I returned to the shingle beach at Tanner’s Lane on the Solent with my friend, also called Sophie, who took care of the dog while I collected plastic pollution. Having cleaned the same beach seven days ago, all I found was a black plastic lid washed up with a number of micro plastics. I plan to return in another week and begin counting the pieces as an indication of what is being washed up on a 500 metre stretch of the Solent. I guess the amount will depend on whether we have another storm or winter picnic-ers.
We then walked half a mile up the only lane to the beach. I filled my feed bucket with about 5Kgs of crisp packets, cups, flowerpots, a tin and two glass bottles. My friend was interested in how much more rubbish we spotted on our way back to the car. Litter picking is like that. You see into ditches from a different perspective. Cyclists visiting the New Forest were interested to see how much had been thrown onto the verges of the National Park and were horrified to see how much we collected.
We drove through the New Forest the next day, taking note of the verge-side litter. Where does it come from? What kind of motorist can ignore the fact they are driving through a National Park? Cyclists must notice every piece.
I later extracted three items from the Lymington River. Two were cups with plastic lids and plastic straws from McDonalds. The nearest is a 25 minute drive away, yet I often find their packaging. Is it dropped by commuters, visitors or delivery people?
I found an old carrier bag, put on gloves and collected a bag full of litter on my way into town, finding old things like a neck brace left in the street. The bag is deposited in a municipal bin, as advised. What distressed me was looking over the flood barrier to see so much rubbish dumped in the Nature Reserve.
I walked the dog around Bradbury Rings Iron Age Fort in the afternoon, collecting about 20 items of litter. Although ancient rubbish is the life-blood of archaeologists, I think we can spare them Coke tins.
I spent 40 minutes collecting litter, walking through the park and along the Solent Way, passing the Yacht Haven. There seemed to be more litter on the ground than a council operative was collecting from the plentiful municipal bins. I found a brand new bag-for-life before picking up two canisters of laughing gas by the Yacht Club. What can I do but re-cycle them?
Storm Brendan hit us hard for two days but the skies finally cleared and enabled me to get down to the coast to collect plastic bottles and wrappers along with two fishing buoys that had blown in from the Solent. It was a joy to be out in the New Forest National Park and felt good to be doing something worthwhile but can I make a difference?
Lat time ‘Swallows and Amazons'(1974) was screened on BBC Two, at least one film fan held a TV party with a 1930’s theme. Others ‘stoked up the wood-burner and settled down to spend an afternoon re-living summer in the Lake District’, adding, ‘It is as if Christmas wouldn’t be Christmas without ‘Swallows and Amazons’ – a timeless classic to watch again and again.’
For the latest edition of the paperback on ‘The Making of Swallows and Amazons(1974)’ with details of where the film was made and what those who appeared in it are doing now, Please click here
The ebook, entitled ‘The secrets of filming Swallows & Amazons (1974)’ is similar with a few more stories for adult readers and has links to behind-the-scenes cine footage. It can be downloaded from iTunes, Smashwords,Kobo and Amazon Kindle
It would be lovely to hear from anyone who saw it in the cinema when it first came out in cinemas in the summer of 1974 – more than forty-five years ago.
Simon Hodkin kindly sent in this cinema programme that he has kept since watching the movie when he was a boy growing up in North Wales.
Arthur Herbertson managed to track down these rare publicity sheets for ‘Swallows and Amazons’ typical of movie games of the period:
Arthur has a collection of the four jigsaw puzzles and the Puffin paperback that came out with the film.
There was a vinyl LP narrated by the screenwriter David Wood that you can still purchase.
Arthur found a publicity brochure that I had never seen before.
To read comments from people who saw the film at the cinema in 1974, please click here
The original story was written by Arthur Ransome in 1929 ninety years ago, so the film hits the half-way mark between the original readers and today’s audience. It’s funny, the critics in 1974 are asking the same question as raised in the billing this week: Do ‘modern youngsters struggle to relate to such old-fashioned game playing’?
Do add your thoughts to the comments below.
~Billing in the Christmas edition of the Radio Times 2019~
Signing copies of ‘The Making of Swallows and Amazons’ in Cumbria
1 – How did you get the part of Titty?
