BBC Programmes

ITV Documentaries

Opening Nights ITV

Programmes on Films

Religious

Chess Masterpieces

Time To Remember

Dinosaur TV Documentaries and other Serious Programmes

This page is devoted to serious tv, my reviews of some programmes I have, plus details of a few select series

About Intertel

ITV documentary programmes in the Wednesday night slot (1959-1966)

On this page, you'll find the highbrow stuff from the BBC, with occasional contributions via ITA, who were always trying to prove that they were as good, if not better than the BBC at these serious programmes. The only slight drawback was that advertisements necessarily interrupted the flow. Plus a few rare surviving regional ITV documentaries.
Here also are details of Movie Memories (for other ITV cinema series), the recently released Journey of a Lifetime as well as other Godslot programmes.

How to Run a Railway (ITV March 27th 1963, 9.47pm-10.29) seen in 3,231,000 homes. The BBC's rival report shown in competition, achieved an audience nearly one million more viewers

Picture: Journey of a Lifetime

Main TV Menu

. . . . . . . . Picasso (1960) - Sir Kenneth Clark at the Tate Exhibition of "one of the most incomprehnsible artists-" his words. Sir Ken openly admits he is one who doesn't always understand either but he makes a good stab at enthusing us, yet though his critical erudition is to be admired, for me Picasso cannot be labelled "an entertainer," as Ken says, since "when he is being funny" I never laughed once. But Picasso's "added power by abstraction" can at least now be admired, thanks to honest Ken. The Dream Machine (transmitted Wednesday 11th November 1964 at 9.10pm ) - ATV documentary with some fascinating glimpses behind the scenes as producer Francis Essex attempts to assemble his variety show 'Six Wonderful Girls.' Clips are juxtaposed with a lecturer teaching his students about the new medium of television. He raises the issue of TV's need to be more self-critical and of the more obvious need to appreciate the impact the box makes on everyday life. Whilst he pontificates, Essex is trying to juggle his finances, arguing with executive Bill Ward over having to reduce his budget by a massive £1,000. The Daily Telegraph critic asks him if he's bothered about the emphemeral nature of television. Essex's reply: TV is a transient medium. "I am a person who becomes bored with long runs." There speaks the first channel hopper! We see Honor Blackman and Millicent Martin rehearsing with ATV's top scriptwriters Sid and Dick in attendance. Finally the tension of the taping! In the final analysis this is an historically important documentary, but director Denis Mitchell fails to provide any analysis of his own on the impact The Dream Machine makes. True, he allows the cameras to show us much, but since his aim is to examine the role of telly, he's no better, no worse than the medium he's seeking to criticise. Crisis on Wheels (29th June 1966) - directed by Kevin Brownlow. For those who have experienced the tragedy of death on the roads, this jokey analogy with war might well be anathema. There's a potted history of automobiles leading to the modern phenomenon of the car "being the object of veneration in suburban avenues on Sunday morning" before a rude awakening as the science of road accidents is analysed. But does the director see this as the crisis, or is it traffic wardens (more jibes)? But in fact it seems to be congestion that is the real enemy as the prescient fast forward to the year 2000 shows "the suburbs were overwhelmed... this jam started three weeks ago and it still hasn't moved an inch." People even take the law into their own hands to ease congestion, so the solution is simple- scrap the car! EVR in Education (1968) - Kenneth Kendall introduces this ATV film which showcases some of the ITV Schools programmes of the era, including Primary French (unintentionally hilarious), and Conflict (clip from Othello). Documentary Menu . . . . . SOUTHERN TELEVISION DOCUMENTARIES Sea War 13 films made in association with Rank, Southern TV produced an interesting account of the Royal Navy during World War II. Narrator: Rear Admiral Roy Foster-Brown. Introduced by Admiral Sir Caspar John. Script: Cpt Jack Broome, who devised the series. Lawrence Huntingtom directed the studio scenes. My review of 2 Life Line Some others in this series include: 1 Opening Bid (Sept 10th 1960), 5 Wings Over the Water (Oct 15), 9 The Submarines (Nov 12), and 10 Eighteen by Eight (Nov 19)- the Malta story. Other films shown were Second Generation, To Russia with Luck, Brought to the Boil, Wings Over Water, The Water's Edge, and Singapore and Back Space (1960) Programme 3 introduced by Roy Rich Possibilities of international co-operation. America and Russia compete, the Cold War. Review of earlier programmes. Julian Pettifer tells us that prograame 1 with Geoffrey Pardoe focused on a British communications satellite. Then Pettifer interviews Professor Lovell at Jodrell Bank who champions our own endeavours, though we are behind our rivals. The cost factor he admits, but he broadens the appeal for more money for scientific research. Barry Westwood talks with Lord Hailsham, Minister for Science, who doesn't commit to any long term finance. "I didn't get many answers," Barry admits ruefully to us afterwards. In the studio he introduces guests, physicist Sir Harrie Massie, Geoffrey Pardoe, plus two members of the all party Space Committee, David Price and Woodrow Wyatt. Topics include Britain's lack of interest, "a frivolous attitude," claims WW. This is the main segment of the programme, all agree research must go on. Barry concludes by appealing to viewers to make sure this does happen School At Sea (Dec 25th 1962) - my review The Full Man (1964) - Tragedy Two clips from Macbeth with George Baker in the title role and Rosalie Crutchley as Lady M, plus a scene from Adventure Story by Terence Rattigan with George Baker as Alexander the Great and Francis Rowe as the Queen Mother. Baker then has a fascinating little discussion with presenter David Daiches about the demerits of this play. A final scene is enacted to illustrate the "inconsequential dialogue" of much modern tv drama. Obviously someone watched this and understood this sort of thing was being praised! First In Last Out (25th June 1968) - Documentary on training commandos, narrated by Christopher Wain Documentary Menu . . . . . School At Sea 50 minute Southern TV documentary narrated by Richard Davies, written and directed by Cyril Doncaster. Starting with Russian dancers, the titles then roll. We are at Tilbury, where the huge cruise ship Dunera is about to depart. Passengers are a horde of Hampshire teenagers. The film shows the educational and social benefits of such a school visit, and since my father ran such trips to Russia in Communist days, I found this very interesting. A very posh lady is in charge of the girls. A serious man explains to the assembled children how to make their own beds. Then we go through a typical day at sea, a tour of the ship, normal lessons in cramped rooms, boys and girls separately. Then a curious mixed debate on monogamy. At night, relaxing to music to a children's band, more Charleston than trendy. At Kiel, German children come on board, "the girls might have been more at home doing The Twist." Ah, I thought so too. Afterwards, the boys have a stilted discussion about German girls. Sunday has a church service. Also a storm, some seasickness, and when things brighten, games and relaxation. Stockholm seems to be the first point of embarkation, a tour by bus includes the modern shopping centre. Next is Copenhagen, more sightseeing including Elsinore and the Tivoli Gardens. They sail on. Another dance- a conga is popular, as well as a sort of twist to Alexander's Ragtime Band. More shots behind the scenes, washing up and more small talk. To the "high spot," Leningrad, a friendly welcome from the locals despite the rain. Men in raincoats and uniforms keep a benevolent eye on proceedings. The children are given a tour of the city, guided by "all good Communists." We see the outside of The Winter Palace, and learn they also go to the Hall of the Pioneers, where twisting is Not Permitted. They reflect on the two different cultures, "I didn't expect the people to be very nice," says one young boy, "but they were." Children exchange addresses, teachers add a few grown up insights. Then a concert, as seen at the start, this is the longest sequence in the programme. Back on board in the fog, everyone is tired. More concerts, the children practising their own. A sing song. A summary of this visit, for many "a first experience of community life" Southern TV documentaries . . . . . . . . . Lifeline This episode covers the Atlantic sea war, "we're a long way off from being self sufficient." So supply convoys across the ocean were essential for Britain. A look at the line up of ships on both sides, leads into the first action, 11.30am on the very first day of war. Off Southend Pier a magnetic mine is dropped, we see one being bravely defused, and pictures of it are shown where it now resides, the Imperial War Museum. Mine sweeping: "it works." At the Straits of Dover, enemy bombing, then film of torpedoes. We have strayed from the Atlantic however, and we see the land based operations room. Film of the Empress of Britain being attacked, yet the two Queens keep on sailing. Then film of The Corvette, "our signature tune." The journey of one convoy from Canada in September 1940 is illustrated with a primitive diagram. Off Greenland a U-boat attacks it. Others join in on September 9th resulting in 17 of the 64 ships abandoned, "terrible deaths." Notes the narrator, "Germany doing very well indeed." HG76 is a convoy of 32 ships that set out from Gibraltar in December 1941, and this time the U boats get "more than they bargained for." Victory at last, though it only brings home the futility of the war Southern TV documentaries . . . . . . . . . ITV Documentaries Associated Rediffusion ATV Programmes ABC - Tempo Granada - World In Action Southern TV Other: Return to the Rhondda (TWW) This has been issued on dvd. An optimistic and affectionate tribute introduced by Donald Houston: "the few shall not for ever sway." Also with Stanley Baker, who describes the valley as "my idea of hell." Boxer Tommy Farr tells of his career and Gwyn Thomas recounts the 1926 General Strike, puzzled indeed over his own conclusion that "the poverty was marvellous." My Welsh dad enjoyed singing along with the choirs too. Pontcanna (TWW) - A 1965 publicity film of how TWW took over the WWN franchise having to upgrade their studios to provide this new dual service. Rather tough on the company, that they then lost their remit, this film obviously failed to win over the doubters. Survival (Anglia) - Trailers for b/w editions, one with Rolf Harris, another with voiceover by the ubiquitous Patrick Allen The Lonely Man (Channel TV, 1964) - In 1960 at lonely Les Ecrehou, hides a fugitive from justice, wrongly accused of rape. Predictably amateurish production with an interesting interview, much in need of editing News (ITN) Review of 1955/6- one year on, ITN shows some stories covered in Sport, Home and International news. News Headlines- A news summary from back in 1964. Documentary Menu . . . . . . . . World In Action Granada's long running series began in January 1963 and ran over four decades. It was always stark, offering cutting edge fast moving journalism, its main fault was that it had too high an opinion of itself and was annoyingly clever dick, pompous occasionally, headmasterly sometimes, and nearly always frustrating. 