Since the experts on BBC Antiques Roadshow have been taking an interest in the original feature film ‘Swallows and Amazons’ (1974), I thought I ought to add to a few facts. Although the movie was released forty-seven years ago, the cast list remains incomplete. A few credits are missing:
Jim Stelfox was in uniform, playing a guard or station master at the Haverthwaite Steam Railway station in the opening scenes, when the Swallows first arrive in the Lake District. He ended up appearing in some of the publicity stills that were used in magazines and newspapers. One features on a jigsaw puzzle that accompanied the release of the movie. The little boy leaning out of the train window is Robin Smith, who grew up in Ambleside. He came along with his mother Eileen and his brother, Alan Smith, who became a newsreader on BBC Radio 4.
Kit Seymour, Sten Grendon, Sophie Neville, Lesley Bennett, Virginia McKenna, Simon West Suzanna Hamilton with Jim Stelfox, the station master.
David Watkin Price, also from Cumbria, played the native on the jetty in Rio. His speaking part was cut from the television version of the film broadcast on ITV but remains in the remastered 2014 cinema Bluray and DVD available online.
Mr Price played an important part in our lives when the film was being made as he owned and ran the Oaklands Guest House in Ambleside where we stayed. His daughter Jane, told me, ‘They wanted you to stay in a place that had a family atmosphere with other children.’ I expect that she did a lot to help.
Jane appeared with her two brothers as film extras in the Rio scenes, remembering that it gave her a day off school. Sadly, her little brother’s knickerbockers kept falling down. You can see Jane in a grey dress with long pigtails, hoiking them up in this behind-the-scenes shot. To see other photos of the Price family in costume, please click here.
The people of the Lake District have written in with other stories. Philippa Poulson knew the real charcoal burner, Norman Allonby – ‘I lived around the corner from him in 1973. He lived in a tiny one up, one down traditional cottage, walked everywhere, and made a lovely cup of tea. He was very interested in my English Literature A’ level course, being a keen reader. I wonder how many people know he knew Paradise Lost and Paradise Regained, by heart, and in their entirety and could recite any part, at any time, on request. He would happily talk for hours on the subject, with a twinkle in his eye and his pickle catching front tooth. Lovely, gentle man, living life at the right pace.’ You can read more about the real charcoal burners of Grizedale Forest here.
Susie Trezise said, “I remember them filming ‘Swallows and Amazons’ – it was right in the middle of my O’Level exams and their walkie-talkies kept coming through my stereo speakers! It was fascinating listening. I lived at Stock Ghyll Mill, so about five miles away from the filming. The strangest thing was it still came through the speakers when they were turned off but still plugged in!”
~Comic strips based on the 1974 film found by Arthur Herbertson~
Joss Bundy wrote to say: “My Father, between being the technical director of the Royal Opera House and the National Theatre, worked with Richard Pilbrow at Theatre Projects in the ’70s. He had been a friend of Richard’s for many years. Theatrical lighting design was still in its infancy and designers tended to stick together. Richard and my Dad were the founders of The Association of Lighting Designers, along with various others.
“My mother, Rosemary Lindsay, had been a ballerina at the ROH, which is where they met. My Mother had sailed since a small child and had devoured each new Ransome book as it was published and loved them more than any others. When Richard mooted the film, my father mentioned what an expert Rosemary was and when the project was getting up on its feet she was given an early script to vet. Various things had been added in for dramatic effect and she vetoed one: Roger getting stuck on top of a cliff, as she felt John and Susan would never have let him get in such a situation.”
“I was clearing yet another box of theatre-related photos and as well as a couple of publicity stills.” One shows filming the Amazon boat house. “I can only assume Richard or Molly sent them back to my Dad, who would have been running Theatre Projects while Richard was away.”
“After the film was finished, Richard offered Swallow to my Mum, but she didn’t want the responsibility of another wooden boat. We still own the one she sailed as a child, a smaller version of a Swallow type boat. She also felt that a boat only sailed in fresh water would not necessarily do well in salt water.”
Do add any memories you have to the Comments, below. It would be lovely to hear from you.
It would be great to have some more review on the film on the International Movie Database. You can easily add one here.
If you see men walking down the street with a telephone box it is probably an indication that there is a film crew nearby.
This was a distinctive director with red hair called John Prowse filming a drama serial called The Changes on location in Bristol in back 1975 when wooden tripods were used with 16mm cameras and portable monitors hadn’t been developed.
The Changes was a BBC adaptation of the books by Peter Dickinson written and produced by Anna Home. It starred Victoria Williams, Keith Ashton and Rafiq Anwar. Jack Watson was in four episodes and my mother had what one might call a cameo role as a villager. She can be seen in the photo above in the pink headscarf.
Sonia Graham appeared in this scene wearing a long red cloak. I later worked with her on the vet series One by One.
The story explored the concept of a time when machines ground to a halt and all cars became useless. Vehicles still seemed to be used as camera mounts. John Prowes is standing on top of a doramobile in this photograph.
Does anyone remember seeing the outcome of all this toil?
~ Behind-the-scenes in film and television, continued ~
Much of Arthur of the Britonswas shot at Woodchester Mansion, a vast house built of cut stone yet left half-finished and eventually sold for £1 to Stroud District Council. My father became a Trustee of the Board that decided its future.
It was on the property below the half-finished building, that HTV constructed the vast lathe and wattle hall which comprised King Arthur’s seat.
We went to watch the filming soon after the fire scene, which opens the episode entitled ‘The Gift of Life’. My sister Tamzin was cast as Elka, the little Saxon girl who arrived with her brother Krist unexpectedly by longboat. This was spotted drifting down the river – which is in reality the lake at Woodchester. In the story Arthur insists they should be returned to their own people by Kai, portrayed by Michael Gothard, who rode some distance with them on his horse.