In March 1973, a letter arrived, out of the blue, inviting me to audition for a role in ‘Swallows and Amazons’. I was twelve years old, an ordinary school girl at a convent in Berkshire. I’d read the Arthur Ransome books but had no idea I was up for the lead in a major EMI feature film intended for a universal international audience. The movie was directed by Claude Whatham. Back in 1970, he’d cast me as Eileen Brown, opposite a boy playing Laurie Lee, in the BBC’s first adaptation of ‘Cider With Rosie’. It was a role that demanded learning a piano piece so complicated it took twenty-one hours to master, but I did it. Claude must have respected my hard work. I was too tall to play Titty but, after a sailing audition at Burnham-on-Crouch, I was offered the part. He cast Sten Grendon, who’d played the young Laurie Lee, as Roger, Suzanna Hamilton was Susan and Virginia McKenna starred as our mother. She later admitted to finding her character rather dull but it was her name, in lights outside cinemas, that drew big audiences. We’ve kept in touch. She is still acting, aged 87, and has led the Born Free Foundation’s international campaign to redeem the lives of wild animals held in miserable conditions since 1998.
With Virginia McKenna on location at Bank Ground Farm near Coniston, in 1973
2 – Why was it so suitable for you?
We loved visiting the Lake District as a family. My father helped the Maryport Button Factory with their publicity and once took us to stay on a farm near Castle Craig above the River Derwent. I spent my childhood camping and messing about in boats, adding a sail made from a dust-sheet to an old rowing skiff. The great thing about the original film of ‘Swallows and Amazons’ was that Simon West, who played Captain John, was an exceptional sailor. He went on to become a national champion. Kit Seymour, who played Captain Nancy, also had a natural command of the waves. It shows on screen. They were able to handle our small boats when squalls rolled down from the fells. I didn’t have their innate understanding of the wind but it was Titty’s job to row everywhere – back from the charcoal burners and off to One Tree Island on Derwentwater. “Pull harder, Roger!” I managed to row Amazon out of Secret Harbour in one take, with the cameraman and a massive 35mm Panavision Camera on board.
Simon West, Suzanna Hamilton and Sophie Neville in Swallow, 1973
Casting-off Swallow was more of a challenge. It doesn’t show on a small screen, but when ‘Swallows and Amazons’ is screened in cinemas, you can spot the sequence when I slip on a rock with the telescope in one hand. I was up to my waist in water but got back on my feet and battled on, waving as the others sailed up Coniston Water. I knew how difficult the shot was to achieve and was desperate to do my best for Claude Whatham.
3 – Did it fire your wish to work in TV?
No! It was directing plays while reading Anthropology at Durham University that ignited a desire to work on television dramas. However, the experienced I’d gained acting in movies helped me win a place on the BBC TV Graduate Trainee scheme. After working on ‘The Russell Harty Show’, I grabbed the chance to cast children on the adaptation of Arthur Ransome’s books set on the Norfolk Broads: ‘Coot Club’ and ‘The Big Six’. I found Henry Dimbleby, then aged thirteen, to play the lead and spent three months on location with Julian Fellowes and Rosemary Leach – who I’d met when she played Laurie Lee’s mother. I later worked on ‘Doctor Who’, ‘Eastenders’ and ‘My Family and Other Animals’, before producing an INSET series, directing one episode at a village school in Cumbria. I began casting children in the Lake District to appear in BBC adaptations of Arthur Ransome’s Lakeland books but they were axed, which was sad, as we were all set to make ‘Swallowdale’ and ‘Pigeon Post’ on the high moors.
4 – What does the Lake District in general, and Keswick in particular, mean to you?
We live on the south coast but take the train north at any opportunity. I’m now President of The Arthur Ransome Society and came up for a fabulous weekend in May when we sailed from the jetty at Bank Ground Farm – Holly Howe in Ransome’s books. I gave an illustrated talk on the secrets of making ‘Swallows and Amazons’ at the Bassenthwaite Institute, using behind-the-scenes photographs taken when we were filming on Derwentwater forty-five years ago. We shot all the scenes involving Captain Flint’s Houseboat in a bay on the western shore. She was played by the Lady Derwentwater, converted for the drama by Ian Whittaker, a talented young set dresser who went on to win an Oscar for set decoration on the feature film ‘Howards End’ starring Sir Anthony Hopkins and Emma Thompson. We shot the lighthouse tree scenes near Friar’s Craig and used Lingholme or One Tree Island for Cormorant Island, where Titty finds the treasure chest. We enjoyed making Ronald Fraser, the film actor playing Captain Flint, walk the plank and sailed up Derwentwater to the strains of ‘What Shall We Do With The Drunken Sailor’, played as the end credits roll. Forty years later, Suzanna Hamilton and I were asked to lunch with Richard Pilbrow the producer of ‘Swallows and Amazons’. Buskers were singing this song outside the restaurant in Covent Garden. We couldn’t believe the coincidence.
