25th May ~ When I first started drawing maps

I did not know it at the time but Titty’s chart had a profound influence on my life.

I loved drawing the map. I had prepared it earlier with Simon Holland, the Art Director, and always regret pressing too hard. If you look very carefully you can see that I had already written ‘Rio’ and rubbed it out, only to write Rio again when it came to the take.  I also wish that I had been taught the song Away to Rio before this scene as I would had said that line differently. Never mind.

 I think that the map on the end papers of Arthur Ransome’s book of Swallows and Amazons, originally drawn by Steven Spurrier, are an inspiration to millions. I’ve gazed and gazed at it.

When I grew up and went to university, I took a course in cartography that was to stand me in good stead.  In the spring of 1992 I migrated to Southern Africa with the swallows and soon started drawing decorative maps. These were all very much like Spurrier’s. I added small pictures of settlements, trees, animals, and always a compass with a black and white border to give the scale. In the process I was able to explore the most wonderful country. Most of my commissions have been of game reserves or great swathes of Africa. I have mapped areas of the Okavango Delta in Botswana, the Waterberg Plateau in South Africa, one of the Malilangwe Conservation Trust in Zimbabwe and a map showing how to cross the Namib Desert on a horse. I’ve mapped Jembisa Game Reserve, Triple B Ranch  and Ongava on the Etosha border. I have also drawn maps of military zones, ski resorts and stately homes.  Some have been for charities such as Save the Rhino Trust, others for books, others for marketing holidays. They all gave me the excuse to go on living a Swallows and Amazons life, camping in wild places and exploring wilderness areas – uncharted territory. My final map – for I don’t think my eyesight will let me draw any more – was to direct guests to my own wedding, not so very long ago.

As I expect Titty would have done, I am now writing about these maps and the adventures I had in making them, currently putting everything together in a travel book call Ride the Wings of Morning. I have a couple of very early maps in my first book Funnily Enough. These were just sketched in my diary but one is of Windermere, where I went with my father and the Steam Boat Association, so I think it would be of interest to Arthur Ransome enthusiasts.

A map of Windermere sketched in Sophie Neville’s Diary of 1991 that has been recently published as the book ‘Funnily Enough’

Holly Howe on the 5th day of filming ‘Swallows and Amazons’ near Coniston in 1973 ~

Holly Howe again  or back to Bank Ground Farm ~

My diary

My diary

When you next go to Bank Ground Farm you must stand outside and imagine the sight of two red London Route Master buses making their way down the drive.  They swayed from side to side.  We thought it comic. I still can’t work out how they managed to avoid how bringing down the dry stone walls. While sheep grazed around us outside in the rain, we made ourselves comfortable at the Formica tables in our school bus and got down to our lessons. I am sure it was good for us to be kept busy.

Bank Ground Farm
Bank Ground Farm above Coniston Water in Cumbria

Meanwhile Ian Whittaker, the Set Dresser, and Simon Holland, the Art Director, transformed two of Mrs Batty’s upstairs rooms into the Walker children’s  bedrooms of 1929. I changed in the cold and was rushed through the rain with a coat over my nightie to the magical atmosphere of the set, warmed by the lights with everyone’s focus on what was just in front of the camera; me reading a beautiful edition of Daniel Defoe’s classic. Claude needed to establish that Robinson Crusoe was Titty’s hero. I can remember having to hold the book in special way so the cover could be seen clearly. I described this as ‘a bed scene’, which might amuse some actors, especially those who are not at all keen on doing bed-scenes (every actor I know). The beds themselves are probably still at the farm.

The LP
Sophie Neville, Virginia McKenna and Simon West on the cover of the ‘Swallows and Amazons’ LP, which is still available on Amazon.co.uk

I expect they shot the scene where John is learning Morse Code in bed before my scene. Simon West had to be made very brown indeed, the Make-up Designer dabbing away with a tiny sponge, for the uneasy sequence, much later in the story, when he came to explain himself to his mother. This was shot with Virginia McKenna sitting at a writing desk in the square bay window, with the view of Coniston Water beyond. I sat there myself when I was making Swallow’s flag.