We were also able to watch. The episode was a beautifully shot.
‘I want to feed the squirrels,’ Tamzin declared after they had been riding for a while. It was a line few have forgotten.
‘Why couldn’t you feed the squirrels before you left?’
‘I did, but now I want to feed them again.’
I was fascinated in her costume, including her shoes which were made of hessian sacking.
I am not sure whether Michael Gothard had worked with children before but he seemed able to cope. It was a good thing Tamzin could ride. Her hessian dress was not exactly ideal riding wear.
‘I couldn’t even whistle when I had all my teeth.’
Shaun Fleming was excellent as her brother and managed to cling on behind the saddle as they charged across the hills, which can’t have been easy. The secret was that he acted under his mother’s maiden name instead of his real surname.
I appeared as the Saxon girl with blonde curly hair seen working in the fields with Heather Wright when the children returned to the Saxon village. While Heather was in lime green, I wore a gold-ish coloured top and plum skirt with no shoes. You can see me hobbling across the end of the field which was full of thistles.
My other sister, Perry, was barefoot too. My mother, as a Saxon woman with short fair hair, (photographed above) virtually carryied her into the village after Tamzin and Shaun.
There were a number of weapons on set that intrigued us as children. We all wanted to learn how to use them. Oliver Tobias began to teach us sword fighting, however there was an accident on set which put a stop to this. One of the actors was having his boots sorted out by a wardrobe assistant when he casually swung his axe. Although it was just a blunt prop, with no edge to the blade, it went into her head, resulting in a four inch gash across her scalp. He was devastated. It was a complete accident. The wardrobe assistant recovered but it was a sobering incident and great care was taken when handling the props afterwards, even though they seemed blunt and harmless.
Forty two years later this series is still treasured by many. It had such a strong cast. Heather Wright went on to star in The Bellstone Fox with Bill Travers and Dennis Waterman and in the 1976 movie Shout at the Devil with Lee Marvin, Roger Moore and Ian Holm.
Geoffrey Adams was terribly well known at the time, as for years he’d played the part of Detective Constable Lauderdale in the long-running BBC Police series Dixon of Dock Green appearing with Jack Warner in nearly 300 episodes.
Shaun (Fleming) Dromgoole went to work in film production on a number of well known movies including American Gothic and The Woman He Loved, about which starred Anthony Andrews and Olivia de Havilland and Jane Seymour as Wallis Simpson.
Shaun Fleming, Tamzin Neville, Sophie Neville , Jenny Fleming, Kerig the doll and Daphne Neville in 1972
The producer, Patrick Dromgoole was absolutely prolific, producing a huge number of classic television dram serials including The She Wolf of London and The Clifton House Mystery, which my mother appeared in as well as Robin of Sherwood . Her drama pupil Robert Addie played Sir Guy of Gisbourne so convincingly in that series he became hated throughout the UK. For more photographs of Mum please see flick down though various posts on my blog for Funnily Enough.
Do please add additional information or memories in the comments below.
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 two years ago, this shot was taken of Virginia McKenna valiantly playing Man Friday, rowing away from what I had decided was a desert island. We were filming on Coniston Water in the Lake District. She was playing my mother, concerned about leaving a small girl alone as the evening drew in. I’ve been set a copy of Lancashire Life, published in 1974, which describes the filming at length. Quite fun. You can see a still of Man Friday and I cooking Pemmican cakes for supper on the camp fire, top right.
Being awarded an OBE in 2004 for services to wildlife and the arts, Virginia has since become a national treasure. She will quickly deny this but you will find photographs of her at the National Gallery, along with Suzanna Hamilton, who played her daughter – and my sister, Susan in Swallows & Amazons (1974).
Having just celebrated her 84th birthday Virginia has also been heralded as one who inspires others. I concur. ‘Do one thing at a time,’ was her advice to me, ‘Otherwise you can’t do anything well.’
If you interview her now, Virginia is more likely to talk about wildlife than acting. She uses her name to promote kindness. And to stop the slaughter of elephants. One of her latest missions is to urge schools to teach children about conservation. She has recently become patron of Shropshire Cat Rescue’s Purr project. Arthur Ransome helped finance a similar project himself.
2015 marks the thirty-first anniversary of the Born Free Foundation, which Virginia established with her son Will Travers to help big cats and other large mammals held in captivity. She still travels the world to raise awareness and alleviate suffering, drawing on all she learned from George Adamson whilst filming Born Free in Kenya back in 1966, and An Elephant Called Slowly in 1970. You can read more about her work by clicking here.
On 21st March and 28th March, the new CBBC TV show ‘Cinemaniacs’ included guest appearances from Sophie Neville and from David Wood, who wrote the screenplay for ‘Swallows & Amazons’ back in 1973.
Oli White, the vlogger and presenter of ‘Cinemaniacs’, asks a number of people involved in movies about making their first film. Others featured include Michael Sheen, Sir Ian McKellen and Matthew Lewis famous for playing Neville Longbottom in all eight Harry Potter movies.
To find out more about how the film ‘Swallows & Amazons’ (1974) was made, along with how the children’s parts were cast, please see earlier posts or read the book! It includes more than 120 photographs taken on location in the Lake District.
I believe that the middle boathouse in this photograph I took last year is the one currently for sale.
If you visit the ITV News website, you can watch a story about the boathouse originally belonging to the Collingwood family of Lanehead which inspired Arthur Ransome when writing Swallows and Amazons. It includes a short clip of the fishing scene from our film.
The reporter from Border Television didn’t get all his facts right. We are not sure who Arthur J Ransome is. The author was called Arthur Mitchell Ransome.
Here we were, intrepid explorers, finding Swallow at Holly Howe in May 1973. The water was freezing. You can see the lovely view from the boathouses.