Sunday 21st April ~Dulwich Film screened ‘Swallows & Amazons’(1974), produced by Richard Pilbrow and directed by Claude Whatham in 1973.
The film was introduced by Sophie Neville who answered questions about how it was made after the screening at the Michael Croft Theatre.
Michael Croft founded the National Youth Theatre. One of his students was Simon Ward, who went on to star as James Herriot in the film version of‘All Creatures Great and Small’, which Claude Whatham directed in 1974 after finishing ‘Swallows & Amazons’. Sophie was invited to watch the filming in Yorkshire, meeting Anthony Hopkins and members of the cast and crew who had worked on Swallows & Amazonsin 1973. Brenda Bruce played Mrs Harbottle and Wilfred Josephs composed the music, Terry Needham was the Location Manager and Ronnie Cogan the Hairdresser.
‘I didn’t meet James Herriot until I worked in production at the BBC on Russell Harty in 1982. He was charming – an incredibly confident man. I don’t remember his wife being interviewed but she came with him to the studio and struck me as being terribly nice. She wore a proper dress, which is more than could be said for anyone else in the Green Room.’
Sophie Neville will be giving a 40th anniversary talk on ‘Filming Swallows & Amazons in 1973′ for members of The Arthur Ransome Society gathering for their AGMat Brockenhurst College in the New Forest ~ Please book with TARS. email@example.com
The plan is that ‘Swallow’ , the dinghy from the 1974 film,will be moored at Buckler’s Hard on the Beaulieu River that weekend, and sailing for members of Sail Ransome if weather permits.
Arthur Ransome’s boat The Nancy Blackett ~ The Goblin in Arthur Ransome’s book ‘We didn’t Mean to Go to Sea’ will be in the Solent for this event and might sail over to Yarmouth with Swallow for ~
31st May – 2nd June ~ Old Gaffers Yogaff event at Yarmouth, Isle of Wight
30th May 2013 ~ There will be an outdoor screening of the movie Swallows & Amazons at Holly Howe (Bank Ground Farm) on the shores of Coniston Water, with Captain Flint’s Houseboat, SY Gondola, in attendance.
Ronald Fraser with Wardrobe Master Terry Smith being transported to the Houseboat played by The Lady Derwentwater
My diary entry for 24th June 1973 is not exactly revealing. As it was raining steadily in the Lake District, I was given a second day off. ‘We had a quirte morning,’ I wrote. I am sure I needed one. After a heavy week’s filming I’d spent the official ‘Unit Day Off’ writing five end-of-year exam papers, answering correspondence from school friends and going to Kit Seymour’s thirteenth Birthday party. I must have been exhausted. Legally I was meant to have two days off a week. This was the first time it had been possible.
Suzanna Hamilton’s diary adds little more, but my mother was on set, as was a journalist from The Guardian, so I can tell you what happened. I can even tell you what the location caterers from Pinewood cooked that day: Melon, followed by roast beef with Yorkshire pudding, boiled or roast potatoes, peas and carrots with apple crumble or tinned peaches served with custard or evaporated milk. It was a Sunday. Suzanna noted that we had ‘salad for super’, her favorite food.
“The houseboat has been converted from a pleasure steamer,” wrote Michael McNay in the Features section of The Guardian, “the whole of the superstructure fore faked up by props, the cabin aft converted into a retired colonist’s sittingroom – African rug, flowery curtains, assegais on the walls, an ebony elephant with silver howdah and trappings, a walnut wireless cabinet, tall brass oil lamps, a pile of 78rpm records, a silver mounted cricket ball (presented to G.Gumbleton, 1899, for the highest individual score of the season), a chest, a writing desk and an ancient upright Imperial.” I have typed this up exactly as it was published on 7th July 1973.
By props, I don’t think Michael McNay meant pit-props. He was talking about the work of the design team headed by Simon Holland. Ian Whittaker, who later won an Oscar for set dressing, helped Simon to create Captain Flint’s cabin with one of the Prop men who is photographed here. Does anyone know his name? I think it might be Terry Wells. I expect the cane chairs and side table were being temporally stored on the roof when this snap shot was taken so as to make space for camera and lights. The gaffer and camera crew would have been in the process of setting up inside the cabin. Sound would not have settled in yet. How do I know that after all these years? I can see the recordist’s arm at the left of the photograph. I still remember his coat.