Meeting fans of Swallows and Amazons at Keswick in July
I meet people from far and wide who tell me the 1974 film of ‘Swallows and Amazons’ inspired them to visit the Lake District. It has been broadcast on television every year for the last forty years and was last shown in Australia on Boxing Day. It has been dubbed into Czech twice and is often shown at festivals as only ‘U’ certificate movies can be screened outdoors. I just hope this has proved a blessing to the people of Keswick, which I so loved visiting as a child. I thought the 2016 film of ‘Swallows and Amazons’ – that I appear in for approximately two seconds – would overshadow the classic version but it has simply raised awareness along with DVD sales. Fan mail continues to arrive. A beautiful card came today. Arthur Ransome would have been touched. It had fish on it.
Editorial coverage and a literary award for ‘Funnily Enough’
5 – Do you want to mention mental health/physical health issues are always in the news?
I find that many of my readers are stuck in bed or battling with ill-health. I hope they are amused and uplifted in some way by stories in my books. ‘Funnily Enough’, a diary I kept after collapsing at the BBC, is about my own struggle with what I am pretty sure was a tick-bourne disease. I lost my job but recovered in Southern Africa, where I fulfilled Titty’s dream of seeing “forests full of parrots” and produced decorative maps for a living, inspired by Spurrier’s illustration on the original cover of ‘Swallows and Amazons’. I used maps and details from my sketchbook to illustrate a paperback entitled, ‘Ride the Wings of Morning’, which is out in colour as an ebook.
On the crew of the Gloriana in the Boat Race Flotilla in March featured on BBC Television
6 – What else?
People often ask how ‘Swallows and Amazons’ influenced my life, keen to know what I am doing now. I am still keen on rowing. I completed the Voga Longa, a 32 kilometre marathon through the Venetian lagoon with Olympic gold medallist Ed Code and was on the crew of The Queen’s row barge Gloriana for the Boat Race Flotilla this year. This summer, I grabbed the chance to row through the canals of Amsterdam, which was fascinating. However, it was the Amazons bows and arrows that impacted my life. After learning to shoot on the shores of Coniston Water, I was cast as an archery champion in another movie and have since won three Ladies Championships. I met my husband at an archery match. My stepson shot for England in July, winning a tri-annual match against the Royal Company of Archers (so proud!) I gave a talk recently demonstrating how the arrows in ‘Swallows and Amazons were’ fired over my head. The shot looks so dangerous that it was cut from the TV version of the film, but is included in the re-mastered 40th Anniversary cinema Blu-ray version, which we are now able to watch on the big screen.
Rowing in from De Hoop Rowing Club in Amsterdam, July 2018
Much has been written of the legacy left by Arthur Ransome’s, who inspired so many go camping, fell walking or sail the seven seas. I hope he would be amused to learn it has been the arrow, fletched with green parrot feathers, that has flown through the pages of my life.
~Sophie Neville dressed as a medieval archer in 1969~
Archery became a popular sport for ladies in Victorian England. The influence was not lost on Arthur Ransome who writes in his autobiography that his Great-aunt Susan was a keen toxophilite who attended bow meetings at Belle Isle, the long island on Windermere. Another great-aunt was shot in the bonnet by an arrow when the Boxer Rising reached Peking while she was serving as a missionary. I gather it was his sister Joyce who owned a green parrot whose feathers made good pipe cleaners. Did they ever get used for flighting arrows? Arthur doesn’t seem to have taken up a bow beyond, perhaps, playing Red Indians as a child with his friend Ric Eddison. Does anyone know otherwise?
Titty may not have known that the real Queen Bess was a proficient archer, but Roger certainly expected savages to be armed with poison-tipped arrows as he took dispatches across the Peak at Darien.
Did Nancy and Peggy ever don Red Indian head-dresses? Since they are described as wearing red caps when the Swallows first encounter them, I assume this idea was instigated by Helen Edmundson’s musical and reinforced by the 2016 film. Although far from nautical, this is akin to certain antics in Secret Water and certainly adds visual drama to the confrontation.
~Sophie Neville with Peter Robb-King, Ronnie Cogan, Lesley Bennett, Kit Seymour and Terry Smith~
I learnt how to shoot in 1973 when the Amazons were being taught how to pull a bow made of Lakeland hazel for the original movie of Swallows and Amazons. As children, we all wanted a go. I still have a practice bow and a couple of arrows whittled on location by Bob Hedges, our property master. I remember one hitting the campfire. ‘Don’t touch the point – it might be poisonous!’ Please note that the shot of the arrows zooming over our heads looks so dangerous on screen that it was cut from the television version of the feature film. This was no snazzy visual effect. The arrows were genuine, however they were strung on taut nylon fishing line rigged over our heads to ensure we would not get hit. They were fired by the prop men and not the Amazons.