2.7 Living in the Slums (Oct 22nd 1963) - Producer: Gordon Flemyng. Mrs Bradley describes housing conditions in Stepney where "it isn't safe walking the streets." We start in Alie Street, Aldgate, and meet others living in cramped conditions, to the accompaniment of depressing music. Rats in homes are but one issue. Mr Bradley tells of his stop-start work in the building trade, which he hopes his son will not follow him in to. The Tenants Association tell of high rents, "moral injustice," exacerbated by the lack of housing. The Bradleys face eviction- this is Granada's forte, even if it be in the capital 2.26 The Great Train Robbery (Apr 28th 1964) 2.28 Radio Pirates (May 12th 1964) - Producer Michael Hedges. A corny contrasting of medieval pirates and modern pop pirates, "causing the Postmaster General a lot of trouble." Interviews with those running the first, Radio Caroline, then Mi Amigo, the crew of eight are introduced. The legal position is explained, the government's stance also. Rough weather conditions are shown. Who invests in these pirates? It's revealed Radio Veronica attracted a million in revenue. Now things are getting "rough," and we see Radio Atlanta which operates onshore, filmed at a secret location 4.7 Scientology for Sale (Aug 14th 1967 8pm) - "A new kind of seminary"- graduates who have overcome their problems. Most are young, all owe a debt to their founder Ron Hubbard, "regarded with awe." Numerous tributes to him. It's "a one man religion," its rise chronicled. He's "an exceedingly rich man." Communication skills are at the heart of the rise of the cult, with a lot of scientific apparatus. Criticism includes brainwashing as film of the group is shown. Telling edited interviews including those who have rejected the cult 4.17 We Know What We Saw (Oct 20th 1967) 4.23 End of a Rebellion (Dec 11th 1967 8pm) 4.25 An Outlaw's Life (Jan 1st 1968) 4.36 The Demonstration (Mar 18th 1968 8pm) 4.46 Ward F13 (May 20th 1968) 4.59 The Shrinking World of L Ron Hubbard (Sept 3rd 1968) - Producer: Charlie Nairn. "One of the most elusive men," is tracked down, the creator of Scientology, found on a ship, away from the long arm of the law. He gives an interview, edited here. "Britain would be better off without him," a report describes "sordid stuff." His loyal followers rally to his cause, although the courses he currently runs cost about £1,000 to participate, and his finances are questioned. "It's a fable," claims the interviewer, to which Hubbard laughs and smiles ITV Documentary Menu . . . . . . . . Associated-Rediffusion Around the World Orson Welles introduces: London- A more unlikely mismatch you're unlikely to see as Welles coaxes information from some venerable London East End ladies. Basque- Orson warms to the region "not French or Spanish." He finds one local who compares life with that in the good old USA, then a longer deeper discussion with an author, including contrasts with US and Basque education. Perhaps it's all too tongue in cheek: "smuggling is the biggest industry in these parts." Out of Step (Associated-Rediffusion, 1957) Nudism- In his best suit, Daniel Farson interviews nudists in their Sunday best. Today this looks like a parody, but he is fairly deadly serious which makes it all the more entertaining, specially the two gentlemen vehemently opposed to such exhibitionism. This Week - The company's flagship serious programme. Jeremy Isaacs joined the team in August 1963. Accidents- 1967 investigation, on film starts with flashing scenes as an accident victim is rushed to hospital. We are shown the work of the Birmingham Accident Hospital. By following one baby's graphic tragedy, the documentary becomes intensely emotional. Too many other sad cases follow: "medical science has triumphed, but there just isn't any use in society for him." We really need something other than moving stories, the only conclusion reached is that most accidents are the result of impatience Here and Now (A-R) ITV Documentary Menu . . . . . . . Here and Now (1961-4) A miscellany programme devised by Associated Rediffusion, interesting because some later in the series were made by Anglia and Southern Television. These regional productions are noted below. At various periods, other stations to screen the series included Westward, Border, Grampian, Channel and WWN (from June 1963). Critics were general dismissive of the series. When it started, it received unfavourable comparison with BBC's popular Tonight programme. An interesting comparison was made with the offering on Fri Feb 9th 1962 with the rival Tonight: both on the theme of dogs. "A-R's treatment was competent enough. A straightforward OB presentation was interspersed with clips showing the activities of various breeds of dogs, and a few interviews.... 15 minutes of parochial filler." Tonight's piece on the same night was conducted by Alan Whicker... ah, say no more. Since many of the programmes were devised on a topical basis, TV Times often simply indicated that regular presenter Huw Thomas introduced "the fun, the excitement, the fascination of life around us." He hosted A-R's output, except where noted. Surviving programmes: Cowes Powerboat Race (Sept 11th 1963- Southern), Summerhill (1964- Anglia) The very first programme in its regular 6.45pm 15 minute slot was on Monday November 6th 1961. Reporter: Judith Jackson. Director: Peter Robinson. Producer: Cyril Francis. Tues Nov 7th 1961 Reporter: Oliver Postgate. Director: Geoffrey Hughes. Wed Nov 8th Reporter: Bryan Magee. Director: Michael Currer-Briggs. Thurs Nov 9th Reporter also Huw Thomas. Director: Joan Kemp-Welch. Fri Nov 10th Reporter: Michael Ingrams. Director: Ian Fordyce. Mon Nov 13th Reporter: Michael Ingrams. Director: Peter Robinson. Tues Nov 14th Reporter: Bryan Magee. Director: Michael Currer-Briggs. Wed Nov 15th Reporter: Michael Nelson. Director: Geoffrey Hughes. Thurs Nov 16th Director: Joan Kemp-Welch. Fri Nov 17th Director: Graham Watts. Mon Jan 22nd 1962 Director: Geoffrey Hughes Tues Jan 23rd Director: Michael Currer-Briggs Wed Jan 24th Reporter: Judith Jackson. Director: Ian Fordyce Thur Jan 25th Reporter: Judith Jackson. Director: Don Gale Fri Jan 26th Director: Graham Watts Fri Feb 9th Reporter: Raymond Brooks-Ward. Director: Christopher Hodson Mon Feb 26th Reporter: Nan Winton. Director: Bill Hitchcock. Producer: Ray Dicks. Tues Feb 27th Reporter: Nan Winton. Director: Mark Lawton. Wed Feb 28th Director: Ian Fordyce. Thur Mar 1st Director: Graham Watts. Fri Mar 2nd Director: Bill Hitchcock. Mon Mar 12th Director: Director: Bill Hitchcock. Tues Mar 13th HT and Nan Winton report. Director: Don Gale Wed Mar 14th Reporter: Michael Westmore. Director: Ian Fordyce. Thur Mar 15th Reporter: John McCarthy. Director: John P Hamilton. Fri Mar 16th Reporter: Douglas Robinson. Director: John P Hamilton. Mon Mar 19th Reporter: Michael Westmore. Director: Michael Currer-Briggs. Tues Mar 20th HT with Nan Winton. Director: Don Gale. Wed Mar 21st Director: Bill Hitchcock. Thur Mar 22nd Reporter Neville Barker. Director: Richard Sidwell. Fri Mar 23rd Reporter: Michael Westmore. Director: Geoffrey Hughes. Mon Mar 26th HT and Judith Jackson report. Director: Bill Hitchcock. Tues Mar 27th Michael Ingrams at the Maurice Burman School of Pop Singing. Director: Stephen McCormack. Wed Mar 28th Reporter: Peter Lloyd. Director: John Phillips. Thur Mar 29th Reporter: Peter Lloyd. Director: Murray Ashford. A Visit to Little Venice- Fri Mar 30th Reporter: Tim Brinton. Director: Michael Currer-Briggs. Mon Apr 9th Introduced by Michael Ingrams. Reporters: Nan Winton and NevilleBarker. Director: Mark Lawton. Producer: Michael Ingrams. Tues Apr 10th Introduced by Michael Ingrams. Reporter: Steve Race. Director: John P Hamilton. Wed Apr 11th Introduced by Michael Ingrams. Reporter: Steve Race. Director: Daphne Shadwell. Thur Apr 12th Introduced by Michael Ingrams. Reporter: Neville Calrke. Director: Mark Lawton. Fri Apr 13th Introduced by Michael Ingrams. Reporter: Jeri Matos. Director: John P Hamilton. Mon Apr 30th Introduced by Michael Ingrams. Reporter: Judith Jackson. Director: Don Gale. Tues May 1st Introduced by Michael Ingrams. Director: Peter Croft. Wed May 2nd Introduced by Michael Ingrams. Reporter: Pat Ward. Director: Don Gale. Thurs May 3rd Introduced by Michael Ingrams. Reporter: Michael Nelson. Director: Don Gale. Fri May 4th Introduced by Michael Ingrams. Reporter: Michael Nelson. Director: Don Gale. Huw Thomas, who had been ill in hospital, now returned to the series: Mon May 7th featured Bill Morgan Stunt Man Tues May 8th Reporter: John McCarthy. Director: Mark Lawton. Wed May 9th Director: Rollo Gamble. Thur May 10th Reporter: Judith Jackson. Director: Graham Watts. Fri May 11th Introduced and directed by Michael Ingrams. Wed May 16th Reporter: Nan Winton. Director: Graham Watts. Thur May 17th Reporter: Pat Ward. Director: Don Gale. Fri May 18th Reporter: Jeri Matos. Director: Don Gale. Mon June 18th to Thurs June 21st 1962: in four programmes, Huw Thomas and Michael Ingrams investigated London University Week. Directors- Mon: Ronald Marriott, Tues: Peter Croft, Wed: Don Gale, Thurs: Robert Fleming There was a three week break in the summer 1962. The programme returned on August 6th. shown Mondays to Thursdays. Mon Aug 20th Director: Stephen McCormack. Tues Aug 21st Reporter: Michael Ingrams. Director: Jim Pople. Wed Aug 22nd Reporter: Steve Race. Director: Daphne Shadwell. Thur Aug 23rd Reporter: Vivian Kemble. Director: Robert Fleming. Mon Sept 3rd The Mutual Householders Association. Director: Michael Currer-Briggs. Tues Sept 4th St John's Wood Barracks. Director: John Phillips. Wed Sept 5th A London night club during the day. Director: Robert Fleming. Thu Sept 6th Breton onion sellers in London (Lambeth Walk). Director: Stephen McCormack. Mon Dec 17th Reporter: Michael Ingrams. Director: Stephen McCormack. Tues Dec 18th From the Royal College of Art. Reporter: Nick Barker. Director: Jim Pople. The Beeje Programme number 250 Wed Dec 19th Reporter: Steve Race. Director: Peter Croft. A demonstration of "a new dance craze" Thur Dec 20th Director: Graham Watts. Thur Jan 3rd 1963 Reporter: Vanessa Thornton. Mon Jan 7th Reporter: Vanessa Thornton. Mon Jan 21st Reporters: Michael Nelson and Steve Race. Director: Robert Fleming. Producer: Stephen McCormack. Tues Jan 22nd Director: Bimbi Harris. The Guild of Teenagers Wed Jan 23rd Reporter: Michael Nelson. Director: Peter Croft. Thur Jan 24th Reporter: Vanessa Thornton. Director: Don Gale. Mon Feb 4th Introduced by Dick Joice. Reporter: Christopher Rainbow. Director: Anton