Copyright Sophie Neville
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To read the filmography posts about the 1974 film please go to ~ https://sophieneville.net/category/autobiography/
Nominate your favourite British Film (hint!) on the Radio Times website
From the Radio Times website:
Here are Barry Norman’s 49 top British films:
Barry Lyndon (1975)
Black Narcissus (1947)
The Bridge on the River Kwai (1957)
Brief Encounter (1945)
Chariots of Fire (1981)
A Clockwork Orange (1971)
The Cruel Sea (1952)
The Dam Busters (1954)
Dr No (1958)
Don’t Look Now (1973)
Four Weddings and a Funeral (1994)
The Full Monty (1997)
Get Carter (1971)
Great Expectations (1946)
Gregory’s Girl (1980)
Henry V (1944)
I Know Where I’m Going! (1945)
The Ipcress File (1965)
Kind Hearts and Coronets (1949)
The King’s Speech (2010)
The Lady Vanishes (1938)
The Ladykillers (1955)
Lawrence of Arabia (1962)
The Life and Death of Colonel Blimp (1943)
Local Hero (1983)
The Long Good Friday (1979)
A Matter of Life and Death (1946)
Monty Python’s Life of Brian (1979)
The Railway Children (1970)
The Red Shoes (1948)
The Remains of the Day (1993)
Saturday Night and Sunday Morning (1960)
Secrets & Lies (1995)
Sense and Sensibility (1995)
The Servant (1963)
Shakespeare in Love (1998)
The Third Man (1949)
The 39 Steps (1935)
This Sporting Life (1963)
Whisky Galore! (1949)
To enter, tell us which film you think is missing from this list.
I recently found a family photograph album with pages illustrating holidays spent under sail in the 1930’s.
Not all the black and white photographs are as horizontal or as sharply in focus as one might wish but they show the glorious boats available for hire
and reflect what fun was had out on the water.
We were rather shocked by the cigarettes held in the mouths of the young men but Joan is ninety-nine now and still agile.
Having sailed on the Broads with friends, my father hired a Hullabaloo boat to take us out when we were little.
We went out of season, when boat hire was cheaper. As there was no one on the water my father let me take the helm mile after mile, despite the fact that I was only about seven years old.
We loved living aboard and were often surrounded by wild geese.
It seems Arthur Ransome, who had fished on the Broads with Titty’s father, Ernest Altounyan, in 1923, also enjoyed cruising in the spring. His biographer, Roger Wardale, said that ‘Both the Ransomes liked to visit the Broads just after Easter, before most of the motor cruisers had started the season and it was the best time of year for birdlife.’ He went on to describe how Arthur Ransome kept a log of his three weeks spent in a Fairway yacht, the essence of which he used to write Coot Club in 1933/34. ‘As well as visiting Roy’s of Wroxham, tying up at Horning Hall Farm and watching the racing boats go by, towing through bridges, mooring beside a Thames barge at Beccles and watching a fisherman catching eels with a bab, there are numerous details that combine to make Coot Club a valuable account of the social and natural history of the Broads as they were more than 70 years ago.’
Roger Wardale illustrated his book Arthur Ransome Master Stroyteller , using wonderful photographs and sketches by Arthur Ransome, including a very jolly one of the Hullabaloos that had not been published before. Do get hold of a copy of the book, to read the chapter on Coot Club for yourself.
One of the questions I was asked when we returned from filming ‘Swallows and Amazons’ in 1973 was about the food. This could only properly be answered by going into considerable detail.
When on location, our breakfast, coffee, lunch and tea were provided every day from the back of a location catering van staffed by a couple called John and Margaret who had come up from Pinewood. My mother always refered to their van as ‘The Chuck Wagon’. There wasn’t perhaps as wide a choice as there is with location catering today, but good hot meals were produced on time, whatever the weather and wherever we might be. If we ever filmed on a Sunday there would be a full roast meal. At other times they would enchant us with a choice that might include spaghetti, a dish that was new to England – or at least where we lived – in 1973. It was the kind of special meal that my mother would cook for a dinner party, served with a spoon and fork so you could swirl the pasta properly. As children we were allowed to go to the head of the queue so that we could avoid having to queue up in the rain. We’d take out plates to tables in one of the red double-decker buses. You could help yourself to knives and forks and paper napkins on the way in. We had to be careful not to get food on our costumes.
I remember when location caterers first started providing salad buffets in addition to hot lunches in the 1980s. It was such a relief not having to queue. Salads were not regarded as food for the working man back in the early 1970s but Suzanna thought otherwise. Indeed she would eat little else.
Despite the fact that Suzanna often only ate tomato sandwiches for lunch, the catering budget must have been considerable. The call sheet always seemed to specify ‘LUNCH for approx 70 persons’. When friends came to visit us on location my parents were sensitive to this and bought a picnic, which was very much how we lived normally. This was always carried in a wicker basket and set out on a car rug, cold squash in one thermos flask, hot coffee in another. Triangles of processed cheese with ham and pickle sandwiches. No cool bags or bottles of wine. You couldn’t buy ready-made sandwiches from petrol stations or supermarkets then but if you went to a bakery they would make you a filled bap while you waited.