~Daphne Neville who won many archery prizes teaching Lesley Bennett (Peggy Blackett)~
As female Amazon warriors were redoubtable archers it is easy to imagine Captain Nancy bent a sapling to her will and had Peggy making arrows. It is reasonable to assume they used longbows on Wild Cat Island, but in Swallowdale it is a crossbow that graces Ransome’s illustration. How Nancy got her hands on one is unknown but it must have been simpler to use in a boat with discretion and accuracy. Did Ransome ever try this out?
~Sophie Neville shooting with a compound bow in the Emirates 2016~
What happened to the bows and arrows after Swallowdale? Archery is something you usually grow into, rather than out of. By the age of fifteen, I’d gained the part of an archery champion in an adventure movie called The Copter Kids. This necessitated target practice with a modern re-curve bow and ended with me shooting from a helicopter.
I now belong to a number of archery societies and, like Great-aunt Susan, set out with my tabs and tassel, quiver and longbow. Luckily the skill, much like an appreciation of Arthur Ransome’s writing, is something that tends to improve with age. I met my husband at one bow meeting, have held three Ladies’ Championship titles and managed to reach a distance of 145 yards when we celebrated the 600th Anniversary of Agincourt.
I have never fired a crossbow. Since they are potentially lethal weapons, Nancy could have been detained for firing hers even if the tip was not deemed poisonous.
I have been sent a copy of a letter written to a reader by Arthur Ransome in June 1955, revealing where some of his locations can be found. I was interested to read that, ‘the lake is mainly Windermere with some things stolen from Coniston.’
This summer, we spent a long weekend with The Arthur Ransome Society when we managed to find quite a few locations around Coniston Water that are featured in Ransome’s books.
~Low Yewdale Farm, near Coniston ~
The curator of the John Ruskin Museum took us on a walk around the village of Coniston and under the Yewdale Crags towards Tarn Howes. We passed Low Yewdale Farm where Arthur Ransome stayed as a young man. It is just as I imagined Swainson’s Farm in ‘Swallowdale’. The footpath takes you down to the beck where Ransome fished for brown trout. I could imagine Roger attempting to tickle trout there.
If you follow the path on south, then branch left up the East of Lake Road around Coniston Water, you will find another footpath leading to Bank Ground Farm.
A hand-painted sign guides you through fields, where Galloway cows maybe grazing. Look up and you will literally find yourself at Holly Howe, the long white farmhouse where Mr and Mrs Jackson live in ‘Swallows and Amazons’. You can imagine the Walker children running down the meadow to the Peak of Darien.
~ Dr Ernest Altounyan rigging Mavis on Coniston Water~
It was here that the Altounyan children, Taqui, Susie, Titty, Roger and Brigit spent one summer holiday in 1928, while visiting their grandparents who lived next door at Lane Head. They learned to sail on the lake in two dinghies: Swallow and Mavis, later re-named Amazons, who can be visited at the John Ruskin Museum in Coniston.
~Bank Ground Farm in Cumbria where the movie ‘Swallows and Amazons’ (1974) was made~
The barn, inside which we filmed some of the night sequences for the original movie of ‘Swallows & Amazons’, has been converted into self-catering holiday accommodation that can house a number of families quite easily. From here you can run down to the boat shed where John, Susan, Titty and Roger found Swallow and imagine them setting off on their voyage to Wild Cat Island leaving the Fair Spanish Ladies on the stone quay.
~The boatsheds below Bank Ground Farm, on Coniston Water~
Wooden jetties have been added recently and it is possible to either launch your own boat or hire a kyak from Bank Ground Farm.
~The northern end of Coniston Water~
We had a bedroom in the barn that looked north towards the Langdales. If you walk up the farm drive, you can look back towards Coniston Old Man, Kanchenjunga, which the Walkers and Blacketts climb in ‘Swallowdale’.
~Bank Ground Farm with the village of Coniston beyond~
Arthur Ransome was taken up the Old Man of Coniston as a tiny baby. You can climb it today but wear more than sand shoes. Stout walking boots are called for. The task of reaching the summit should not be underestimated.
We were able to get out on the lake to find a few more locations. This red-sailed dinghy, named Peggy Blackett, is a copy of Arthur Ransome’s Cochybundhu, used as the model for Dick and Dorothea’s boat Scarab.
~Sailing on Coniston Water towards the village of Coniston~
It is a long way down Coniston Water to Peel Island but it is there that you will spot the Secret Harbour, instantly recognisable as belonging to Wild Cat Island. We went there in the SL Gondola, that now belongs to the National Trust. Ransome knew the steam launch as a boy when he made friends with the captain.