Bowler. (Anglia) Tues Feb 5th Reporter: Michael Ingrams. Director: Don Gale. Wed Feb 6th Director: Graham Watts. Thur Feb 7th Reporter: Steve Race. Director: Graham Watts. Mon Feb 25th Introduced by Dick Joice. Director: Bob Gardam. Michael Ingrams returns as Producer. (Anglia) Tues Feb 26th Director: Bimbi Harris. Wed Feb 27th Reporter: Michael Ingrams. Director: Ronald Marriott. Thur Feb 28th Reporter: Steve Race. Director: Graham Watts. Mon Mar 4th Introduced by Dick Joice. Reporter: John McGregor. Director: Barry Barton. (Anglia) Tues Mar 5th Reporter: Michael Ingrams. Director: Robert Fleming. Wed Mar 6th Reporter: Michael Nelson. Director: Bimbi Harris. Thur Mar 7th Reporter: Michael Nelson. Director: Robert Fleming. Wed Mar 20th marked Southern's first contribution, hosted by John McGavin Wed Mar 27th interview with a Hampshire millionaire who wants to give away two and a half million pounds (Southern). Wed Apr 3rd: the life of a tug skipper in Southampton (Southern) Wed Apr 10th introduced by Terence Carroll. Directed by Anthony Searle. With Uffa Fox "at his home in Cowes and talking to TC in Paris". (Southern) Mon Apr 29th Introduced by Dick Joice. Reporter: Bob Wellings. Director: Harry Aldous. The plight of Essex oyster fishers. Wellings interviewed people in Colchester to learn how the lack of trade had affected them. Shots of the 1962 bumper oyster harvest festival contrasted with the 1963 scene of dead rotting oysters. (Anglia) Tues Apr 30th Director: Bimbi Harris. Wed May 1st introduced by Terence Carroll. Directed by Angus Wright (Southern) Thur May 2nd Reporter: Michael Ingrams. Director: Peter Croft, Mon May 13th Introduced by Dick Joice. Reporter: Bob Wellings. Director: Bob Gardam. (Anglia) Tues May 14th Reporter: Michael Ingrams. (no prog May 15th) Thur May 16th Reporter: Michael Nelson. Mon June 17th Introduced by Dick Joice. Reporter: Bob Wellings. Director: Harry Aldous. (Anglia) Tues June 18th Reporter: Michael Nelson. Director: Peter Croft. Wed June 19th introduced by Terence Carroll. Directed Anthony Searle. With 4 prefects in the common room of Bedales School Petersfield. (Southern) Thur June 20th Reporter: Vanessa Thornton. Director: Jim Pople. Mon July 22nd Reporter Anthony Brown. Director: Richard Sidwell. Tues July 23rd Reporter Michael Ingrams. Director: Bill Hitchcock. Wed July 24th The Old School Tie Introduced by Terence Carroll. Director: Anthony Searle. From Marlborough College. (Southern) Thur July 25th Reporter: Michael Ingrams. Director: Bimbi Harris. Mon Aug 5th introduced by Bob Wellings Director: Harry Aldous. (Anglia) Tues Aug 6th Director: Bimbi Harris. Report from Cowes Wed Aug 7th Commentators: Barry Westwood and Bill Richardson. Director: Berkely Smith. Leading yachtsmen join Outside Broadcast cemeras on board Power Vessel 1. (Southern) Thur Aug 8th Reporter: Michael Ingrams. Director: Jim Pople. Mon Aug 19th Director: Harry Aldous. (Anglia) Tues Aug 20th Director: Bimbi Harris. A Man- His Dog- and His Village Wed Aug 21st Director: Anthony Searle. A film about Fred Lexter of Abbotsbury. (Southern) Thur Aug 22nd Reporter: Michael Ingrams. Director: Jim Pople. Mon Aug 26th Reporter: Bob Wellings. Director: Peter Joy. (Anglia) Tues Aug 27th Director: Bill Hitchcock. Wed Aug 28th The Gymkhana Director: Bill Perry. John Bagguley visits New Forest Hunt Club Gymkhana at Brockenhurst. (Southern) Thur Aug 29th Reporter: Michael Ingrams. Director: Bimbi Harris. Wed Sept 4th Southampton University Students making jazz at night. Director: Robert Kitts. (Southern) Mon Sept 9th Director: Harry Aldous. (Anglia) Tues Sept 10th Director: Bimbi Harris. The 1963 Power Boat Race from Cowes to Torquay Wed Sept 11th Director: Robert Kitts. With Peter Twiss, also aboard: reporter Jeremy James, on the 28ft cruiser named Here and Now. (Southern) Thur Sept 12th Reporter: Vanessa Thornton. Director: Michael Ingrams. From now on, shown Mondays to Wednesdays, same time 6.45pm. Mon Sept 16th Introduced by Dick Joice. Director: David Kenten. (Anglia) Tues Sept 17th Director: Bimbi Harris. Wed Sept 18th. Reporter: Terence Carroll. Director: Robert Kitts. A film examining the change in hop picking methods. (Southern) Mon Sept 23rd Introduced by Dick Graham. Director: Ron Downing. (Anglia) Tues Sept 24th Director: Harry Sloan. Wed Sept 25th. Introduced by Peter Williams. Director: David Rea. From Albemarle Youth Centre Haywards Heath. (Southern) Shooting and Shotguns- Mon Oct 14th Introduced by Anthony Brown. Director: Harry Aldous. (Anglia) Tues Oct 15th Director: Harry Sloan. Portrait of the Artist- Wed Oct 16th Director: Robert Kitts. A study of Cyril Medlin, a young painter (Southern) Pelham Puppets- Wed Oct 23rd with Terence Carrol. Director: Robert Kitts. A visit to the Marlborough factory with Bob Pelham (Southern) The New Chelsea- Mon Nov 11th with Dick Graham, directed by Harry Aldous. A visit to the new and expanding art colony in Great Bardfield Essex (Anglia) Tues Nov 12th Reporter Michael Ingrams. Director Harry Sloan. Say I Won't Be There- Wed Nov 13th. Terence Carroll talks to Dusty Springfield. Director Mike Mansfield (Southern) Warm for Winter- Mon Dec 2nd Introduced by Dick Graham. Director: Harry Aldous. A visit to a sheepskin factory. (Anglia) Tues Dec 3rd Intervewer: Michael Ingrams. Director: Bimbi Harris. Nuclear Power- Wed Dec 4th. Reporter: Peter Williams. Director: David Rea. A visit to Dungeness Nuclear Power Station. (Southern) Destination Europe- Mon Dec 16th Director: Harry Aldous. On board the Harwich to Hook of Holland steamer. (Anglia) Tues Dec 17th Intervewer: Michael Ingrams. Director: Bimbi Harris. Commuters- Wed Dec 18th. Reporter: Peter Williams. Director: Michael Connor. On board a crowded commuter train. (Southern) Flood Warning- Mon Jan 27th 1964 Introduced by Dick Graham. Director: Harry Aldous. Visit to areas affected by the 1953 floods, to see what has been done to ensure the tragedy is not repeated. (Anglia) Tues Jan 28th Intervewer: Michael Ingrams. Director: Jim Pople. (no programme Jan 29th) Instant Homes- Mon Feb 10th with Michael Robson, directed by Harry Aldous. A visit to a Norfolk factory (Anglia) Tues Feb 11th Reporter: Michael Ingrams. Director Bimbi Harris. A Dog Match Wed Feb 12th. Reporter: Steve Race. Director: Peter Frazer-Jones. Southampton dog owners challenge owners in Hammersmith. Judge: Joe Cartledge. (Southern) Dog Patrol- Mon Mar 2nd with John McGregor, directed by Ron Downing. A visit to a police training establishment for dogs in Chelmsford.(Anglia) Tues Mar 3rd Reporter: HT. Director Bimbi Harris. The Sentence Begins Wed Mar 4th. Introduced by Terence Carroll. Director: Anthony Searle. Men recently released from jail. (Southern) Roller Champions- Mon Apr 13th with Michael Robson. Directed by Ron Downing. A training session for skaters in Yarmouth. (Anglia) Tues Apr 14th Reporter: Michael Ingrams. Director: Jim Pople. Spring is Here! Wed Apr 15th. Director: Anthony Searle. A film fantasy about a teenage boy and girl. (Southern) Bacon With Everything- Mon Apr 20th with Michael Robson. Directed by Harry Aldous. Visit to a bacon factory. (Anglia) Man On a Hot Line Tues Apr 21st Reporter: Michael Ingrams. Director: Jim Pople. Michael Ingrams, Huw Thomas at Bentwaters Air Base in Suffolk. A Day at the Seaside Wed Apr 22nd. With Peter Williams. Director: David Rea. About Britain's piers. (Southern) The series ended in June 1964 before it could quite clock up 500 editions. (Note: Scottish Television ran their own Here and Now regional programme, which had no connection with this) Documentary Menu . . . . . . Here and Now: Sept 11th 1963 (Southern) Reporter: Jeremy James. Director: Robert Kitts. James is in Cowes for the 156 miles powerboat race, on board the ship Here and Now, with its captain Peter Twiss. The race starts at ten hours, shots of the fastest boats, "I'm not sure if I care about winning" as their smaller craft is left behind. Conditions are too calm to be advantageous to them. Past The Needles, Peter is interviewed, believing they have only an outside chance of winning their diesel class. At Preston Chine, number 40 is in the lead, Here and Now lies 33rd. Music as we watch numerous shots of the racers, James talks to the navigator. To the finish in Torquay, the winner crosses the line- it's number 16. Here and Now is well behind, it's "rough, tough going," in choppy seas, until at last they reach calmer waters. Finally the finishing line, 19th overall, second in our class. A large crowd watch from the quay as they arrive "a few minutes behind schedule." James summarises his experience positively, but adds, "I don't really think I want to go again! Here and Now . . . . . . Summerhill (1964) Director: Harry Aldous AS Neill talks about the founding of his school in 1921, as we see shots of children at play. The place is based in his strong belief that children must be "free to be themselves." The key word being free, so we see film of children playing outside "for as long as they like." Play is associated with work, but no lessons are compulsory. We see children singing Where Have All The Flowers Gone. Authority is community led, and we watch film of a meeting of the children. Work is shown, mostly painting, nothing formal. Neill talks about spanking, which is not needed, he sees problem parents rather than problem children. He asserts, "we exploit children." He returns to the theme of freedom, but though I liked his theory, little thirst for knowledge was portrayed in this film. His idea is that children find their own direction. Then he talks about attitudes to safe sex, that seems against his beliefs. In the end, you need to decide for yourself. This short film poses interesting questions, a debate was needed to follow it up Here and Now . . . . . . Tempo (1961-1968) ABC's pretentious arts programme uncomfortably filled Sunday teatime screens, or, preferably, a late night Sunday spot. 