Virginia McKenna and Lucy Batty at Bank Ground Farm on 15th May 1973

Mrs Batty later explained to me that the bay window leaked terribly and she was glad to get rid of it. She now has a lounge area there, which is dedicated as a Swallows and Amazons room.  I was chatting to her back in 2002 when we were waiting for Ben Fogle and the BBC crew of Countryfile to return from looking for other locations used in the film before interviewing Suzanna Hamilton and myself at the farm. The problem was that Suzanna’s train was terribly delayed. We waited and waited and waited. It got later and later. When her taxi finally arrived I was so excited to see her I grabbed her and made her run down to the lake to see Amazon, the dinghy we had sailed together, which was there at the time. The poor director must have been at her wit’s end. Ben Fogle had to come down to fetch us. My excuse was that Suzanna must have needed a stretch after such a long journey. The Westmorland Gazette captured the three of us plodding back up the field before we sat on the grass for our interview.

Countryfile

Ben Fogle, Sophie Neville, Suzanna Hamilton and the BBC crew recording Countryfile at Bank Ground Farm in October 2002

I did the whole interview holding a bottle of grog, which the Arthur Ransome fans who were staying at the farm gave me. You can see it in the photographs if you look closely.  I don’t think Ben knew what it was.

It was into this interview that my father’s 16mm footage of the making of Swallows and Amazons was cut, with such success that the documentary was re-shown as Big Screen Britain. What I didn’t know was that Ben Fogle was born in 1973 after we had made the movie. It was only once the crew had disappeared that Suzanna and I really began to talk.

The clock is, indeed, still on the mantelpiece at Bank Ground Farm

It is aways wonderful to hear how the film of Swallows and Amazons has effected people’s lives.  I have just had such an interesting e-mail from Australia that I asked if I could post hit here. I only wish that Claude Whatham was alive to read it.

Did anyone else know about the the clock on the mantelpiece at Bank Ground Farm?

                                                                          then                                                                       now
Dear Sophie,
I can not tell you how much I am enjoying your website. I’ve searched for scraps of material regarding the making of Swallows and Amazons for decades, but you post more information in one day than I gleaned in a lifetime. It’s a fabulous insight, and one I really appreciate.
I became a film-maker largely because of Swallows and Amazons. I’ve written a small piece about this, which is going to be published in a promo for one of my film-making books. As a nine year old, I stumbled across Wild Cat Island just days after seeing the film. I was so thrilled to be standing where the film had been made, and so excited to see how clever use of the camera could exaggerate the feeling of a location and capture the magic of performance, that I set out to discover everything I could about film. It was a life-changing moment.
My daughters (5 and 7) adore Titty, and we are all impressed by your acting. I’ve directed my girls in a couple of things, and I know they gained confidence from having seen you perform. When Tabitha, my eldest daughter, saw the film for the first time, she burst into tears at the end. It was a release of pure joy, and is testament to the quality of the film.
I live in Australia now, but returned to the island in 2010 with Tabitha and Harriet (rowing all the way from the other end of the lake). We stayed at Bank Ground Farm. This months we went back and were lucky enough to sail Swallow into the Secret Harbour. It was a windy October day, and quite a frantic sail, but I can honestly say it was one of the highlights of my life.
When reading your recent post about set dressing at Bank Ground Farm, I wondered if you’d noticed that the clock on the mantlepiece is still there. It’s on the other mantlepiece, I believe, but it is still there. I have no idea whether it is a prop that was left behind, or whether the film-makers used the clock that belonged to the farm.
Thanks again.
Best wishes,
Chris
Christopher Kenworthy
Our set designer or ‘Art Director’ on Swallows and Amazons was Simon Holland. He worked tirelessly with his assistant Ian Whittaker and team of Prop men, making every effort to use absolutely authentic props and set dressing. It must have involved quite a bit of research. Holly Howe, for instnace would not have had mains electricity or back in 1929, so he made sure oil lamps were on set. These would have been modified by the Sparks so that it looked as if they lit the room in those evening scenes when we were busy packing.
The people of the Lake District still remember Simon asking if he could buy old tins of food. It seemed such an unusual request. When it came to making labels for the cans of ‘Pemmican’ he painted them himself ~
Art Director Simon Holland
Art Director Simon Holland painting labels for cans of Pemican on Mrs Batty’s lawn at Bank Ground Farm in 1973 ~ photo: Daphne Neville
Simon had worked as the set dresser on the thriller Callan starring Edward Woodward, that we all saw in 1974. He had earlier been the Art Director on Bartleby, which featured Paul Scholfield with John McEnery in the title role Swallows and Amazons must have been one of his first features. He was only thirty-two that summer of 1973.
Simon Holland went to to work on well known movies such as Equus, Greystoke, Quadrophenia, The Sleeping Dictionary set in Sarawakand Tales of the Riverbank which starred Stephen Fry as the Owl and Miranda Hart as Miss March. He sadly died in 2010 at the age of 70 but will be remembered fondly by us all.
I have found the entry that Suzanna wrote in her diary at this time when we were filming at Bank Ground Farm. She drew a picture of the blue and white checked dress she wore and drescribed an interview with a reporter.