~ Secret Harbour on the southern end of Peel Island, Coniston Water ~
In the cemetery of Coniston village I found the grave of Titty Altounyan, the girl who inspired Arthur Ransome’s well-loved character. I never met her but was with her niece Barbara that long weekend in Coniston, when we both thoroughly enjoyed walking, sailing and steaming along in Ransome’s footsteps.
~ Sophie Neville visiting Titty Altounyan’s grave in Coniston ~
For details of more locations at the southern end of Coniston Water that are featured in the Swallows and Amazons series of books, please click here.
I went on BBC Radio Cumbria, to ask if I could meet anyone involved in filming the original film of ‘Swallows and Amazons’ (1974), since it was made on location in the Lake District with a young crew.
~Nick Newby of Nicole End Marine~
Nick Newby of Nichol End Marine in Portinscale came to find me just before I was about to speak at the Keswick Alhambra. As a young man in the 1970s, he provided boats for a number of films and was contacted by Graham Ford, the production manager of Swallows and Amazons in the Spring of 1973. Graham had began working with Mike Turk who had started building boats for TV and films at his family firm, Turk’s Launches, but this was based on the Thames in London. They needed help from someone in the Lake District who knew about traditional boats.
~Ronald Fraser being trransported by Dory to The Lady Derwentwater in 1973~
Arthur Ransome had clearly based Captain Flint’s houseboat on the Esperance, originally a steam launch cruising on Windermere. You can read more about her and see photos here. ‘Since she was sitting on the bottom of Whitecross Bay at the time,’ Nick told me, ‘the film crew decided to use the Lady Derwentwater.’ This was a launch licensed to carry 90 passengers that Nick had worked on and knew well. ‘She is about 58 foot long and quite a rigid boat, having four full length steel RSJs set inside her. She was built the Lakes in 1928. We moored her at Brandelhowe in Great Bay for the filming. You need to be careful getting in, as there is a rock shelf.’ The advantage of using her was that you could see the view over the lake from her large cabin windows, which enhanced interior scenes. The Lady Derwentwater, whose nick-name is Dishy, has since been re-built with a different stern, but you can book a passage and go out on the lake in her yourself.
~The Lady Derwentwater today~
Nick told me that Captain Flint’s eight foot Wright’s dinghy, the houseboat’s tender, had been made by Wright’s Brothers of Ipswich. The Jackson’s ‘native canoe’, rowed out to Peel Island by Virginia McKenna was ‘a family fourteen’ Wright’s sailing dinghy with a centre case. He knew many of the traditional boats in the Lakes. ‘I served me time as a yacht and boat builder at Shepherd’s in Bowness Bay.’ This company was based the green double-story boat sheds featured in the ‘Rio’ scenes. ‘During the winter we used to have to break the ice on the buckets of water when we were rubbing down boats. The sail lofts had a square panel in the apex so we could poke the 8 to 10 metre masts inside. A boom could go up the stairs but a mast certainly couldn’t. ‘
~Virginia McKenna with Sophie Neville and DoP Denis Lewiston~
‘Amazon belonged to a chap called Vosey who was rather reluctant to let her be used for the filming,’ Nick said. ‘We did her up a bit after the filming.’ I gather she had been used in the black and white BBC serial of Swallows and Amazons made in 1962 when Susan George played the party of Kitty.
~Swallow sailing towards the filming pontoon in 1973~
I believe Swallow had been found at Burnham-on-Crouch as she was built by Williams King and Sons. Mike Turk, who had built a shallop for the 1966 movie ‘A Man For All Seasons’, purchased her for the film and brought her up to the Lakes. She had no added buoyancy. Nick claims that being a wooden boat she would never sink but I reminded him that we came close to hitting the MV Tern on Windermere when loaded with camping gear, which was a bit scary.
Swallow was later used at Elstree Studios when the sound was dubbed onto the finished film. Mike kept her out of the water in his store at Chatham until SailRansome bought her at auction in 2010. She was sensitively restored by Pattersons, has a new sail, added buoyancy bags and is now available for anyone to sail in Cumbria.
~Mike Turk’s filming pontoon with Swallow attached in 1973~
‘Mike already had the flat-bottomed filming pontoon. It had originally been used for carrying a vehicle. We added twin outboard engines and rigged scaffold under the water so that either Swallow or Amazon could be attached to it but still keel over naturally as they sailed. When the dinghy went about, I would turn one outboard and thrust the other into reverse so that the pontoon went about with them.’ I remembered that the first time they tried this Swallow’s mast footing broke. Amazon’s mast-gate broke on another occasion. Nick had to persuade a friend to let him borrow his welding workshop and managed to mend it over night, so that she could be ready on set first thing the next day.
