To mark the 30th anniversary of its original broadcast on BBC One, Revelation Films have just re-released the DVD of Swallows And Amazons Forever! It has been one of their Top Ten bestselling DVDs.
Swallows and Amazons Forever! is the television adaptation of Arthur Ransome’s classic books Coot Club and The Big Six, an eight part drama serial that I worked on, behind-the-scenes, over a period of nine months back in 1983 when it was filmed on location on the Norfolk Broads.
As Revelation films say, ‘Set on the Norfolk Broads in the 1930s, the BAFTA-nominated BBC production is packed full of lively characters, beautifully authentic scenery and plenty of adventure.’
Jake, Mark and Nic with Sam Kelly playing Captain of the Catchalot
The new version of the DVD includes subtitles for the first time. The packaging and menus have been completely redesigned, and if you take a look at the DVD extras package you can see photographs that I took at the time that give an insight into the production.
The big thing is that the picture quality has been digitally restored, with amazing results. This short Youtube clip shows the amazing difference in the quality.
Release Date: 19 May 2014 | RRP: £15.99 | Certificate: U | Discs: 1 | Run Time: 202 Minutes
Whilst travelling to Norfolk to stay on a boat with family friend Mrs Barrable, Dick and Dot Callum meet Tom Dudgeon and the members of Coot Club. After being told that they won’t be learning to sail, their disappointment quickly turns to excitement as an adventure begins to unfold. Will they be able to protect a precious coot’s nest whilst hiding Tom from the awful Hullabaloos, who are hell bent on ruining everyone’s holiday? Creator of Downton Abbey, Julian Fellowes, stars as Jerry the Hullabaloo in this delightful film.
The Big Six
When Dick and Dot return to Norfolk to stay with Tom, they find themselves caught up in a brand new adventure. The Death And Glories are being accused of setting moored boats adrift but the three boys maintain their innocence. With the whole town against them, it’s up to Coot Club to gather evidence and prove that someone else is responsible for these crimes. The Big Six is born. Dr Who’s Colin Baker and Patrick Troughton star in this fitting adaptation of the classic story.
The yacht Lullaby playing the Teasel in ‘Coot Club’, seen here being delivered to location on South Walsham Broad
If you are interested in the BBC serial of ‘Coot Club’ and ‘The Big Six’, originally titled ‘Swallows and Amazons Forever’ please read on.
It is almost thirty years since we made the BBC adaptation of Arthur Ransome’s books Coot Club and The Big Six on the Norfolk Broads. The eight-part drama serial was filmed over three months during long hot summer of 1983. You can see from our faces how everyone made the whole experience enjoyable. It was ten years after we had made the movie ‘Swallow & Amazons’ but the atmosphere and the camaraderie felt similar.
Caroline Downer, who played Dorothea Callum so professionally, finally took out her plaits for good and returned to school – her real school rather than the boat where she had received lessons whist we were filming. She had done so well, holding her own with a cast made up predominantly of boys by the time we started filming The Big Six. A year or so after the series was broadcast she wrote to me of her plans for the future. I am ashamed to say that I was so busy working on Doctor Who that I didn’t reply. I can’t think why I tarried. She was far more important to me than Doctor Who. Caroline now teaches drama, is an LRAM examiner and puts on the most wonderful musicals. Hopefully she can draw on something of what she learnt during those months in East Anglia spent working with so many great British actors.
Despite the pressures and stress of filming, nothing flustered Henry Dimbelby. He was easy-going and optimistic – great fun to have around. He had no ambition to act but did such a good job. His parents were wonderful. Instead of going to Devon, where they kept a gaff-rigged boat, they rented a house on the North Coast of Norfolk for their summer holiday in 1983 so as to be near our locations. I remember driving Caroline and Henry up on a unit day off only to find Jonathan Dimbelby there too, with his wife Bel Mooney who I chatted to when we went for a walk before lunch. On the kitchen table back at the house was a huge colourful sausage and pasta salad made by Josceline Dimbelby, Henry’s mother. It was the first home-cooked meal I’d had for weeks, and was hugely appreciated. I was mesmerised by the colours and textures, the whole inventiveness of a salad made for a large family.
