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Notes for the second edition of ‘The Making of Swallows & Amazons’

Since Classic TV Press published ‘The Making of Swallows & Amazons’ in 2014, a number of facts have floated to the surface. The most amazing recollection was one that occurred to my mother.

‘The letter inviting you to come for an interview for a part in the film was addressed to your father. He was working abroad when it arrived. I never, ever opened his mail but something urged me to open that one envelope. It was a good thing I did as he was away for three weeks and we would have missed the opportunity altogether.’  She was amazed by the contents and replied at once, sending a photograph to Theatre Projects. I think it was this rather miserable one of me wearing a Laura Ashley dress.

Sophie Neville  wearing Laura Ashley in 1972

Sophie Neville in 1972

A date was made to meet the director. I now remember that I was taken up to Long Acre in the West End to meet Claude Whatham very soon after Dad arrived back from his business trip. We walked through Soho and visited a Chinese grocery store on the way home.

 

Daphne Neville presenting 'Women Only'1

Daphne Neville on HTV in 1973

‘I was never paid to work on the set as chaperone,’ Mum told me. ‘Neither was Jane. We were just happy that our expenses were covered but it ended up costing me quite a bit as I had to travel back to Bristol to work now and again.’ She was working for HTV as a television presenter alongside Jan Leeming, who is currently appearing on ‘The Real Marigold Hotel’. For the photo of them both on an HTV West show, please click here

Jean McGill said she didn’t get paid for acting as the Unit Nurse, as far as she could remember, ‘But I wouldn’t have missed it for the world.’

Nurse with Baby Vicky, the ship's baby

Kerry Darbishire playing Nurse

The most exciting thing was meeting Kerry Darbyshire, who played Vicky’s nurse, at Zeffirelli’s cinema in Ambleside for the 40th Anniversary screening of the film. I learnt to my horror that I had mis-spelt her name in the credits I gave the actors. All I had to go on was her signature in the back of my copy of the hardback book of ‘Swallows and Amazons’ where I’d collected autographs.

Signatures of the rest of the cast and crew of 'Swallows and Amazons' in the back of my Jonathan Cape edition of Arthur Ransome's book

Kerry Darbishire’s signature

Kerry laughed, telling me, ‘I should have had more legible handwriting.’ She  appeared in the film quite a bit. ‘It was a pity I wasn’t able to bring my own child. She was the exact same age and colouring as the little girl they found to play baby Vicky.’ Kerry was with us in the compartment of the train on day one of the shoot. ‘I found it very difficult to laugh with you when the train went into the tunnel.’ I couldn’t think what she meant at first but it was the laughter that followed Virginia McKenna’s line: ‘He’d say, “Just look at that scenery”.’ at the moment the train goes into a dark tunnel. ‘You children found it no problem at all, but I couldn’t laugh. I was too shy.’ Zeffirelli’s are next screening ‘Swallows & Amazons’ (1974) at 7.30pm on 2nd March.

I never knew the name of the snake wrangler – who brought the charcoal burners’ adder along, but Ken Foster wrote in recently to say it was his father, John Foster whose family farmed near Satterthwaite. He was once employed as an assistant at the fresh-water biology research establishment at Windermere and became a biological specimen supplier. You can read more about his unusual occupation here

To read more about the day the adder arrived on location, please click here.

Charcoal Burners' Adder

John Foster & the charcoal burners’ adder

Simon West, who played Captain John, remembered that Claude Whatham often used to take us for a quick run before going for a take. It freshened us up and was appropriate when we had to run into shot, slightly out of breath.

One little girl wrote to tell me how she pulls her dress over her knees just as I did when I played Titty, as I got rather cold in a scene when were were first sailing Swallow to the island.

Sophie Neville with Terry Needham and the unit radio at Derwentwater ~ photo: Daphne Neville

Sophie Neville with Terry Needham

George Marshall, the veteran film accountant, assured me we had a very talented film crew. Mark Birmingham, a film producer currently working on the bio-pic of Noel Coward, knew quite a few of the individuals working on ‘Swallows & Amazons’ and told me of the amazing careers they went on to lead. ‘Your Best Boy, Denis Carrigan, went on to run Sherperton Studios.’ Denis worked closely with Ridley Scott who made many great films there. ‘Sadly one of the other electricians died when he grabbed a live cable.’

Other people have written with interesting stories relating to the film locations.

Swallows & Amazons filmography - ebook_html_m52e3dc61

‘The shop in Woodland Road was my grandfather Tom Kirkbride’s cobblers shop from 1930s to 1956,’ Brian Salisbury wrote. ‘After he retired, the wooden building became Stan Cropper’s sweet shop doing a roaring trade with the boys at St Mary’s Boys School just along the road and the newly built Droomer Estate.’  This was the shop where we bought rope for the Light House Tree that is now a barber’s in Windermere. To read more about this location and others in Windermere, please click here

Is there anything you would like to add?