'Profile' - those working in the Arts No 1: Harold Pinter (October 3rd 1965) No 6: Orson Welles (November 7th 1965, 2.30pm) 'The Entertainers' Week 1: A Guided Tour of Zero Mostel (Jan 23rd 1966) Week 3: A Tale of Two Talents (Feb 6th 1966, 2.15pm) - Tom Jones and Lynn Seymour Week 6: Don't Let The Wig Fool You, Mate! (Feb 27th 1966) - Danny La Rue Week 7: Meet the Duke (Mar 6th 1966)- Duke Ellington 'Tempo International' Tativille (May 8th 1966) - Jacques Tati Jazz In Wonderland (May 29th 1966)- Stan Tracey Some one-off programmes: Painter at Work (Apr 8th 1962)- Graham Sutherland The Medium-Sized Cage (March 31st 1963)- Royal College of Art students Menuhin on Music (March 15th 1964) Information (January 1st 1967) Take a Simple Action and Look at It - Again (never broadcast) Documentary Menu . . . . . . . Harold Pinter (October 3rd 1965) A clip from The Caretaker (1960) gives us an introduction to his style of writing. "I am an old fashioned playwright," he says himself, though this might well be disputed. "Expect the unexpected" is the theme of his plays. Then, with the almost obligatory cigarette, he reflects, "I just do it." We hear of his early life in Hackney with an unusual group of friends who talk a lot about books and ideas. His musings are accompanied by random shots of local people. Questions veer towards the more normal adolescent fights, but for Pinter they were never for him, they were "a side issue." He was a conscientious objector. He talks about his orthodox Jewish parents. Then there is a very long clip from The Homecoming, on stage that year. Not a word is spoken in the opening minute, some point seems to be being made, but this is not followed up, making this a typical rag bag collection of Pinterisms without any cohesion. We are told his first play was The Room in 1957. When challenged (at last) with the charge that his works are "obscure and difficult," his response is, "I try to be true to the characters and play." Then, maybe there's time to spare, we return to The Homecoming, as though this be some sort of promo for it. We are told the scene we are about to see is about Ruth (Vivien Merchant) deciding to become a prostitute. This clip ends our torture Tempo . . . . . . . Orson Welles His life story told in half an hour through stills and, mostly, his own egocentric comments.... "humility... that's come slowly over the years." He tells of his early acting in Ireland, bullfighting in Spain. The famous 1938 radio scare is mentioned, no more, then on to 1940 and how RKO sabotaged his film career. His failed political aspirations. Then his glorious film years, with some searching questions about relationships, finance, and why he is unable to now work in America, even though he wants to. Not sure if we don't need the other side to this story! Welles proves to be swamped by his own ego, unable to understand his current professional isolation. By the end, the stills have been exhausted, and we are left with one long self-centred interview. Even if you're a fan, it becomes tedious, and anyway would have been just as good, or bad, on radio. If he "sounds arrogant," at least he has some great deprecatory throwaway lines, like the final obituary-like, "I'm not interested in being remembered" Tempo . . . . . . . Tativille Narrator: Alan Dell. After a minute of mysterious shots of a building site, stray dogs etc, we meet M Hulot himself, Jacques Tati. He is working on only his fourth film in twenty years, Playtime. The trouble with this programme is that Tati's English isn't perfect with his French accent, and though understandable it is not so easy to follow what he is trying to convey. Whether he does say anything important, I don't know. Probably not. We follow his every move, like some devoted pet, bathing in admiration. "He is a slow worker," we are told. He has been shooting this film for over a year, and it would be the following year before it was actually released. He is no financial guru, he is shooting on expensive 70mm film, a perfectionist. Naturally some of his conversations with those on the set are in French, what is less clear is why a soundtrack has been added over some portions of the programme. Tati offers us his unqiue methodology. Others sing their praises of him. We watch the building of a scene with Hulot in charge of a group of tourists who are a little tipsy. Tati adds his philosophy of being an individual in a conforming world. More ramblings end it all Tempo . . . . . . . A Guided Tour of Zero Mostel A close up of a foot to begin. We can see it is Zero Mostel's as we pan up to his "morbid face." He is unknown in Europe, but currently filming in Spain, where he is interviewed. More a joke really, plus chatting in between rehearsals, snippets of conversations mixed with his life history in the approved manner. Some name dropping of famous artists he knows- it turns out he is an accomplished artist, this was his first career. He also talks about his night club act, "abstract," is how he describes it. Also his collision with a New York bus that nearly caused his leg to be amputated. Rehearsals with Richard Lester directing. His serious roles are mentioned. In Ulysses- "you can't become a rhinoceros." In Waiting for God. He reckons it's good not to understand such plays. Assuming there is anything to understand. It is definitely hard to understand the frenetic chase rehearsal we then witness, hope the director could To Tempo . . . . . . . Painter at Work (Apr 8th 1962) In the "spectacular" mountains in the south of France, lives Graham Sutherland, attracted to the area by the sun and the bleak landscape. He tells us about his love of the area, as he lights up a cigar. He explains how he paints ordinary things in his garden, how he makes his first sketch and builds up his composition. This is a very intellectual assessment: "you are there to soak up what happens." His especial fascination is decaying beauty. A new painting is born, during which time he delves deeper into his technique. You have to admire his dedication. He sounds utterly engrossed and sincere though I was left asking questions: How does he earn his money? Why does he paint such dreary subjects? Does he actually believe his work is good? Does he like it? This is the emperor's new clothes, since we get no other viewpoint on his opus. He is not the sort of artist I would care to have hanging on my living room wall. Unless you are a tortured soul, the best location might be your little room Tempo . . . . . . . A Tale of Two Talents A study of rising star Tom Jones, and a young successful ballet dancer Lynn Seymour. With some prescience, ABC selected two who lasted long and successfully in their different careers. The idea is to compare and contrast their undoubted talents, though in general the clever juxtapposition is artificial. We hear how they both got started in the business. TJ is being driven in his car and he tells of his "entourage," his staff. He is in a sense trapped by them, unlike Lynn, though she admits she is very dependent on the talents of many others, the orchestra, and most of all her choreographer, on whom she heavily relies. She is told which parts she has to dance. As he shaves, TJ tells us the benefits of success. Though Lynn is a success in her own field, she is not well off, the reason is that ballet is "not commercial." Time off for TJ is very limited. Lynn also has to deal with publicity, in her case limited. TJ fusses over his photos, he admits his facial imperfection. He tells us he liked Al Jolson, but apart from Elvis, Jerry Lee Lewis is his biggest idol, he admires his "aggressiveness." Then he is seen in a Stevenage club singing. Inevitably some time is allowed for this, as adoring fans try to mob him. He sings Skye Boat Song, or an approximation of it, surely the worst ever version, followed by I Believe. He admits to us that sometimes his voice suffers, especially if he hasn't had a good night's sleep. Lynn's life is less frenetic, we watch her in rehearsal with a partner trying out an avant garde piece. She talks about "animal magnetism," something that clearly TJ must have, her last thought being on her own love of the pop world. Over the credits, it is back to TJ gyrating on stage Tempo . . . . . . . Don't Let the Wig Fool You Mate! The Entertainers: Danny La Rue. "Danny has made female impersonation respectable." 12.30 at his club, he is preparing for his next show. (The narrator (Alan Dell) says 12.30am but it must be afternoon). 2.30 at the matinee at Golder's Green. Cinderella. We watch his transformation into a large woman, followed by a brief excerpt from the panto. The brief narration I found over the top. 11pm a dash to Danny's night club for more backstage scenes. Then parts of his act, much more extensive, with two songs and some banter including political satire. This is interspersed with a few reflections from Danny. Happy Feet is next, with Ronnie Corbett, followed by some jokes. Having removed his female attire, Danny ends with a final song. This is a shallow analysis of the art, a lot of clips and close ups of making up as a female, with little attempt at exploring his motivation, or indeed the whole business of female impersonators Tempo . . . . . . . Menuhin on Music David Mahlowe reverently introduces a group of famous musicians rehearsing Mozart's Clarinet Quintet. Yehudi Menuhin and his gang practise, and discuss the interpretation of various obscure points, like how long a particular note ought to be held. There are also, as they play, Menuhin's own comments on this particular piece, but this is mostly obstruse and of specialist interest, dealing with technicalities beyond most of us. This must have included the producer, since the discussions become noticeably less and the musical excerpts longer, and, if you like Mozart, probably very pleasant. Menuhin reflects on his own love of Mozart so I suppose you could say we get some insight into the composer's mind. As it went out at 11.10pm on March 15th 1964, even in ABC's own region pushed back into the slot after Lawman, it may have been designed to send late night viewers to the Land of Nod, the only snag being Menuhin wakes us up with a final comment just as I was dropping off... Tempo . . . . . . . Information (Jan 1st 1967) I thought it was only modern so-called documentaries that are designed to confuse, but this film must have been ahead of its time. A compressed montage of tv images, clips of adverts over a consumer conversation in a supermarket: "so much choice." This point is illustrated by a survey on make-up, then another on being "lost," with education failing the younger generation. Or maybe it's the programme that got lost? Film of giant computers amid prescient points, though the presentation alienated this viewer. Move to a betting office, confusing scenes of gambling. I see now why ABC lost their franchise. Psychedelic is the word, clever, clever, not. Now a train, of sorts, "so many people overwhelmed" by information. Old values disappearing, a plug for the new- in hindsight we can perceive where the Sixties failed us. Now a motorway, then back to the office for interesting predictions of the future. A bimbo being filmed, you merely despair now why this film was preserved, while so much else was dumped. Climate change in South Shields is more topical, the point being that tv has made us so much more informed. So that leads into a montage of tv half second scenes, the fun today is spotting what series they used. Easy to see EW10, No Hiding Place, George and the Dragon, and The Baron. Denis Postle allegedly directed this rubbish Tempo . . . . . . . The Medium Sized Cage (March 31st 1963) A chance for media students at The Royal College of Art to present their own play, "with a very minimum of supervision," the introducer, Leonard Maguire, informs the poor viewer. Here is a story about a student who reads Samuel Beckett, that's enough to warn you this is no joy ride. To a background of pop singing (all the gimmicks are there), he reflects on his student life in the days before students were revolting. We have his thoughts on sex, religion, and everything, this is kitchen sink, student-style. A stain of blood on the floor momentarily changes the mood to include cartoon like pictures, but you're not interested enough in this bored student to care. And so his musings ramble on and