~The camera pontoon, Capri and one of the Dorys used behind-the-scenes~
Nick went on to say the pontoon leaked a bit. ‘We would have to pump out hull every morning.’ The Capri used behind the scenes was Nick’s equivalent of a marine Land Rover. ‘It had a reinforced glass fibre hull for increased capability and a 55-horse power engine that had been used for the Olympics. We used it for Ken Russell’s film ‘Tommy‘, the rock opera with Roger Daltry and The Who. Once, when we were using it for Swallows and Amazons, Clive Stuart shoved it into gear with rather too much gusto. Someone only just managed to grab the director, Claude Whatham, before he was flung over the back. ‘Claude was spitting feathers after that.’
~Suzanna Hamilton, Simon West, Sophie Neville & Sten Grendon with David Stanger at the helm of the Dory in 1973~
Mike Turk provided two Dorys, built at his yard, to use as run-around boats. One was driven by David Stanger who is now skipper of a launch on Ullswater. It was a stable boat but you needed to watch how it was not overloaded. Water came over the bows one day giving my mother rather a shock.
~Nick Newby at the Alhambra cinema in 2018: photo Marc Grimston~
‘The boating world is a small world,’ Nick assured me. This July, forty-five years after making the film, he brought his grand-daughter to watch ‘Swallows and Amazons’ at the Alhambra Cinema in Keswick and gamely came up on stage for a Q&A to explain how some of the sailing scenes were achieved.
Mike Turk, Swan Upper and Queen’s Waterman, who provided boats for numerous films from Moonraker to Hornblower, sadly passed away aged 78. You can read his obituary here. He went on to work on a number of James Bond movie. You can see his film credits here.
A group of Arthur Ransome enthusiasts clubbed together to buy Swallow from Mike’s collection in 2010. She is currently kept on a trailer at Kendal in the Lake District. If you would like to sail her, please visit SailRansome.com
For Nicol End Marine, about two miles outside Keswick on Derwentwater please click here
You can see Swallow – and learn of her value – on BBC Antiques Roadshow, towards the end of the first episode recorded at Windermere Jetty museum in September 2020. It is on BBC iplayer here
The 45th Anniversary of filming the original film ‘Swallows and Amazons’ on Derwentwater, when Ronald Fraser was obliged to walk the plank in a solar topi in July 1973, was marked by a special screening of the film at the Alhambra in Keswick.
Kerry Derbyshire, who played Vicky’s nurse came on stage and we demonstrated how one of the visual effects was achieved.
I brought one of the original arrows that the Amazon pirates fired over my head. It looks so dangerous on film that the shot was cut from the television version but is included in the re-mastered cinemascope edition that we are now able to watch on the big screen. You might be able to spot a few other things that went wrong while we were filming, such as the time I inadvertently slipped up to my waist in water.
Nick Newby from Nicole End Marine came along to tell us how the elegant Lakeland steamer, the Lady Derwentwater, had been converted for her starring role as Captain Flint’s houseboat. She was appropriately dressed for the part by the award-winning set designer Ian Whittaker, who went on to receive an Oscar for Best Art Direction on ‘Howards End’ starring Sir Anthony Hopkins and Emma Thompson. His astonishing list of nominations can been seen here.
Swallow, the 1930s sailing dinghy used in the original film, was at the lakeside for Arthur Ransome enthusiasts to admire. She is looked after by Rob Boden, from Kendal, who is happy to take people for a sail by prior arrangement via the SailRansome website here.
I was invited to talk about making the BBC TV classic serial ‘Coot Club’ and ‘The Big Six’ at the Norfolk Broads Yacht Club to help celebrate their 80th Anniversary. Titmouse, then 1930s dinghy owned by Hunter’s Yard had been brought down from Ludham for the occasion.
The bonus was that I was able to go sailing in one of the classic boats gathered at the club for their Open Day.
Geoff and Rose Angell kindly took me out on Pippa, their beautiful yacht with brown sails that appeared in ‘The Big Six’. I am sure Arthur Ransome would have loved her.
I’d spent nine months working with the BBC production back in 1983 when it had been my job to cast the children and teenagers who appear in the drama, many of whom needed genuine Norfolk accents.
We had been looking for young actors who could swim well and were able handle boats. We then spent three months filming in East Anglia when I looked after the children and helped rehearse their lines. I set up this shot for the cover of the Puffin paperback that accompanied the series.