This is the newspaper clipping that Suzanna stuck in her dairy that featured Virginnia McKenna and the six of us children in one of the old motors that Simon Holland found to dress the Railway Platform set at Haverthwaite Station on the first day of filming.

A clipping from The Guardian Newspaper 15th May 1973

Filming ‘Swallows and Amazons’ at Bank Ground Farm in Cumbria in 1973

Bank Ground Farm ~

If you take the East of the Lake road along Coniston Water you will find Bank Ground Farm. It lies between Brantwood,  John Ruskin’s former home, and Lanehead where Arthur Ransome’s friends the Collingwoods lived. Ransome was particularly good friends of Dora Collingwood, who married an Irish-Armenian doctor keen on sailing called Ernest Altounyan. They went to live in Syria but every five years or so would bring their children to visit their Grandparents for the holidays. The would stay at Bank Ground Farm next door. Ernest bought two 14 foot sailing dinghies called Swallow and Mavis in which his family learnt to sail.

It was for the five Altounyan children, Taqui, Susie, Titty , Roger – and Bridget, the ships’s baby, that Arthur Ransome wrote Swallows and Amazons after they gave him a pair of bright scarlet Turkish slippers as a birthday present.  I don’t think I knew that Titty was a real girl when I played her in the film, but I did know her character in the books and only felt rather bad that I didn’t have her thick dark hair.

Bank Ground Farm
Bank Ground Farm with its views over Coniston Water in the Lake District

Bank Ground Farm is much smarter now. Lucy Batty, who let us take over her home in 1973, is still around but the guest house is now run by her grandson Jonathan. You can either stay in the main house, where there is a lovely corner bedroom with views right down Langdale, or you can take a self catering cottage or flat, since they have been able to convert the barn and stables into further accommodation. I’ve just received post from Peter Willis of The Nancy Blackett Trust who said,

“I stayed at Bank Ground in the summer – it was utterly lovely, exactly as it ought to be – Jonathan Batty and his wife are really hospitable, and one of the great pleasures was the friendliness and interstingness of the other guests, who included a Japanese Ransome fan. Do have dinner if they’re doing it. Food’s great, but so’s the sociable atmosphere.”

16th May 1973

15th May 1973

Int: Holly Howe ~ Bank Ground Farm near Coniston

It was grey and raining in the Lake District on 15th May 1973. Instead of filming the scene when Roger tacks up the field, Denis Lewiston, the Director of Photography, lit Mrs Batty’s living room at Bank Ground Farm for an evening scene. Simon Holland the Art Director dressed the room in the style of a Cumbrian farmhouse in the 192os with oil lamps, Bobby the prop man brought in all the camping gear we were to be packing, while Virginia McKenna was having her hair done up and we had lessons in our red double-decker bus. Then we recorded a scene, the dialogue of which was never used in the finished film.

Int/Ext: Holly Howe

Int/Ext Holly Howe
The Screenplay: David Wood’s adaptation of Arthur Ransome’s book ‘Swallows and Amazons’

You do see Susan packing bars of soap and me making heavy weather of sewing our flag, my hair pinned back in a hideous way, with rather a modern reel of white cotton laying on the desk.  John packed the telescope in a biscuit tin, which to me now seems a mistake as we used it on the voyage, very much not in a tin, but then one always re-packs many times before an important trip.

