it was only May they suddenly appeared on what seemed to be a remote, inaccessible island, clad in garish, brightly coloured bikinis – the kind that had little frilly skirts to them. We watched them splash about and swim in complete wonder as, although it was sunny, we knew how cold the water was.

We had seen something of the same kind of savage the day before. I can remember the dismay on the First Assistant’s face when he realised it really was the Saturday of the Bank Holiday. We had had Peel Island to ourselves, indeed it had become ours – our special place, our magical camp, our home. And suddenly it was being invaded by brash women from Manchester who certainly had no respect for anyone making a film.  I don’t know how they got out there. they seemed to arrive from no where when we were in the secret harbour, which was suddenly a secret no more. It was their holiday and there was no stopping them or their over-weight and noisy children. They were quite frightening.

The horrific Bank Holiday traffic queues were also unexpected, but my father took us up into the mountains and out on Derwent Water. He must have been trying to teach my mother to sail for decades but she has never begun to get the hang of it. She was in mourning that weekend as she had watched her favourite hat blow across the water and sink to the bottom of the lake. It was a bulbous pink and white Donny Osmond cap that Claude Whatham had enjoyed wearing on set to amuse us. She was able to find a yellow and white one to replace it but he never liked it as much. Said it didn’t suit his colouring.

‘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. Would a real Lakeland taxi have been so grand? I recorded in my diary that 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.’

Director Claude Whatham talking to Virginia McKenna

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

Arriving at Holly Howe in the 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. 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 might think.  We became adept at the art of glaumphing, advocated by Ransome in the book.

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 in real life. 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 Pilbrow and Claude Whatham 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 the opening titles were added.

Sout Cortez 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. Mum grabbed this photo but it was a disaster. Claude Whatham was very annoyed.

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 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’. 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 they ought to use the handwritten capitals that Clifford Webb had penned on the map in the opening cover of the book, which were copied by Simon Holland (and me) on our chart. This was chosen.

A snazzy Seventies’ font, had been used for the titles of  Lionel Jefferey’s movie The Railway Children and the poster of Swallows and Amazons.For sometime a DVD has been available which gives you both movies released by EMI Films.

Click on this image to see the poster of the film

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, without being spoilt by what became most unfashionable graphics. Of course that particular retro font is now all the rage.

'The Making of Swallows and Amazons (1974)'

You can read more about the trials of producing the classic film in ‘The Making of Swallows and Amazons’ published by the Lutterworth Press, available online and at all good bookshops.

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