on, and on. Not sure how he gets on to a silent cowboy movie. Then he drifts into fantasy with lots of clever visual tricks for their own sake. Not a story, a programme for the student makers alone, not aimed at any viewer, unless he be a bored student. Mercifully it lasts not much more than a quarter of an hour, then we meet the team, who all seem dreadfully old for students, at around age 24 and 25. I wonder how they'd view their effort today? Tempo . . . . . . . Meet the Duke (March 6th 1966) Director: Helen Standage. Last in the sub series The Entertainers. Duke Ellington is interviewed with some reverence as he visits Britain. The start, interspersed with musical extracts, comments, history is very much in the modern approved sound bite style. Then the main interview, in close up, at times too close. Some of the Duke's influences are discussed, his rennaisance in 1956, but the talk becomes more rambling, unless you are a real enthusiast. We meet his band individually, and after talking about their talents, the Duke goes deeper into 1966 racial prejudice and his related compositions, with one moment of self truth, "I was bitter." Then he talks about his own son before a brief reflective conclusion Tempo . . . . . . . Jazz in Wonderland The sound of a trumpet warming up does not exactly excite with its raucous din. Here is a big band, a little big band, led by Stan Tracey, who are rehearsing before cutting an LP to be released "this week." In other words, here is a programme to plug the disc. Alice in Jazzland is the LP. After the usual drags on fags, and snippets of incomprehnsible conversations, we are offered mutual backslapping from the participants. You really need to be a fan to be at all interested. You need to be a fan to enjoy this moody jazz they play. As it seems tuneless to me, I will desist from further comment. Indeed Stan adds his own comments over the music, which might suggest this ain't that gripping tv. The tape is played over, "it usually sounds better than I think it is." Their second number, Teatime Gavotte is livelier, if still a cacophony. Then we have more reflection to conclude the programme. I doubt if this 'plug' helped sell the LP, in fact it probably put potential buyers off Tempo menu . . . . . . . Take a Simple Action and Look at It - Again Again Again Again Again A camera tracks actor Noel Trevarthen descending a bare stairway, across a bare floor to sit down at a table, pour a glass of water and then light a fag. The same scene occurs again. Yes, someone has thought of a great way of making tv on the cheap! What is reality? asks this man, identified in the credits as RD Laing. This is before the Scene is shown a third time, the main interest is in deciding whether we have different camera shots of the same actions. No, it's a new 'take' each time, how much was this actor paid? Then Laing talks about the historical use of drugs down the ages. Followed by Scene 4, same as all the others of course, yawn. Then a long talk about unconscious realities, actually talking about LSD over Scene 5. Scene 6 follows straight on, this time with action replays. More airtime for Laing before Scene 7 which has flash photography, and no warnings either! More on the effects of LSD, using long words. Scene 8, same old stairs and water and fag, but plus camera effects, all very clever, accompanied by music, Indian naturally, more like a Hall of Mirrors now. You are "out of your mind," and Laing's argument is that the sages of the past used to do this. Scene 9 only contains part of the exciting sequence, using close ups, slomos etc, and lasts longer. Enough to send you, either to drugs or straight off to sleep- or the off switch. Cue credits. Scene 10 however intrudes. Same as Scene 1, or is it? If you care, the total cost of making the film must have been a fiver. Laing concludes with some ramblings, but no wonder the film was never screened on tv, it's a one sided view and needed counterbalance. I would have added Scene 11 myself, in which Trevarthen tripped down the stairs and landed splat on top of Laing, for a fine slapstick finish, slapstick finish, slapstick, slap Tempo . . . . . . . Independent Television Opening Nights London ITV (Thursday September 22nd 1955) Scottish Television (Saturday August 31st 1957) Anglia Television (Tuesday October 27th 1959) Each of the original 14 ITV companies had its own opening show starting with the first station in London in 1955. I understand that most of these opening night specials have, not surprisingly, been preserved, and that Network have been encouraged to issue them on dvd. The shows would make a fine tribute to the glorious regionalisation of these truly independent companies, and moreover, we would be treated to some rare footage of great stars from Jack Buchanan (STV) to Diana Dors (Southern), Jimmy James (TTTV) to Tommy Cooper (TWW), to name but a few. Documentary Menu . . . . . . . . Opening Night of Independent Television London Area Thursday September 22nd 1955 This was a joint programme by Associated Rediffusion (with the Associated Broadcasting Company- later ATV- producing the Opening Night Show at 8.00-8.40pm, which had the rather unimaginative title 'Variety.') 7.15pm The guests arrive, (this preserved without the commentary). More interesting is the grandiose introduction giving glimpses of London landmarks and a potted history of the city. We are solemnly told the television act insists on a service "of high quality." It was- to start with! Then we have are all the trailers for Channel 9's programmes, serious first, of course, then popular shows, then imports, with a long clip from Dragnet. 7.30pm Sir John Barbirolli with the Halle play Elgar's Cockaigne Overture (clip). 7.45pm Speeches from London's Guildhall- the Lord Mayor of London, who argues against tv bringing "a rapid decline in standards of entertainment." Charles Hill's speech is the most entertaining, as he believes "Hamlet will not interrupt his soliloquy to tell us of the favourite brand of toothpaste ordinarily used at Elsinore." And he was right when he said "competition would bring change." Kenneth Clark (then chairman of the ITA), with that dignified way of his, concludes this boring opening ceremony. The best one could say about it, is that the BBC could not have done it much better, except perhaps for the camera changes. Andrew Gray visited the Mayfair Hotel on September 22nd 1955 to watch the opening night of commercial TV in Britain. He had the advantage of a 21inch screen. “The dinner made a rather sombre start to what was supposed to pep up our screens.” Jack Jackson introduced contracted stars, including Derek Roy, who teased, “you BBC deserters,” and nicely singing, “with the ITA or the BBC, where will the Richard Dimbleby?” Harry Secombe evoked the biggest laugh with his impression of an announcer upon whom the camera has to linger too long. As everyone knows, the first ad was for toothpaste, “it didn’t jar,” but then followed drinking chocolate and margarine. Newsreader was Chris Chataway, “seemed similar to the BBC.” Leslie Mitchell introduced two backroom boys, Lloyd Williams and Roland Gillett, before the cabaret which included George Formby, “who found it difficult to sing against the noise in the background, made by some 300 guests, who had come to wish a happy Bon Voyage to CTV at a party that went on till the small hours” Gordon Butler, a tv engineer, writing in 1965, recalled how the Opening Night was nearly a calamity. "Leslie Randall came on and began talking. At least his lips moved. No sound emitted! Cyril Francis sat with perspiration running down his face. He prepared to give the order to switch to the We Apologise for the Breakdown slide. At that moment Leslie Randall stopped moving his mouth, looked a bit puzzled at the audience, pulled a tin whistle out of his pocket, played a few notes and said Good Evening Ladies and Gentlemen. There was a short silence among the people in Master Control in Wembley. If anyone could have laid hands on Leslie Randall at that instant...." To Opening Nights . . . Documentary Menu . . . . . . . . . . This is Scotland (August 31st 1957, 6.30pm) Hosted by James Robertson Justice, who after an uncertain start infuses a pride into his homeland, as he shows during the hour long programme, the beauty of the countryside, with all its many rivers, the glories of its history and the great Scotsmen of the day, including messages of congratulation from some eminent men from across the world. The singing of Scottish songs is in the capable hands of Kenneth McKellar, with such standards as Come Along, and Over the Sea to Skye. On film, Alastair Sim reads the poem In the Highlands, while more light heartedly Archie McCulloch interviews Deborah Kerr who is filming in the South of France with David Niven. The latter gives the game away when he admits, what would be dear to many a Scottish heart, that "television is something for nothing." A more ambitious interview is a live link with the Lyceum Theatre in Edinburgh to speak to a rather off-the-cuff Moira Shearer. There's a split screen as we see James chatting happily with Moira like two old friends. Inevitably Jimmy Logan is on hand, appearing with Stanley Baxter in excerpts from Five Past Eight, the show currently at The Theatre Royal Glasgow. They sing and act a feeble sketch as two grown-up toddlers. Most poignant appearance is by the great showman Jack Buchanan, only two months before his death. He rambles on and, a little ignominiously, gets the hurry up call from the wings before singing with audience participation the immortal I Belong to Glasgow. He had been introduced by ITN newscaster Ludovic Kennedy, who was later to read the ITN News that night from the Scottish studios. The Clyde Valley Stompers provide some more lively music, accompanied by "The Rock and Roll Sinners," at least that's how the opening credits describe 'em. One of the few gaffes in a generally very impressive debut for the station. There is some background noise, as scenery is shifted, perhaps unavoidable in a live performance, but this doesn't detract from the overwhelming sense of national achievement that this opening night happily conveys. Aye, it was only a pity that after this blossoming, for 10 years the company was very much in the wings of the ITV network. In STV's 50th anniversary celebration, Jimmy Nairn, the announcer whose voice was the first heard on the 1957 programme agreed the opening night "went well." This 2007 tribute had a nice touch, in that one of the 1957 stars, Stanley Baxter, narrated the programme However a contemporary account of the show was less than favourable. Derek Hoddinott complained about the poor quality of the filmed sequences (true), and picked on James Robertson Justice who "looked as fed up as I was," and he took exception to the host "reading poetry in the background... extremely boring and slowed down the pace to that of a tortoise." This critic got "a nasty taste in the mouth" from a rough individual who told of the bad old days, and even "welcome sight" Jack Buchanan was "unfunny." All in all he described the show as "a