~Author Sophie Neville giving a talk at the Norfolk Broads Yacht Club~
At a forum organised after my talk, Pat Simpson from Stalham Yacht Services explained how he found one of the stars of the series – an old lifeboat suitable to play the Death and Glory. She had been brought from where she is kept at Belaugh for the evening. You can see more photographs of her in the previous blog post here.
Pat provided a number of other vessels for the series including Buttercup and support boats such as the safely boat, a large modern cruiser used as a school room along with another for the costume and make up personnel. He explained that this came as a god-send as boat rentals had not been good that summer. Working on the series was harder than he imagined, ‘We once had to take a boat from Regan to Horning Hall overnight’ but he was pleased that ‘after three months of concentrated work, we got it all done.’
Robin Richardson, who co-owned Pippa back in 1983, explained how the shot of her being cast adrift was achieved. This wasn’t as easy as first thought as even when Simon Hawes, who was playing George Owdon, flung her stem line on the deck, a gentle breeze was blowing her back against the staithe. ‘Pippa didn’t want to go anywhere’. Robin had to stage the action by throwing out a mud anchor, climbing under her awning and pulling on the line to create the effect of a boat drifting out of control into potential danger. Pippa’s white canvas cover is pulled back here, but you can imagine the scene.
He was on location when Henry Dimbleby, who played Tom Dudgeon, was attempting to tow the Teasel under Potter Heigham bridge. He was rowing Titmouse, pulling hard on the oars but nothing was happening. ‘Stop for lunch,’ Robin advised the director, ‘and the tide will turn.’ This they did, and Henry we able to row under the bridge, towing the Teasel quite easily. Hunter’s Yard, who own Lullaby, who played the Teasle, could not bring her down for the weekend as she had been leased out with other boats, but they sent her transom, painted with her stage name.
Robin Richardson owns the ‘Slipstream’ class dinghy called Spindrift who played Shooting Star in the serial. She was built by her father but couldn’t be with us as they were not able to complete her winter maintenance in time but Richard Hattersley said she came tenth in this year’s Three Rivers race when only 15 of the 98 entries actually finished. It’s a 24 hour endurance challenge, which they completed despite light winds. He sent me this shot, ‘of her battling it out with much larger Thames A Raters.’
I was shown a wonderful black and white photograph of the vessel used to play the Cachalot. She was skippered in the series by the film actor Sam Kelly in the role of the unnamed pike fishermen who the Death and Glory boys simply called ‘Sir’. She is seen here with John Boswell, her real owner who has sadly passed away. His son, the artist Patrick Boswell, brought along an album of behind-the-scenes photos.
The theme of the weekend was ‘Boats of the 1930s’. I explained how Swallow, the dinghy used in the original film ‘Swallows and Amazons’ originally came from Burnham-on-Sea where she was made by W. King and Sons to be used as a run-a-round boat. She was stabilised by a keel that ran the length of the hull, as Ransome described. It makes her rather difficult to turn. You can sail her today and is in the Lake District right now. Please see Sailransome for details.
There was quite a bit of interest in memorabilia from the original movie ‘Swallows and Amazons’. I bought along the white elephant flag captured from Captain Flint’s houseboat in the 1974 film, which was approved by a young Amazon pirate.
After a celebratory dinner, David and Nicky Talbot invited me to spend the night in the comfortable for’ard cabin of Kingfisher, a 1970’s motor yacht moored at the club.
I woke early on the Sunday morning to find mist hanging above the water as the sun was rising on what proved to be another sunny day with a fair wind for sailing.
After breakfast aboard, I was invited out in the 1930s river cruiser ‘Water Rail’, who had also appeared in the serial. We took her down the River Bure to her mooring in Horning where she is still part of the scene.
It was wonderful to be out on the waterways of Norfolk, passing traditional buildings. This was a stretch of river never featured in the television drama as Rosemary Leach, who played Mrs Barrable, took Dick and Dorothea from Wroxham to Horning in a trap pulled by Rufus the pony. One reason for this was that in 1983 we had to use the North Norfolk Steam Railway, since Wroxham Station had been modernised but Joe Waters, the producer, said he wanted to add variety by featuring a pony rather than a motorboat.
We encountered a number of period cruisers, although Janca, who we used to play the Hullabaloos’ Margoletta, sadly could not be with us, as she is still under repair.
However, by motoring into Horning ourselves, we passed The Swan Inn and Horning Staithe where a number of scenes had been shot, including some that featured Julian Fellowes and Sarah Crowden, playing the hated Hullabaloos. You can see photographs of them in an earlier post here.