While Henry’s grandfather, Richard Dimbelby the World War II correspondent, went into newspapers and his father, David Dimbelby, worked for the BBC as a News reporter, presenter and commentator, you could say that Henry followed his mother. He trained as a chef – and became an innovative one, producing books on food and appearing on the occasional cookery program. In 2004 he opened Leon, the restaurant in Carnaby Street in central London that specialises in serving seasonal fast-food that is both delicious and good for you. Founded with Allegra McEvedy and John Vincent, Leon soon became popular. It was awarded ‘Best New Restaurant’ at the Observer Food Monthly Awards six months after opening. I believe Henry and his partners now have a chain of ten outlets and that their recipe books are an inspiration to many.
Claire and Sarah Matthews, the twins who played Port and Starboard in Coot Club, went on to play Eve and Alexandra in the 1984 TV mini series Master of the Game , which starred Angharad Rees, David Suchet and Fernando Allende. They still live in Sussex and are very close. Claire has taken up running in all weathers.
The Walpoles have written in! It was so good to hear from them. Nicholas Walpole, who played Joe, joined the Royal Navy and served on HMS Roebuck from 1989-90 as a survey recorder. A friend of his said he was teased mercilessly on board about his acting background. Many-a-time a chorus of ‘Swallows and Amazons forever’ would ring out when he walked into the Mess. Nik is now married, lives in Coventry and has three grown up children, one of whom wants to act. His mother still enjoys living in rural Norfolk. You can read their comments at the bottom of previous posts.
I am afraid that I haven’t seen Simon Hawes, who played George Owden, or the other boys from Norfolk since we finished filming. They did so well. Playing a baddie isn’t easy even with Make-up and Hair Department straining to help.
Richard Walton, who played Dick Callum, now lives in Los Angeles – he has written in, below. Mark Page, who played Bill, now lives on the coast of Turkey. I wonder if taking part in the BBC serial influenced their decisions to emigrate.
We spent long days together, often out on the water. Someone once explained to me that when you are camping and gadding about in boats, generally leading an Arthur Ramsome style life, you tend to laugh more. As a result more endocrines get released into your system, relationships are forged and bonds made. It has to be said that the boy who made us laugh more than anyone else on the film crew was Jake Coppard, who played Pete, the shortest of the Death and Glory boys. Although the character he played could be serious Jake was always finding something amusing or someone to imitate. Sam Kelly got on with him particularly well, helping him through the scene when Pete falls in.
Jake was such a talented actor. I gather he went on to appear as Charlie in a television drama directed by Tony Virgo called Travellers by Night (1985) , which featured Neil Morrissey who became so well known when the comedy series Men Behaving Badly proved a success. The lead role of Mrs Baker in Travellers of the Night was played by Jo Rowbottom who, by coincidence, had played Katie Leigh, Simon West’s mother in Sam and the River back in 1975.
Jim and Jill Searle of the Norfolk Country Sailing Base in Ludham helped us find traditional boats for the BBC adaptation of Coot Club and The Big Six set on the Norfolk Broads. Jill kindly sent me a copy of this photo taken of Lullaby just after she was chosen to play the Teasel. Her costume consisted of a false transom, which is still at Hunter’s Yard in Ludham today.
Roger Wardale took this photograph included in his book, Arthur Ransome on the Broads , which Amberley Publishing brought out in full colour. He tells of Arthur Ransome’s half-dozen or so holidays on hired yachts and of the young people who sailed in the fleet, including Titty and Taqui Altounyan.
Roger found out that the Ransomes hired a 23′ Fairway’ yacht from Jack Powles of Wroxham. This had a Primus stove with a special cooking locker in the well. It sounds well kitted out with a wash-basin and self-emptying WC in a separate compartment. The three Somnus spring-berths had drawers underneath and there was even a wardrobe. Like the Teasel, she was built of mahogany with a ‘bright varnish finish’ and, given a fair wind, would have zipped along at quite a speed.