great disappointment. I expected something a lot better," though he does concede the camerawork was an exception, the dancing and costumes were "gay," and the singing "very good." Perhaps this Sassenach should have stayed down south? To Opening Nights Scottish TV page Documentary Menu . . . . . . . . . . Anglia TV Opening (October 27th 1959) At the ungoldly hour of 4.14pm (maybe Anglia had learned from other opening night bores) a clock started ticking as a voice announced "one Minute to Zero. This is Anglia Television." At 4.15 aerial shots of the Mendelsham transmitter were followed by flying sequences from towns and small villages around Anglia. This had been filmed by second cameraman Peter Fuller. Then at 4.20 Sir Ivone Kirkpatrick, Chairman of the ITA, declared the station open, as the famous Anglia knight in shining armour lit up to the Anglia theme tune. Viewers were given a brief tour of Anglia House in this opening half hour programme plus details of local and national programmes to look forward to, introduced by chief announcer Drew Russell. Some live musical numbers were also performed before a rather small looking audience. A rather odd producer, Philip Bray, introduced the talent on the forthcoming Midday Show, which included young Susan Hampshire. To Opening Nights Anglia TV page Documentary Menu . . . . . . . . . . . . BBC serious programmes Some survivors: London to Brighton in four minutes. BBC News (1958 bulletin) The Brains Trust This is the BBC (1960) Man Alive (from 1965) Women Alone (1966) The Best in Television (1969) Jack the Ripper (1973) English Language Lessons BBC Schools Documentary Menu . . . . . The Best in Television Awards ceremony from the Dorchester Hotel on February 14th 1969. A BBC programme showed highlights at 11.15pm that evening, the presentation to the winners, interspersed with clips from some of the winning tv programmes introduced by Michael Aspel. Unfortunately the ceremony itself was marred by the sudden illness of Kenneth Horne, the host, who sadly died later that night. Best Actor for 1968 was Roy Dotrice for his tour de force in Brief Lives. We see an extract from this monologue which is very much of its time and crude. Best Actress was Wendy Craig, who is not present, but we see a clip from Not in Front of the Children with Ronald Hines from Nov 1968, again a swinging performance of its time. Marty Feldman won the Light Entertainment award as Marty, the bullfighter scene is shown with him as PC Ogmore. Julian Pettifer won the TV Reporting Award. It was at this point that Kenneth Horne fell ill. Jack Gold won the Specialised Producer category with an Omnibus film, we see a clip from Field of Mustard. Granada TV won the Factual producers award and there is a clip from Cities at War, the Siege of Leningrad. Thames TV shared this award for, once again, their This Week series. Dennis Main Wilson won the Light Entertainment Producer award. Drama winner was The Parachute, a BBC play, an extract is shown. Designers: awards for Roy Oxley and Tom Montcrieff. The Special Awards go to firstly News at Ten, Michael Ryan of ITN accepting the award, and then to the BBC coverage of the 1968 Olympics. The Foreign TV Service Award goes to the Czech Television station, noone available to receive it, so a prolonged round of applause. Finally the Outstanding Services Award (the Desmond Davis Award) is given to Ken Russell, an extract from Delius is shown. So as to finish on a more upbeat note, the BBC highlights end with another Marty clip, this time the Coughing Scene BBC Menu . . . . . . . London to Brighton in four minutes. first shown in 1953 This was a classic of speeded up filmwork, with the Brighton Belle leaving Victoria at 3pm, arriving in Brighton amazingly at 3.04pm. The fact that the filmmakers show a different train at Brighton is a slight error, but otherwise it's wonderful, with, in the other direction, nostalgic steam trains flashing past. With scary tunnels, the impressive Ouse Viaduct and a jolly soundtrack, this is tremendously enjoyable. I assume that one could rerecord it at the correct speed these days to show the whole one hour trip, though I suppose it would come out rather jerky! BBC Menu . . . . . . . English by Television Several series were made in the 1960s, designed to teach English to French speakers. In Walter and Connie Reporting, stories featured Walter (Brian McDermott) and Connie (Anne Lawson) who lived in a flat with their baby son Gordon in the town of Walchester. Cartoons with captions illustrated the grammatical and vocabulary points being made. Some instructions are in French, but mostly in English. Script Editor: Bob Stuart. Music: Edward White. Producer: Reg Hughes. 6 Walter and Connie at the Seaside - directors: Clive Donner and Max Varnel "Where is the small case?" is the first question asked on a train on which Hattie Jacques is fast asleep. She asks where her white gloves are, the answer is, they have fallen under the seat. Walter and Connie book into their hotel, where the receptionist poses "who are you?" Walter and Connie are shown to a room, opposite Hattie and her husband (Glyn Dale). More queries follow on the beach, like "whose ball is that?" Mine replies Hattie. Walter has been swimming and wants to know, "where is my towel?" He dries himself, then attempts to erect an umbrella in the sand, for a chance of a bit of slapstick. Suddenly a bolt of lightning causes everyone to dash for shelter. Back in the hotel, a meal for the four guests, who argue whose soup and fish it is 25 The Lost Baby (script: John Wiles, directed by John Paddy Carstairs, Twickenham Studios)- Walter is invited to a party being planned by Bill (David Brierley) and Ann (Maureen Beck). When he drives off in his Triumph Herald, he unwittingly has another passenger, Ann's baby which she has put in his car instead of hers. At home, Walter is phoned by David who warns Tom is likely to sell the local newspaper, meaning Walter could be out of a job. Then Walter phones Bill saying he is unable to come to the party, but when Bill hears the reason, he and the frantic Ann rush round to be reunited with their baby. View and Teach 4 Sentence Pattern See also the 1973 On We Go BBC Menu . . . . . . Women Alone directed by Charles Denton. A chirpy 22 year old from Barnes, plus her 33 year old rather dowdy older friend, both single mothers. She's frank, an early example of that odd desire to bare one's feelings to the camera. Most fascinating quote: "Men have a much more interesting life than women." There's also a clip of Dusty Springfield singing, though no Swinging Sixties in sight at all here BBC Menu . . . . . . . . . . . . . . This is the BBC Wednesday 29th June 1960 On the Opening Night of the BBC Television Centre, transmitted at 7.30pm was Richard Cawston's self-portrait of the BBC. It got the thumbs up from this critic who wrote "Cawston should have subtitled it This is How a Documentary Should Be Made." It showed 24 hours in the life of the BBC, compressed into 65 minutes. Indeed it won the British Film Academy's 1959 Award for Best Specialised Film. For me what comes over is the chumminess of the chaps in charge. What the programme sadly lacks is any captioning, though I did not at all mind missing today's disease, the deadpan narrator. Some of those in the film are: Richard Murdoch (Housewives Choice), Dimbleby's team preparing Panorama, Kenneth Horne at rehearsals, John Gregson in make-up, Roy Plomley (Desert Island Discs rehearsal), Muir and Norden preparing a Whacko script, Jennings on radio, Eamonn Andrews with a quiz (Crackerjack?), Richard Baker (6 O'Clock News), Tonight with Cliff Michelmore, and Janie Marden in a late night experimental tv show. BBC Menu . . . . . The Brains Trust in the chair Michael Flanders, with Malcolm Sargent and Yehudi Menuhin, discussion on music was always bound to predominate BBC Menu . . . . . . . . . . . . BBC News A 1958 15 minute bulletin, read in sedate splendour by Robert Fougall at Alexandra Palace. Main story is the Big Freeze, Michael Hancock in Manchester has a report on traffic at a standstill, scenes in Woodhead, and Brough. Then there is flooding on the River Waveney, and on the Thames. Conrad vos Bark reports on the House of Lords' Artificial Insemination debate. There's film of Eisenhower playing golf despite the US recession, and then his speech. Film of racing driver Fangio's release after kidnap, he missed the Grand Prix in which six spectators were killed. Other brief news: The Commons' Defence Debate, TUC condemntation of the Cohen Report/ Sir Winston Churchill is making good progress/ Mr Murphy in Tunisia/ President Nasser/ Floods on the Zambesi at Kariba/ The Old Bailey Brighton Conspiracy Trial/ Direct flights are to commence from London to Moscow/ Ronald Waldman is the new BBC Business Manager. What strikes the modern viewer is the heavy reliance on mute film footage, with commenary added. That, and the very serious unhurried atmosphere, responsible reporting with none of the modern jarring musical distractions that really started with ITN's News at Ten BONGS BBC Menu . . . . . . Man Alive television's equivalent of cine verite, this is kitchen sink cum pseudo documentary, observation rather than depth. Love Me and Leave Me (Dec 1965) - "It's my fault," an accident. Various single women talk freely about their babies. The father of Pat's boy is alleged to be one of the Rolling Stones, you feel there is a whole programme here. Instead we switch restlessly to Caroline with two kids ("I have them all to myself") a white girl who has had relationships with black men, again you sense a programme's worth of material has been missed. Then a contrast with a Scotsman living with, but not married to a French girl, for they reject the concept of marriage. Then back to another single woman, this one a professional girl, making the point that the law is weighted towards men. Four lives superficially covered, issues raised in no depth, opportunities wasted What is Happening? (May 1967) - "A new era... reaction," quotes from the flower people, "beautiful people... it's in the air." An all night rave in Ally Pally. Dry narration by Desmond Wilcox allows the pictures to be their own comment. "Children again," perhaps this sums it up, as various dropouts give boring utterance, full of their own importance. I was with one observer who commented, "they don't know what they're looking for," and indeed after a while this programme becomes itself "aimless," but worse, often gratuitous. As for the rave, "I think it was marvellous specially as I was on a trip." A more down to earth observer notes, "they need a blinkin' good bath" The Ravers (June 1967) - A study of young girls following their pop idols, in particular Simon Dupree. Apparently his group is quite "restrained" in allowing fans access to them, "a great outlet for them." The pop star fields his questions rather neatly though the girls' shallowness is exposed when they are interviewed. Finally one groupie admits what was pretty obvious, "the band is here to project sex." Admits Dupree's promoter, "it's there to be exploited." His assessment is honest, though BBC reporter John Percival's questions revolve a lot round the theme of parental responsibility. "It must be normal," Dupree concludes BBC Menu . . . . . . BBC Schools Scene This long lasting schools' series tackled cutting edge issues. The one pictured here is 1.2 The Last Bus (10th October 1968) Script: Keith Dewhurst. Director: David Yates. Four yobs leave their coffee bar to catch the number 8A bus, last of the day, destination: Depot. They haven't enough money for their fares, so the conductor attempts to turn them off. There's a standoff and the driver brings the bus to a halt. With a defiant spit at a lady passenger, Mrs Smith, they quit. But when the conductor walks round to the driver's cab, they assault him, kicking him to the ground. After the action, there is an interview with each of the main characters, conducted by Ronald Eyre. The cast include Robin Askwith, Jane Carr as a young lady, and Noel Dyson as Mrs Smith BBC Menu . . . . . . Jack the Ripper "A right comedian." Interesting idea in this 1973 series, getting two fictional detectives, Barlow and Watt, to investigate the famous Victorian murders. It's really a case of what the scriptwriters want their characters to say, but it is well researched and presented, with a mix of detective analysis and re-enactions of court evidence etc. A more interesting approach might have been to make them travel back in time to sit in on the inquests, and even the murders! 