Virginia McKenna as Mary Walker with Sophie Neville playing her daughter Titty Walker busy stiching Swallow’s new flag in preparation for the voyage to the island

After lunch we shot the scene when Mother is teaching us how to erect a tent on rocky ground, as she did with Father when they were young. Titty asks if she is really old.

‘Not really. But I was younger then,’ Virginia McKenna replied looking dubious.

This is rather how I feel now, all these years later, especially when I walk into a room when people are expecting me as Titty. I’m not really old, but I do look different from when I was only twelve. This always happens when I return to Bank Ground Farm. Everyone is a bit taken back by my height but say I sound just the same. And I am married now with a family of my own. It is a bit like when Peter Pan flew back to see Wendy and found she looked just like her mother – not least because in the play the adult Wendy is always played by the actress who formerly takes the role of Mrs Darling.

Sophie Neville
Simon West, Sophie Neville and Suzanna Hamilton in the 1974 film of ‘Swallows and Amazons’ with Sophie Neville today, photographed at the recent Arthur Ransome Society Literary Weekend

I was standing outside the front door of Bank Ground once, talking to Lucy Batty, when two Japanese girls arrived to stay at the farm. They were fans of the film. They looked up at me and declared, ‘Ooo Titty!’ and bowed their heads whilst clasping their hands together in greeting. They had come from the other side of the world and yet recognised me immediately. Perhaps I haven’t changed that much after all.

The weather must have cleared up a bit by teatime on 15th May as we recorded the scenes in the boat house when John discovers Swallow, brings her out to the stone jetty and steps the mast. I’m pretty sure that the sunlight comes from an arc-lamp. They must have had to take the generator down to the lakeside. Suzanna got her shorts wet as she pushed out the clinker-built dinghy but we loved being by the water.

To be continued…

‘Swallows and Amazons’ (1974) the opening locations of the classic film

Ext : Ulverston Railway Station ~ filmed at The Haverthwaite Railway Station

An article in The Times 1973
A photograph taken for The Times –  all aboard the steam train at Haverthwaite

On the first day of making the original movie ‘Swallows & Amazons’ in May 1973, a huge effort was made to ‘dress’ Haverthwaite Railway Station, at the southern end of Windermere. The aim was to bring across the feel of a bustling 1929 holiday destination. Local people had been previously fitted with costumes in the Ambleside Church Hall, there was a horse and cart, porters’ trolleys laden with trunks and a number of old bikes, which were all of great interest to us.

Having stepped down from the steam locomotive, where the Times photographer must have taken this shot, we children were piled into an open-topped period vehicle, for further publicity photographs.  I liked sitting on the car but thought the photograph was silly, especially since Kit Seymour and Lesley Bennett, who played the Amazons, were wearing ordinary clothes rather than period costumes. The result was later published in both The Guardian and Woman’s Realm. Virginia McKenna was interviewed by journalists while we were hurried away to get on with our lessons. Our tutor taught us Art. I drew the a picture of the motor car.

With Virginia McKenna on the first day of filming
A publicity shot featuring Virginia McKenna, with Kit Seymour, Steven Grendon, Sophie Neville, Lesley Bennett, Simon West and Suzanna Hamilton, taken on the first day of filming and published in the Guardian and other newspapers

The yellow motor used in the film for our taxi was superb. Would a real Lakeland taxi have been so grand? I recorded in my diary that Sten, playing Roger, hung out of the window as the director, Claude Whatham, ‘filmed us driving out of the station, along the platform at top speed.’

Director Claude Whatham talking to Virginia McKenna

Ext: Holly Howe ~ filmed at Bank Ground Farm by Coniston Water

Arriving at Holly Howe in the taxi was truly exciting. It was not filmed the next day, as I think rain had set in. Claude waited for good evening light. But I remember the thrill of drawing up outside the farmhouse in the old car and pulling on my hat as we spilled out and ran past the big farm horses Mr Jackson was leading into the yard. Our OOV (out of vision) dialogue was added later.