“Ronald Fraser, alias Uncle Jim, is tapping away at a book.” Michael continues. “Last minute panic: who can type out quickly a folio of copy to leave nonchantly in the roller?” That would have been Sue Merry, the continuity girl. The first scene was probably the one in which Uncle Jim is typing with the green parrot on his shoulder when a firework goes off on his cabin roof. I wonder if Arthur Ransome had ever been disturbed by the Altounyan children in such a way. Did he use an Imperial typewriter?
The film crew were on location on Derwentwater. “By now, the houseboat has been moved and moored to the western shore just off a promontory that is being faked up as one end of Wild Cat Island.” The houseboat, really one of the stars of the movie, was being played by a long-time resident of Cumbria, The Lady Derwentwater. A 56 foot motor launch, owned by the Keswick Launch Company since 1935, she returned to real life after the filming, rather like I did. She still carries up to 90 passengers. You can go out on her today.
My father, who is keen on steamboats, had been off to find the real houseboat that Arthur Ransome had in mind. Am I right in thinking this must have been the original Gondola? I expect she was too un-seaworthy for the production team to contemplate using in 1973. A reliable, water-tight boat that could be towed into the location used for Houseboat Bay was needed. Last year we went to see TSSY Esperance at the Windermere Steamboat Museum in Cumbria, which is another Victorian steam yacht invisaged by Ransome as a possible model for Captain Flint’s houseboat. It is a beauty but we did get a better view of the lake from of the cabin windows in the Lady Derwentwater.
“The rain has stopped, the mist is lifting from the 1,500 foot ridge of Cat Bells. Fraser climbs gingerly aboard, awkward in co-respondent’s brown and white shoes, rosy make-up and moves into the aft cabin.” McNay continues. He is describing the main scene to be shot that day. “John, alias Simon West, is in a rowing boat 15 feet away… The problem this time is that the rowing boat has to remain anchored but look as though Simon is pulling steadily in towards the houseboat and the anchor rope has to remain hidden.” This must have been so that Swallow could be lined up acurately and remain in focus for the camera. It is one of the secrets of making the film that I have been asked about directly.
“Simon shows Claude Whatham how he’ll manage it. Quick rehearsal inside the cabin. Ronald Fraser on his knees by the chest folding a white pullover, catches sight of approaching boat, mimes angry surprise. Told not to jerk head so far back. Instead jerks eyebrows up. The cabin is no more than eight foot by ten and contains besides Fraser and the props, four men on a camera, one on lights, and the continuity girl.” McNay had not included Claude the director, who I know would have squeezed in since these were the days before monitors from the camera feed. And he was small. The sound recordist was bigger but may have just planted a microphone on the desk.
“On the small aft deck Pilbrow is for the next few minutes going to be redundant.” This is Richard Pilbrow, who now lives in Conneticut and I am sure will read this post. “He is a mild, inoffensive looking man producing his first film. He is 40… looks like your friendly local antiques dealer. He and Whatham are a good team: Whatham is slight, energetic and calm. He has time, even as a sequence is being set up, to ask the Press if they can see enough of what’s going on from the crampt aft deck of the housebaot. It’s a cheerful crew, (Denis Lewiston the DOP) watching clouds overhead with benign suspicion, taking light meter readings inside and out-side the cabin every 30 seconds.
‘Action,’ said quietly into the cabin.
‘ACTION,’ across the lake to Simon. The clapperboard shows 461 take 1. Fraser folds the pullover, looks up, jerks eyebrows in angry surprise, camera swings round to follow Fraser’s gaze through the window, Simon pulls on left oar, keeps the rope hidden.
‘Once more please. Stand by. Action. ACTION (461 take 3) …. CUT.’
There’s a consensus that the third take was best. Ten minute break while the suceeding sequence is prepared: Fraser rushes out on deck and tells Simon to clear off. That too is filmed in triplicate. The time is 12.45. They started work at 6.30, began filming at 12.25 and they’ve got maybe 45 seconds in the can. Everybody seems pleased.”