1 The First Two 2 Double Event 3 Butchery 4 Panic 5 Suspects 6 The Highest in the Land? BBC Menu Documentary Menu . . . . . . . . . . 1 The First Two Barlow: "every murder I've been on, has been cleared up:" so will our experts solve this one? They agree that there were five definite victims, all had their throats slit. They start with the first two, 'Polly' Nicholls on Aug 31st 1888, and Annie Chapman on Sept 8th 1888. We listen to a constable's evidence, revealing the woman had been "disembowelled." The inquest suggests a left handed killer, one with anatomical knowledge. The second case is very similar, except that this police doctor is reluctant to reveal the gory details. After mulling over the two women's poverty, the detectives paint a picture of the terrible conditions in Whitechapel, labouring this point. They also try to draw up a first portrait of the Ripper. Some evidence is dismissed, The landlady of the Prince Albert offers the press lurid descriptions, the only thing to puzzle Barlow, is how she had started this gossip so soon after the first killing. Police arrest one popular suspect, and another. Barlow concludes that the investigating officer at the time had searched the wrong place, expecting the killer to be of poor background himself. He's "a middle class Ripper," is the conclusion, one who had privacy, though in this case, in such a district surely he would have been noticeable Ripper Menu . . . . . . . 2 Double Event Elizabeth Stride is victim number 3, found dead at 1am, but the disembowelling is interrupted. So the Ripper seeks out a fourth victim, Catherine Heddows, found by a copper on the beat at 1.44am. Finally Mary Kelly, out at night searching for her daughter Annie. She was arrested for being drunk, but then released at 1am. After looking at the inquests, our detectives learn of the Whitechapel Vigilante Committee, in charge was a Mr Lust, out to meet "the menace." He receives a letter from the Ripper, plus one kidney. Despite newspaper speculation to the contrary, it proves to be authentic, quite possibly belonging to Heddows. Clearly the killer has anatomical knowledge. These killings do not confirm the earlier theory that he is left handed. Descriptions of the Ripper vary. Barlow favours one by a constable who describes the killer as aged about 28 and clean shaven. But that favoured at the time by Major Henry Smith of the City Police is that he possessed a moustache! He makes his own attempt to catch the Ripper and finds writing by the corpse of Heddows, but this is, icnredibly, rubbed out by the Met police, probably because of fear of a riot. The Bloody Sunday riot of 1887 is examined at some length, Chief Commissioner of the Met Sir Charles Warren is "good at stopping riots, but at catching the Ripper," not. He seems to have ordered the removal of this writing. Why? It was anti-Semitic, but Watt hangs on to a policeman's description that the word Jews was spelled Juwes, and that apparently is significant. In the best tradition of serials, he does not as yet divulge the significance to Barlow- or us Ripper Menu . . . . . . . 3 Butchery The detectives now turn in more detail to the fifth killing, that of Mary Jane Kelly, aged 25. Sir Charles Warren was found "wanting," says Watt. He reveals that the 'Juwes' in the removed writing refer to three masons, whom Sir Charles is honour bound to shield. A recreation of this murder at dead of night, the corpse discovered about 10.45am next day, "a naked bloody mess." Testimonies are given. The use of bloodhounds is derisory, according to Barlow and Watt, though Warren gives them highest priority. For the Kelly inquest, Barlow is suspcious that the MP coroner was selected by Sir Charles. It is a surprisingly brief session. Conflicting evidence comes from a Mrs Maxwell who is sure she had seen Mary Kelly alive early that morning. Kelly was with a stout man. The medical evidence at this inquest does not even refer to the extreme body mutilation, and the jury are quickly persuaded by the coroner to bring in a verdict of wilful murder. "Official hushing up." Later a man offers a possible description of the Ripper, which Barlow is inclined to accept, "looked like a foreigner, carrying a small parcel." Even the Queen herself complains of police inefficiency, and offers her own written thoughts, "amateur!" Sir Charles later resigns his post, "very odd somehow." Though police memoirs of the event are scrutinised, most are dismissed, especially those of Robert Anderson, "the man's a fool," observes Barlow. He knows that what they most need is to examine the unpublished police documents, but as yet, these are not available to our detectives Ripper Menu . . . . . . . 4 Panic This episode is very slow going, not unlike the contemporary police investigation. Barlow has discovered how that wiped off message actually looked, he has unearthed details of a private meeting between Sir Charles Warren and the Home Secretary. Warren had copied the message, though I thought that apart from the fact that it is not in capital letters, nothing startlingly new is revealed. Our modern detectives are dubious about his testimony, specially Warren's theory of the Ripper being an anarchist. Sir Augustus, a judge, was offered details of the killer's identity, allegedly an anarchist, possibly Irish. Officially this line of inquiry was not sanctioned. But the name of the suspect was a John Kelly, though nothing more is heard. Other theories follow, red herrings. Offering a reward encouraged conspiracy. Mobs started to range round Whitechapel, but this whole section becomes far too protracted, useful background perhaps, but too much reading of statements and newspaper articles. One letter to the papers is allegedly from Jack the Ripper himself, and the police take this seriously. The Star is among the papers stirring up hysteria, leading to the Home Secretary's resignation. Certainly the police proved inept. A description of Marie Kelly's funeral does not add anything to Barlow and Watt's current investigation Ripper Menu . . . . . . . 5 Suspects A corpse is fished from the river. Our detectives recap the five murders, and draw the conclusion, "he must have been mad." Was he a doctor? They are not so certain, but one who was, was a Dr Howard. He related how one Robert James Lees appeared to have advance warning of the killings. Dr Howard was later declared insane. Another theory was from Inspector Abberlene. He strongly suspected Klosowski, a Polish barber's assistant, who had emigrated to America where more murders took place. He returned to England under the name George Chapman, his wife dying myseriously of poison. A second wife, and a third die in similar circumstances. Barlow however believes he was too young to have been the Ripper. Dr Dutton, a friend of this inspector, later stated that he changed his theory. When he died, his obituary read, I Knew Jack the Ripper. But there is no sign of any of his notebooks. Novelist William Leduc held his own belief that the Ripper was Russian and that Rasputin wrote down about the affair. "Fantasy," comments Barlow. Barlow has examined confidential files at the Yard, though much documentation has gone missing. One suspect Thomas Cutmore is dismissed as "a slim prospect," but Sir Melville Macnaghten in 1894 identified three suspects: Ostrog, a Russian doctor who was incarcerated as a homicidal maniac, Kosminski a Polish Jew who hated women and became insane, and the most likely: MJ Druitt, "said to be a doctor." Seven weeks after the last murder, he had been found dead in the Thames (hence the opening scene), the detectives look at his photograph, "doesn't look like a killer." Once a teacher, this suspect had been dismissed, and committed suicide. But he was not a doctor, even though his family were. His brother Edward had emigrated to Australia to join his brother Lionel, a doctor. The latter had written a book on the Ripper, but no copy seems to exist. The two detectives cannot agree. Watt turns the inquiry to a mason, of royal lineage, who curiously looks very much like Druitt... Ripper Menu . . . . . . . 6 The Highest in the Land? Mitre Square. The detectives visit the site, "what a place to die." "Or live." More discussion at relevant locations might have improved the programme. Watt recounts the evidence of a Dr Stoll who claims a doctor, not an eyewitness named 'S' as the Ripper, by which he means The Duke of Clarence, who died in 1892. Though he has no "tight alibi" for the first murders, he was with the queen herself at the time of the final killings. Watt surmises that Mary Kelly, who had lived in the West End, worked at 19 Cleveland Street, a male brothel. Insp Abberline has investigated the place, none too competently, evidence against "you know who" being suppressed. Watt offers the theory that the brothel's reputation had to be preserved since the Duke had used its services. Joseph Sickert, son of painter Walter Sickert, is seen on film, a coup for the programme, he claims that the duke was his grandfather, so "Mary Jane Kelly had to be silenced." Thus the theory is, that a plot was hatched to make the five killings random, the killers being coachman John Netley and a mason Sir William Gull, royal physician. A lot of coincidences, maybe, thinks Barlow. He summarises what evidence they have amassed. Very little hard fact. "I do know a cover up when I see one." Admits Watt, "we're not going to get near" the Ripper. In conclusion, Barlow reveals that he (or a researcher) had looked in the files of the Director of Public Prosecutions. Documents had been "removed," so a cover up appears the most favourable theory Ripper Menu . . . . . . . Ripper Menu