~Horning in Norfolk showing The Swan Inn and Horning Staithe where boats are moored~
Another vessel that interested me was a river launch that reminded me of the 1901 steamboat Daffodil, which I renovated with my father in 1978. I have photographs of her here.
You can read more about the traditional boats used in the series by clicking here.
Gerry Spiller, has written from Woodbridge in Suffolk, to say that she has found an oar labelled TITMOUSE, bought at a boat jumble. Could this date from the early 1930? Does anyone have the pair?
The DVD of the serial is now available on a re-mastered DVD, available from Amazon here
(Do not be tempted by the old version with a more colourful cover as the image quality is very poor)
~Sophie Neville with the yacht ‘Goldfish’ sailing on Wroxham Broad~
In May 2018, I travelled up to Wroxham for the Norfolk Broads Yacht Club’s Open Day. They were celebrating life on the Broads in the 1930s, along with the books by Arthur Ransome’s that are set in East Anglia.
We were blessed by such glorious weather that almost everybody seemed to be sailing when I arrived.
A number of vessels that appeared in the BBC TV adaptations of ‘Coot Club’ and ‘The Big Six’ entitled ‘Swallows and Amazons Forever!’ were on display at the club, including Titmouse, the dinghy belonging to Tom Dudgeon in the story, that normally resides at Hunter’s Yard in Norfolk. She is no longer seaworthy.
Tom’s punt, the Dreadnaught was pulled up alongside an elegant Edwardian skiff called Joan B that was once set adrift at Horning by George Owden. She had been brought along by Pat Simpson, a member of the Norfolk Broads Yacht Club.
Pippa, a classic broads river-cruiser with dark sails belonging to Geoff and Rose Angell, was cast adrift at Horning in the dark of night. She came to no harm and was now out on the water, racing against a 1904 yacht with white sails, number 4, called Swallow.
‘White Boats’ or ‘Yare and Bure one-designs’ originally brought out in 1908, were also racing as they have been since the Farland twins, Port and Starboard, crewed for their father in ‘Coot Club’. Ransome refereed to a white boat called Grizzled Skipper who belonged to Chris Shallcross, but no one could remember which of the 140-odd White Boats registered was used in the series. Many members of this class of 20 foot half-deckers are named after moths or butterflies. You can see a fleet of White Boats here racing at Horning, the Swan Inn in the background:
I spotted ‘Brown Boats’, a Broads’ one-design with a distinctive counter stern and spoon bow, which would also have been seen racing in the 1930s. They were first built in 1907 and although a few were lost during the war there are still 88 in existence, although some now have fibre glass hulls. Number 61, called Hanser, is owned by Danny Tyrrell.
Lullaby, who played the Teasel in the series, was up at Horsey Mere with other from her fleet but we had her costume on display. It is a varnished transom painted with the name Teasel. Janca, the motorboat who played the infamous Margoletta, hired by the Hullabaloos, was unable to come as she is currently being renovated, but Water Rail, a Herbert Woods Delight Class B 1930s cruiser belonging to Liz Goodyear was safely moored alongside other classic boats. She appeared in the back ground of several scenes in the television drama.
I then spotted a distinctive burgee that took me back thirty-five years:
Bird Preservation Society – it was the flag belonging to the Death and Glory, flying next to ‘the little old chimney’ made from a galvanised bucket.
Originally a German lifeboat washed up on the beach at Southwold, she had been bought for the series by Pat Simpson of Stalham Yacht Services, who found her moored at Snape in Suffolk.
Pat kept her for his sons to take out on the Norfolk Broads and it has been operated by children as Death and Glory, ever since.
It must have taken a bit of work to make her sea-worthy but tarred and fitted-out correctly, she closely resembles Arthur Ransome’s illustrations, the homemade cabin mysteriously larger inside than out.
I was asked to sign a copy of ‘The Big Six’ bought along by Professor John Farrington from Aberdean, who acquired the Death and Glory for his own children in 1989.
‘I took them to the boatyard and suggested they climbed aboard. “Get on!” ‘They were aged ten and eleven.’
‘”But what about the owners?” they asked.’
“You are the owners,” I told them.’ He had just bought it for them as an unexpected present. ‘Before long they rowed it from Stalham to Sutton and back.’
This year is the 80th Anniversary of The Norfolk Broads Yacht Club, which is why they have a 1930’s theme running through their calendar. The day proved a true celebration of traditional boats that would have been seen back then.
I had been asked to give a talk about filming the series, which I will relate in my next blog post. The re-mastered DVD, for which I wrote the DVD extras, is available on Amazon here:
You can read more about how these boats were used in the series here