Roger said that he spent six days trying to find places Arthur Ransome visited that had not changed since the 1930’s but found it difficult. What he did discover was the dinghy used to play Titmouse in the BBC TV series. She can still be visited at Hunter’s Yard.
It is still possible to hire the mahogany hulled, gunter-rigged yachts much as Arthur Ransome and his wife did in the 1930’s, together with a sailing dinghy or rowing boat. There are fourteen sailing cruisers in the Hunter’s fleet and none have an engine. They have lifting cabin tops so you have more headroom when you moor up. Lullaby, built in 1932, is 28ft long with four berths. Her mast can be lowered with counter weights so she can be taken under bridges with a clearance of six foot.
Roger Wardale says that in the 1930’s, many of the yachts had a ‘self-acting’ jib but Ransome considered it too large. There were times when he lowered it, only to find ‘he sailed better without it!’ They still have self-acting jibs but the size may have been altered.
Roger also found a cruiser similar to Janca, the 1930’s cruiser who played the part of the Margoletta. She was skippered by Julian Fellowes in his glorious role as a Hullabaloo, the spiteful, arch-baddie of Coot Club.
Back in 1983 we were hugely helped by a number of Norfolk boatmen who knew the broads well.
You will have to let me know the name of these gentlemen who spent long hours helping us in the summer of 1983.
Filming from one boat to another is tricky and much patience was need. In many ways the easiest boat to film with was the Death and Glory. She can still be found moored somewhere on the Broads.
I well remember setting up this shot for the cover of the abridged version of the two stories, which was brought out by Puffin to accompany the series. It shows the Death and Glory complete with her green chimney. The big secret was that the interior of the cabin was larger than the exterior. we puzzled over Ransome’s drawings only to decide that he had cheated the measurements too.
Bruce McCaddy and his team built the set inside a modern boatshed where it was kept for ‘rain cover’, since the interior scenes could always be shot if it was wet. It included ‘camera traps’ or sections that could be removed so the scenes could be shot. I never went inside but the boys loved it. In fact the weather was glorious. We enjoyed such constant sunshine in the later part of the shoot that we filmed the interiors when it was dry and so warm the boys got quite over-heated.
What is the best way to entertain someone who enjoys acting?
Even when we had very little space or were waiting around for hours out on the water during the filming of ‘Coot Club’ and ‘The Big Six’, one thing that kept everyone amused was the game of charades. Simply imitating each other also proved hilarious and kept up moral whatever the weather. Since the children who appeared in the drama all enjoyed acting, they proved natural entertainers both on and off-screen.
The experienced actors entered into the spirit of this in a trice.
The great thing about miming is that it is silent, which was just as well, when we had to keep quiet on set.
The film crew were wonderful, ever inventive and terribly good at charades.
No one was limited by taking themselves too seriously.
Some members of the production team made a tremendous effort to keep up our spirits.
Julian Fellowes, who played Jerry, told me recently that he so admired Henry Dimbleby for taking part in Swallows and Amazons Forever purely because it was fun, rather than because he wanted to be an actor. I appreciated his indestructible good nature and the fact that he made the three months we spent on location enjoyable, in many ways leading the team, even though he was only thirteen years old.
Of course, what is most amusing, is when the unexpected happens. That is what I will attempt to relate in the next post.
One viewer has observed that, in the BBC serialisation of Coot Club and The Big Six, we had not one but two Doctors in the cast, Time Lords at that. This is true. We arrived on location one morning to find that Patrick Troughton had transmogrified into Harry Bangate the Eel Man.
He had led the most fascinating life. A Naval Officer during World War II, and the first actor to play Robin Hood on television, Patrick Troughton played The Doctor in 128 episodes of Doctor Who. But would he be drawn? If we asked him about his life he just started talking about eels in a broad Norfolk accent. He’d worked for our Director Andrew Morgan on Kings Royal and for Joe Water’s on Z Cars, but for us, in the summer of 1983, he was the eel man.