Daphne Neville, Stephen Grendon, Suzanna Hamilton, Sophie Neville, Jane Grendon and Simon West after the last shot was taken.

Daphne Neville, Stephen Grendon, Suzanna Hamilton, Sophie Neville, Jane Grendon and Simon West.

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From ‘Swallows & Amazons’ to ‘The Invisible Woman’

Daphne Neville in about 1973

Daphne Neville in about 1973

My mother, Daphne, started working as a television presenter for Harlech Television in Cardiff.  By 1973 Mum was working at the HTV studios in Bristol two days a week, presenting an afternoon programme called Women Only with Jan Leeming, and doing a bit of radio work for the BBC. Occasionally she appeared on other shows.

Mum appearing as a member of the Salvation Army on 'The Dick Emery Show'

Mum appearing as a member of the Salvation Army on ‘The Dick Emery Show’

While my father’s life was influenced by Arthur Ransome, my mother drew inspiration from the author Noel Streatfield and her novel Ballet Shoes, the story of three little girls who went on the stage. Before her own three daughters were old enough to read she was dreaming dreams. Since she worked at the HTV studios in Bristol, it was natural enough for us to take part in their drama productions that were being made locally.

Daphne Neville in 'Arthur of the Britons' HTV

Daphne Neville appearing with Tamzin Neville and Shaun Dromgoole in the HTV drama ‘Arthur of the Britons’ in 1972. I am not sure who the bearded man is.

When I was offered the part of Titty in Swallows & Amazons, Mum somehow managed to take enough leave to come up to the Lake District and work on the film as a chaperone, although she had to return to Bristol for two HTV commitments. She missed some of the best scenes, and some of our worst moments.

‘You owed your life to Simon West, of course.’

‘Did I?’

‘Oh, yes. Simon was such a good sailor. He was totally reliable.’ She was thinking of the scene when Swallow was meant to narrowly avoid colliding with the Windermere steamer, the Tern, when we only just avoided a terrible accident.

‘You would have gone under the Tern if Simon hadn’t been so calm and controlled. He would never have got into the situation himself, he would have gone about much sooner but was waiting for Claude to give him the cue over the Motorola radio. Claude was too late. He had no idea about boats.’

My mother returned from working in Bristol to find my father, Martin, was not happy about how things were being handled when we were on the water. They stayed up, talking all night, making what must have been one of the first ever risk assessments.

‘Quite a few things changed after that.’ You can tell from studying old call sheets.

‘The ridiculous thing was having to strap the kids into life jackets to go to Peel Island, which was not risky at all. Martin and I then discovered they were BOAC rejects.’

newspaper cutting of cast in life jackets

Lesley Bennett, Simon West, Kit Seymour, Sophie Neville, Sten Grendon and Suzanna Hamilton on Coniston Water 1973

Simon told me that he really couldn’t remember much about being in Swallows & Amazons. Looking back on it all, he reckoned that if I had talked through each day with Mum it would have reinforced memories. My diaries, which were certainly more detailed than those kept by the other Swallows, were supplemented by Mum’s photos, taken on a daily basis and looked at repeatedly. You have seen them all. They have that early Seventies tint to them.

Daphne Neville in 'Diagnosis Murder'

Daphne Neville in the 1975 film ‘Diagnosis Murder’ with Christopher Lee

Meanwhile my mother’s own memories are coloured by how things have changed over the last forty years, the other films she has been in the actors she has met.

‘Ronnie Fraser was perfectly nice. He was treated like a star and kept very much apart from us. He behaved like a star. Now stars have PAs, but he didn’t!’

Mum went on to appear in all sorts of movies. If you don’t blink, you can see her as a Victorian Lady in The Invisible Woman  – Ralph Fiennes’ portrayal of Charles Dickens, soon to be released in cinemas.

For more photos of Daphne Neville in character roles, please click here

Daphne Neville in 'The Invisible Woman'

Daphne Neville in costume for ‘The Invisible Woman’ 2013

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Filed under 1973, Acting, Autobiography, Biography, Cinema, Cumbria, Film, Film Cast, Film History, Filmaking, Lake District, Memoir, Movie, Movie stories, Sophie Neville, Suzanna Hamilton, Swallows and Amazons, truelife story, Uncategorized, Zanna Hamilton

Life in 1973 – Part One

For the last year or so I have been writing about life in England forty-odd years ago. Reflecting on how our lives have changed has proved fascinating. Can you help me?  I’d love to receive comments (below) on how you remember aspects of growing up in the early 1970s. What did you eat then? Where did you go on holiday? What was it about 1973 that impacted you?