As anyone who has read Arthur Ransomes’ books will know, the Swallows were very organised when it came to provisions. Milk from the farm, buttered eggs, seed cake, apples, molasses (toffees) and grog – I loved it all. I wasn’t too sure about fried perch but the pemmican and potato cakes cooked by Man Friday with a great knob of butter were utterly delicious. And I loved the buns from Rio. We didn’t have peas to shell on the film. Apples must have seemed a realistic alternative.
Again we have to rely on The Mate Susan for details. Surely she was modeled on Ransome’s own efficient wife Evgenia? In this extract from her diary Suzanna mentions that Richard Pilbrow’s two children came to watch the filming. She knew Abigail from London.
Mum became worried quite early on that Suzanna wasn’t eating enough. The solution came when she was taken out to dinner at a restaurant where she was able to chose from a wide menu.
As a result Suzanna was often given steak for supper back at the Oakland’s Guest House while the rest of us had whatever was on offer, which was a bit of a swizz.
Suzanna was of course completely right about insisting on eating salads and fresh fruit. She chivvied, encouraged and begged both the caterers and Mrs Price for more and more fresh raw food. She loved strawberries. Virginia McKenna won her heart by bringing her two boxes of fresh strawberries when she was ill with tonsilitis at the start of the filming. These would have been early English strawberries and a great treat in 1973. John and Margaret managed to find enough for us all later in the summer. They were presented in a manner that would have pleased the men working on the film crew but Mate Susan wasn’t so happy about this.
I’ve included this photograph before but it provides proof that food was an important issue. Please note that Mate Susan is first in line, inspecting everything on offer.
Before Jean McGill arrived at the Oaklands Guesthouse in Ambleside, to transport us to the location, a letter arrived. It was from my Daddy who somehow must have found time to post a quick note while taking my sisters to school. We were, indeed, all looking forward to the wrap party to be held that evening. There was much to do before it started. Twelve scenes are listed on the Unit Call Sheet and it was pouring with rain.
Here we are – it was Ernie Russell who was in charge of the action and support boats. Does anyone knowwhere he is now? The day proved difficult and wet, but everyone was in high spirits. It was the last day for most.
It was a great Wrap party, held at the unit hotel. Suzanna noted that it didn’t start until 10 O’clock. 10pm! Very grown up. It must have been the talk of Ambleside. Mum took off her Donny Osmond hat and wore a long high-collared dress in pink gingham. I wore the brown and black velvet pinafore dress Mummy and Daddy had bought me in Carnaby Street when we went up to London for my first interview with Claude Whatham. Everyone was kind and jolly. For a while the party revolved around us. We enjoyed the dancing so much didn’t want to leave, but it was evident that the adults wanted to start to play. As you can imagine, no one could persuade us to go to bed. Jean McGill saved the evening by organising a conga. Having led a sheltered life I had never danced the conga before and thought it the greatest fun. Luckily the Carnaby Street dress was well designed for the job. We conga-ed around the Kirkstone Foot Hotel with the entire crew. Somehow we ended up conga-ing into her mini-bus and were whisked back to Oaklands before midnight.
This clip shows Jean McGill (in red) with Sophie Neville (in blue tracksuit top) and Albert Clarke our stills photographer. Our Chaperone, Jane Grendon, is teasing Terry Needham, the second assistant director. Simon West, playing John Walker, stands by Derwentwater in costume. Neville C Thompson (in yellow shirt) smiles at our glamorous tutor Margaret Causey while Graham Ford and others get into a support boat. Actor Ronald Fraser walks towards the lake and waiting boat, followed by hairdresser Ronnie Cogan. You can see Swallow in the background whilst Jean McGill chats to my mother, Daphne Neville who is wearing her yellow, flowery Donny Osmond hat. She originally had a pink flowery version, which Claude admired (and wore himself) but it blew off and sunk to the bottom of the lake.
We have the clip from Country Tracks presented by Ben Fogle, that includes interviews with Director Claude Whatham, Lucy Batty of Bank Ground Farm, Suzanna Hamilton and myself discussing the swimming scenes, with the unique behind-the-scenes footage my father shot on 16mm film, with his Bolex camera back in 1973. You might have seen a longer version of this on Countryfile and Big Screen Britain. I am yet to receive residuals.
Since promoting my books at the London Book Fair 2012, great things have been happening ~ we have made it into the rank of ‘Bestselling Books’.
Funnily Enough has raced up the charts, and at the time of writing is in the upper Top Ten for Humour, Parenting & Families, and Self-Help!
~ Please see my ‘News’ page for stories ~
Ride the Wings of Morning is selling well. It is about the ‘Swallows and Amazons’ type of lifestyle that I led in Southern Africa after leaving the BBC. It is a book of letters, illustrated with sketches and maps that are in keeping with the inheritance Titty left me. Richard Pilbrow, the Producer of the movie Swallows and Amazons has kindly reviewed it ~ please see Reviews page