Colin Baker first appeared in Doctor Who (a story entitled Arc of Infinity) in the role of Commander Maxil, when he actually shot the 5th Time Lord, who was being played by Peter Davison. It was not until after he arrived in Norfolk to play Arthur Ransome’s tweed-clad Dr Dudgeon, that he realised his full destiny and donned a multi-coloured dream coat to take on the 6th incarnation of The Doctor in the long-running BBC science fiction series. I went on to work as an Assistant Floor Manager on a two-part story called Vengeance on Varos when the Tardis had to make an emergency landing on a most unattractive planet. When we were in the North Acton rehearsal rooms I persuaded Colin to teach me all the correct jargon about transmogrifiers but it has since washed from my brain.
I can’t remember whether Colin Baker was cast as Dr Dudgeon in Coot Club before or after Henry Dimbleby was given the part of his son Tom Dudgeon, but he did not look unlike Henry’s real father back then.
There were various other members of our film crew who were also familiar with the Tardis. (I think we were meant to refer to it as ‘T.A.R.D.I.S.’ ~ Time And Relative Dimension In Space). John Woodvine ,who played PC Tedder, had preciously taken the role of the Marshall in ‘The Armageddon Factor’, opposite Tom Baker and Mary Tamm in 1979.
John Gill who we knew as Old Bob of the Comealong had the part of Oak in Fury from the Deep, made in Patrick Troughton’s time. Alan Lake played Herrick in four episodes entitled Underworld first broadcast in 1978. Andrew Burt played Valgard in Terminus during Peter Davison’s era and Tim Barlow, the distinctive looking actor who played the old man at the Roaring Donkey was Tyssan in Destiny of the Daleks. Sam Kelly, our Captain of the Catchalot appeared in the audio dramas of Doctor Who titled The Holy Terror and Return to the Web Planet.
Andrew Morgan directed both Time and the Rani and Remembrance of the Daleks. Tariq Anwar our film editor on Coot Club, worked on two stories while Andy Lazell, the visual effects designer responsible for creating so much fake fog on Breydon Water had worked on ‘The Leisure Hive’ and ‘Snakedance’, eight episodes of Doctor Who first broadcast in the early 1980s. Colin March, our sound recordist worked on the film sound or ‘Planet of Evil’ in 1975 and ‘The Two Doctors’, with both Colin Baker and Patrick Troughton. It was broadcast in 1985. Liz Mace, had been the production manager on ‘Time-Flight’. Diana Brookes, our script supervisor – or production assistant as the job was then known – had worked with Colin Baker on the four-part Doctor Who story ‘Arc of Infinity’ in 1982/3. Perhaps it was she who thought of him for Dr Dudgeon.
The part of the tall and elegant Hullabaloo, Livy, was played by Sarah Crowden. Her father, the actor Graham Crowden who I always think of as Tom Ballard in his Sit-com Waiting For God, was offered the part of the fourth Doctor Who , after Jon Pertwee but he turned down the opportunity as it was such a committment. Instead he played Soldeed in The Horns of Nimon in 1980 after Tom Baker had being playing the fourth Doctor for some time.
The person working on our series who had had a huge input on Doctor Who was Mervyn Haisman, our Script Editor. He’d written at least seventeen episodes including the series entitled The Dominators, writing under the name Norman Ashby. Mervyn never appeared on location but it was he who steered the adaptation of Arthur Ransome’s novels, breaking them down into four episodes each, whilst remaining faithful to the original stories.
Julian Fellowes recently introduced me to friends, explaining that we had worked together when I had been a Consultant on ‘Swallows and Amazons Forever!’ ~ the overall title given to the BBC serialisation of ‘Coot Club’ and ‘The Big Six’. This was very kind. Apart from a fact or two about Arthur Ransome, my consultant-ish-ness consisted mainly in suggesting the children wore warm clothes when they were out on the water. I need not have worried. Our Producer, Joe Waters, appointed the most wonderful costume designer, who knew all about thermal underwear and hats. ‘I love hats,’ she told me. ‘Everyone wore hats in the 1930s. They give the whole production a period feel.’