Jean McGill, Jane Grendon, Stephen Grendon, Kit Seymour, Sophie Neville, Claude Whatham, Simon West, Lesley Bennett, Suzanna Hamilton, Ronnie Cogan~ photo: Daphne Neville

Jean McGill, Jane Grendon, Stephen Grendon, Kit Seymour, Sophie Neville, Claude Whatham, Simon West, Lesley Bennett, Suzanna Hamilton, Ronnie Cogan in 1973

My husband remembers long hair, flared trousers and shirts with massive curved collars. I always longed for an embroidered t-shirt with wide sleeves or a cheese-cloth shirt but loathed the feel of acrylic jumpers and ribbed polo-necks. Stripy ones.

1973

Mum wearing a fluffy Donny Osmond hat

The food was pretty applauding. Suzanna Hamilton has just reminded me about the innovation of Italian cooking. Spaghetti was the highlight of our lives; a treat that we might have on Saturdays or for a party when red candles would be pushed into wine bottles and checked paper table cloths could enhance a Bistro image. However prawn cocktail was the pinnacle of popular aspiration, although us children preferred picking of the shells off prawns ourselves.

At parties you’d be offered chunks of cheese and pineapple on cocktail sticks stuck into a half a melon that had been covered in tin foil. I always rather longed for the melon.  Homemade beer was regrettably all the rage, along with freezing your own runner beans. My family thought having to bring-a-bottle fun but we loathed the fact that cigarettes were smoked everywhere you went.

Dick Emery

Colour televisions were only just beginning to arrive in people’s homes. They were terribly expensive. We had to make do with our crackly black and white screen, watching Blue Peter, Animal Magic and Tony Hart  presenting Vision On with cartoons such as Marine Boy until Childrens’ Television ended with The Magic Roundabout just before Daddy came home from the Works  in time for the 6 O’Clock News.

We were allowed to stay up to watch  Dick Emery , Benny Hill, and ‘Titter ye not’, Frankie Howerd along with dramas such as The Onedin Line.  There was one sit com starring Wendy Craig entitled Not in front of the Children, which of course we all wanted to watch. What influence did this have on our young minds?

Mummy worked for HTV West presenting an afternoon programme called Women Only with Jan Jeeming. She also read the letters on Any Answers?, which was produced by BBC Radio Bristol by Carole Stone. I was so impressed – amazed – to meet a female radio producer.

Women Only

HTV West Christmas Show presented by Bruce Hocking, Jan Leeming & Daphne Neville

Our holidays were spent camping in Wales when we used an orange dome tent and yet slept on fold-up sun-loungers. Sailing was all about Mirror dinghies, which you could buy in kit form and make out of plywood. We never had one. In the late 1970’s Dad bought a fibre-glass  Topper, which was the height of cool. He called it Earwig.

My family were very keen on taking home movies. Dad usually took slides when we went on holiday, which were viewed along with the supper-8 footage at Christmas time when he pushed the furniture back, took down a painting and projected our memories onto the wall.

What have I forgotten? Do post your own recollections, especially of sailing and camping in the early seventies, in the comments below.

Dick Emery ~ walking social history

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Filed under 1973, Dinghy sailing, Family Life, Memoir, Sophie Neville, Suzanna Hamilton, truelife story

Beyond, but because of, ‘Swallows and Amazons’ ~

Jan Leeming, Sophie Neville and Daphne Neville

Jan Leeming, Sophie Neville and Daphne Neville at a charity event in about 1975.

One of the reasons why I did not continue acting as a child was that it seemed rather more important to concentrate on my education. Another reason was that I simply grew too tall. I was all legs, like a foal.

Crossroads

Appearing as Kevin’s sister in the wedding episodes of the ATV Soap opera ‘Crossroads’. This continuity photograph shows how tall I’d grown. I wasn’t wearing high heels.

After a few years, the fact that I had leading parts in both Swallows and Amazons and The Copter Kids meant surprisingly little professionally, except that I was able to gain a much coveted Equity card. In the late 1970’s Trade Unions were very strong in Britain, holding the film and television industry under a ‘closed shop’ policy. If you were not a Union member you could not work, but you could not gain a Union card without having worked professionally. Even though I had taken starred in two movies and had appeared in a number of television dramas, I had only just worked for enough days to get a ‘Provisional Equity membership’ – although another reason for this might have been because I was still only sixteen. Virginia McKenna’s lovely daughter Louise, who I had met at the premiere, was working as a dancer in Spain to gain an Equity card. Meanwhile, directors in the UK could not find young actors in Equity to cast in their dramas. Not being fussy about how I looked, I volunteered to play the part of a boy in the HTV movie Kidnapped. 