The screenplay of the 1973 film ‘Swallows and Amazons’ adapted from Arthur Ransome’s book by David Wood

If you ever go to Bank Ground Farm near Coniston, named Holly Howe by Arthur Ransome in his books, you must run down the field to the lake as we did. As soon as you arrive. And at top speed. And you will be filled by the same feeling of elation as we were when we played the Walker children.

Bankground Farm
Steven Grendon, Sophie Neville, Suzanna Hamilton and Simon West at Bankground Farm above Coniston Water in the Lake District

The slope, formed by glacial scouring and subsequent deposits long ago, is steeper than you might think.  We became adept at the art of glaumphing, advocated by Ransome in the book.

What struck me when I returned to Bank Ground Farm one Spring, was that sadly the great trees have gone from around the old farm gate and the boatsheds down by the lake.  They must simply have reached the end of their lives.

Sten Grendon, Sophie Neville and Simon West with Mr Jackson at Holly Howe~ photo: Daphne Neville

Ext: Peak at Darien ~ filmed by Derwent Water

Most Arthur Ransome devotees will know that the Peak at Darien, where once stood stout Cortez, is familiar to readers as it appears in two of the illustrations in the book. Sadly it can not be found below the farm in real life. Mrs Ransome said that you could find the headland on Windermere. In April 2011, when I was on an early recce with Nick Barton, CEO of Harbour Picture Productions, we did pass one promising spot:

A possible Peak in Darien by Lake Windermere

However Richard Pilbrow and Claude Whatham chose Friar’s Crag on Derwent Water for the location. I didn’t know it but Christina Hardyment writes in her excellent book, Arthur Ransome and Captain Flint’s Trunk, that they had found the very place Ransome had in mind, “without the slightest idea that they were quite right to be doing so.”  She found that Ransome had marked up postcard of Friar’s Peak for his illustrator Clifford Webb to work from in 1930. It feels completely right when you are there, with the iconic view of an island under the towering mountains. It was over a shot of this that the opening titles were added.

Sout Cortez was not there. Neither were we children. By the time we had been transported from Coniston to Derwent Water for this scheduled scene the sun was going down.  We’d been delayed by the make-up artist who was determined to tone down the tans we had developed.  This took ages. He used a very small sponge. My mother was frustrated, as she thought that this would never have shown up, but he put his foot down with the result that we were ‘late on set’ for the evening shots. Mum grabbed this photo but it was a disaster. Claude Whatham was very annoyed.

Sophie Neville as Titty arriving too late in the day to film at Friar’s Crag on Derwent Water. The island portrayed as Wildcat Island can be seen in the distance ~ photo: Daphne Neville

One of the big secrets of the film is that the sequence when we run up to the Peak at Darien and first set eyes on the island in the lake was shot under an oak tree in Runnymede, near the River Thames. We were not an island at all.  It must have been an expensive ‘pick-up shot’. Claude had made an effort to gather together the same crew members and I was back in my lovely silk dress once more. We knew how to act by then and the joy of being together again shows on our faces.  The result was a scene to set the film off on the right foot.  We were jubilant and so excited, that, like swallows, we could have taken flight.

Sophie Neville, Claude Whatham and Simon West with Richard Pilbrow, right ~photo:Daphne Neville

The opening titles ~

I would have to check with Richard Pilbrow to be certain, but I think that Simon Holland, the Art Director, penned the SWALLOWS and AMAZONS graphics for the opening titles.  I remember a discussion about the font type. A very fashionable script used on the poster of the film was favoured. I said that they ought to use the handwritten capitals that Clifford Webb had penned on the map in the opening cover of the book, which were copied by Simon Holland (and me) on our chart. This was chosen.

A snazzy Seventies’ font, had been used for the titles of  Lionel Jefferey’s movie The Railway Children and the poster of Swallows and Amazons.For sometime a DVD has been available which gives you both movies released by EMI Films.

Click on this image to see the poster of the film

As a viewer I felt that this soon dated it, whilst Swallows and Amazons sailed onto our television screens in the 1980’s and 1990’s, without being spoilt by what became most unfashionable graphics. Of course that particular retro font is now all the rage.

'The Making of Swallows and Amazons (1974)'

You can read more about the trials of producing the classic film in ‘The Making of Swallows and Amazons’ published by the Lutterworth Press, available online and at all good bookshops.

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