Everyone on the unit – certainly all the children in the cast, adored Susannah Buxton. She was only about thirty-three and had not been a costume designer long. A tall red-head, she admitted to often struggling to her feet on set when the Lighting-Camera man called for a certain light.
I’ve just read a review on Amazon.co.uk about ‘Coot Club’, which said, ‘Wonderful attention to period detail. Even the film’s colours are right for the period.’ They certainly were. Susannah managed to source a huge number of original hand-knitted garments.
While she was dressing the children, deciding what they should wear at the beginning of a new day in the story, Susannah explained that she was keen that they didn’t look too chocolate-boxy. The girls playing Dorothea and the Farland twins were all so pretty it would have been easy to go over the top. She carefully combined elements of school uniform with 1930’s clothes that children would have worn in their summer holidays. I can’t remember any member of the cast being uncomfortable – either two cold or two hot, even though we spent three months filming on the Norfolk Broads.
‘How did you become a designer?’ I asked her.
She explained that she loved clothes and it was what she always wanted to do. She’d been working freelance as an assistant in Bristol, thinking she wouldn’t get to design on a television production for years, when the phone rang. ‘I was asked if I could take on the role of costume designer, so I took a deep breath and said, “Yes.”‘ Here I have to explain that many members of the crew had come up from BBC Bristol, which then had a regional crews available to work on period dramas. Our Producer was very pleased about this. He used a crew from BBC Bristol again when we made ‘My Family and Other Animals’ on Corfu a few years later. Susannah had a wonderful assistant called Helena and at least three dressers, including Paul Higton and Lesley Bowling, who were not only meticulous but great fun.
The size of the costume department reflected the difference between the 1974 feature film of ‘Swallows and Amazons’, which was shot in the Lake District with a small cast and very few crowd scenes – when the one Wardrobe Master was helped only by my mother – and our BBC TV adaptations of Arthur Ransome’s books set in Norfolk. ‘Coot Club’ and ‘The Big Six’ had much bigger casts, with many more roles for adults and supporting artistes.
I was looking after the eight children in the lead parts and another six or seven boys in supporting roles, not to mention children who appeared as extras in the village scenes. It was Paul and Lesley’s humour that oiled the wheels that kept us running smoothly. ‘The Big Six’ had to be taken through costume and make-up almost every day for three months and these were costumes that had to stay clean all day. The children were obliged to wear life-jackets when they were near water, right up until the time when the director went for a take. Obviously, these had to go straight back on after each camera set-up. I can still see Paul Higton with an armful of colourful life-jackets he was handing back to five boys at a time. He went on to become the costume designer on forty-eight episodes of Dangerfield and more than 825 episodes of the TV series Doctors.
Susannah Buxton went on to have the most dazzling career. I last saw her when she was striding along the South Bank in London one evening. I didn’t know that she had worked on so many movies. These have included, Millions, 2004, directed by Danny Boyle, ‘As you like it’, directed by Kenneth Branagh and ‘Death defying Acts’, which starred Catherine Zeta-Jones. She won a BAFTA award for ‘Mr Wroe’s Virgins’, directed by Danny Boyle, an RTS award for ‘Shooting the Past’, which was directed by Stephen Poliakoff, and a number of awards for ‘Downton Abbey’, including an Emmy for Outstanding Costume Design. I’m not sure she imagined all this would be in store for her when she was busy loading costumes into a boat on Horning Staithe back in 1983.
Assistant director Mary Soan, Costume designer Susannah Buxton, Actor Sam Kelly and Make-up artist Penny Fergusson when filming on location in Norfolk in 1983 “I had a telephone call one day from a man working for the B.B.C. he said he had heard I had a steam roller, if so could I take it to Horning to appear in a film they were about to shoot in the broads area.”
I was sent this extract, copied word-for-word from Jimmy Nicholson’s autobiography I kept a Troshin’ – originally published in 1989 by S.J. Nicholson.