Sophie Neville in the HTV movie 'Kidnapped'

Sophie Neville on location at Bisley in Gloucestershire, appearing as a messenger boy in the HTV movie ‘Kidnapped’ in about 1977.

Although the snow was not real, I nearly froze to death.  I must have appeared a more than twenty television dramas, wearing ever more uncomfortable costumes.  Wearing wigs was the worst thing. They can be terribly itchy.

Sherlock Holmes

Sophie Neville in a corset for ‘The Hound of the Baskervilles’

Concentrating on academic work was certainly a warmer way to spend the day. I ploughed on with my studies only accepting work that I was offered close to where we lived. The exception was the Two Ronnies, which was recorded on the south coast but it was an opportunity not to be missed. I was about nineteen and had an amusing part in their long running story of Charley Farley and Piggy Malone – The Band of Slaves.

The Two Ronnies - Charley Farley and Piggy Malone

Sophie Neville, second from left, on location at Southampton Docks, appearing in The Two Ronnies for the BBC in about 1979

Since I was cast by Paul Jackson, the Producer, I hadn’t realised that Ronnie Barker would be directing the drama. It was the first time that I had acted with an actor/director, which was slightly tricky when I had my arms around him. The whole experience was surreal – and good fun. Ronnie had a wonderful costume designer who amused Ronnie by pouring us into outrageous outfits, including commodious Yashmaks.  She gave me little round spectacles.  Since I put on a Southern American accent I thought, ‘No one will ever recognise me in this part,’ – but they did.The series ended with a large wooden crate being lowered by a crane from a ship on Southampton docks. One side of the crate fell open and I marched out playing For all the Saints on a trombone, followed by all these ladies dress in pink. I’m holding a tuba in this shot but it was swapped for a trombone. My heel got stuck in one of the tram lines on the dockside but I kept marching on.

Sophie Neville in The Two Ronnies

Sophie Neville playing a trombone for Ronnie Barker in the Two Ronnies

My mother would have loved me to have followed her dream and try for RADA, where she was a student in the late 1950’s. Instead I was accepted by the University of Durham where I read Anthropology and made a number of very good friends.

In the summer of 1980 we went to see Virginia McKenna who was staring opposite Yule Brynner in the musical of The King and I in the West End. We would never have gone backstage if we hadn’t known her so well, if I hadn’t played her daughter in Swallows and Amazons. Virginia needed someone to look after her family in the country, while she was on the London stage. She wrote to ask my mother if she could recommend a cook-housekeeper. It was this domestic role I took on for the long university vacation, armed with a my school cookery book. It was just the Susan-ish job I needed to ground me. Bill Travers, Ginny’s husband, was working at home for much of the time, developing a screenplay for a film set in Africa.  Her son Will Travers had just returned from working on the crew of a movie made in the Nongorogro Crater in Tanzania, and, while her daughter Louise was still dancing in Spain, her second son was at boarding school, her youngest at day school. My feet did not touch the ground.

I couldn’t complain. Virginia hardly slept, and yet due to her obscure hours she could only ever see her youngest son when he was sleeping. She spent sixteen months at the London Palladium, with numerous other demands on her time such as performing at the Royal Variety Performance at the Theatre Royal in Dury Lane. While Yule Brynner had a bodyguard she would drive back though the night in her little blue car.

In her autobiography  The Life in my Years Virginia describes how The King and I  proved one of the highlights of her career. Yul Brynner was a complete perfectionist, which could make life hard, but she welcomed the discipline he bought to the theatre.  You don’t need to watch much of this clip to see  how demanding he could be ~

Almost as soon as I gained my Full Equity Union Membership, I decided that I really didn’t want to devote my life to acting.  After I finished working for Virginia McKenna, London Weekend Television came to make a drama called Dark Secret,  a two-part Sunday Night Thriller, shot at my parents’ house in the Cotswolds. Christopher Hodson, the director, thought it would be amusing if we turned up and knocked on the front door in the final scene, so I am regrettably credited is ‘Member of family party’ along with my mother.

Sophie Neville in 'Dark Secret'

Sophie Neville looking scary in The Sunday Night Thriller ‘Dark Secret’ for London Weekend Television in 1980

I’d actually been employed to help the Designer and his assistant modify our house in line with the story. I remember running errands for the Prop-buyer, who had no idea how to acquire action props of a rural nature such as dead rabbits. I got on so well with the LWT technicians that I decided that working on the crew was far more fulfilling that standing in front of the camera with an itchy hair-do. In 1982 I made a decision to opt for a career in television production. What I did not know is how soon Arthur Ransome would come back into my life.

For further details on the dramas I appeared in at this time, please scroll down on my About page.

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