“The title was ‘Swallows and Amazons’ which was shown on B.B.C.2. So on the appointed day I loaded the roll onto our low loader and Geoffrey, our lorry driver, took it to Horning. I unloaded it near the Swan Hotel about eight thirty, some of the people were already there, the people in charge rolled up about nine. Then a coach load came, there was also a coach full of costumes. The young lady who was helping to organise things said I had better change some of my things into old time dress, as the film was supposed to have been in older times. So I went in the bus where all these costumes hung. The young lady in there said I had better change my shirt and boots and wear another hat, an old fashioned cap. So I pulled my shirt off she handed me one of these old ones. I said, ‘What about my trousers, do you want me to take them off!’She laughed and said, ‘No I think yours will do.’I thought what a shame.Another young lady said she thought I should have my hair cut. So I sat on a chair on the Swan car park and had a hair do. The next thing they were queueing up for breakfast from a mobile canteen. The lady in charge said, ‘Come on Jimmy.’ she had learned my name by now. I said, ‘I’ve had mine.’She said, ‘Never mind have another one. ‘Which I did and had a full English breakfast.By the time they wanted me to start operating it was time to stop for coffee and other drinks. When I did start I had to drive the roll up the road passed the cameras. I did this about a dozen times, I had to time this with some children running down a side road to see me go passed. By now it was lunch time so I joined the queue again and had another cooked meal.After having a pint in the Swan the lady in charge said, ‘I think we’ve finished with you now.’I thought what a shame, I could put up with this for a week.”
Jimmy was obviously very much taken by the girls working for BBC television on the drama serial of Arthur Ransome’s books ‘Coot Club’ and ‘The Big Six’. When we made the EMI movie of ‘Swallows and Amazons’ in 1973, the only female member of the actual film crew had been the ‘Continuity Girl’ or script supervisor. In ten years things had changed. Joe Waters, our producer, aimed at having a 50/50 ratio of men and women on his production team and crew. This created an atmosphere that was full of fun and the children acting in the series thrived.
The young lady ‘who was helping to organise things’ would have been our efficient AFM, or Assistant Floor Manager, Mary Soan (known as a ‘Second Assistant Director’ on a feature film). I should explain that, in BBC Drama, stage management roles had evolved from equivalent in the theatre, so her job also involved being responsible for the ‘action props’ and action vehicles – in this case a 1930’s steam roller. I am sure Jimmy would have been quite taken by Mary – she was very pretty, with thick blonde hair, an ever radiant smile on her face. Whilst I went on to direct television programmes for the BBC in the late ’80s, Mary became a Production Manager. It wasn’t long before she went freelance as a First Assistant Director and started working on the most incredible movies ~ Pearl Harbor (2001), Bridget Jones’s Diary (2001), The Chronicles of Narnia (2005), Stardust (2007) and Skin (2008) as well as TV mini-series such as Place of Execution(2008).
‘The young lady’ in the costume bus, who was happy for Jimmy to keep his own trousers on, must have been Helena, the assistant costume designer, while the young lady who thought he should have a 1930’s short-back and sides, would have been our ever laughing Make-up Assistant Penny Fergusson.
Penny Fergusson originally trained at the Royal Ballet School. What would Jimmy have said had he known he was having his hair cut by a girl who had performed at the Royal Opera House and the Venice Film Festival before dancing her way across Europe with Pan’s People?
‘The lady in charge’, who gave Jimmy permission to go was Liz Mace, our senior Production Manager. Sadly I don’t have a photograph of her, but she was in charge of our film schedule, logistics and locations as well as Health and Safety on set. You will have seen her name on the end-credits of BBC drama serials such as The Ondein Line, When the Boat Comes In, Secret Army, on Doctor Who, the Police series Juliet Bravo and All Creatures Great and Small. In 1991, I worked with her in Ealing on a series of Thinkabout Science before she returned to work at Elstree Studios making numerous episodes of the soap opera Eastenders.
Jimmy concluded his tale by adding:
“When the film was shown on television you could just see the roll go passed and that was it, but I did enjoy myself and I enjoyed it even more when I received a cheque for the job.”