. . . . . . . . . . . . . . . TV Programmes about Films Movie Memories (Anglia TV) Roy Hudd hosted this 1980's Anglia TV series, shown in the afternoons. Producer John Brooker put together clips from some old films, and gave us an interesting interview with a film star each week. The theme music used to start and end the programmes was called Showbiz, and was played on the wurlitzer of the New Gallery Regent Street. Series 1 (1980) 1.1 with Jack Warner, 1.2 with Charles Hawtrey, 1.3 with Anne Todd, 1.4 with Ingrid Pitt, 1.5 with Roland Culver, 1.6 with Richard Greene, 1.7 with Anthony Steel. Series Two 2.1 with Diana Dors, 2.2 with Anna Neagle, 2.3 with Richard Todd, 2.4 with Kenneth Connor, 2.5 with Chesney Allen, 2.6 with Hazel Ascot, 2.7 with John Bentley Series Three 3.1 Muriel Pavlow, 3.2 Harry Fowler, 3.3 Robert Beatty, 3.5 Leslie Phillips, 3.6 Lionel Jeffries, 3.7 Jean Kent Series Four 4.1 with George Coulouris, 4.2 with Dora Bryan, 4.3 with Geoffrey Keen, 4.4 with Sylvia Sims, 4.5 with Michael Craig, 4.6 with Phyllis Calvert, 4.7 with Victor Maddern Series Five 5.1 with David Tomlinson, 5.2 with Joan Sims, 5.3 with Guy Rolfe, 5.4 with Eunice Gayson, 5.5 with Peter Jones, 5.6 with Googie Withers, 5.7 with Ian Carmichael To early tv series on the cinema To Dinosaur Films, my monthly magazine To Documentary Programmes menu . . . . . . Guest Jack Warner For this first ever programme, Roy Hudd tells us an amusing story about his first visit to a cinema in Croydon. Clips are shown: Sun Valley Serenade 1941 with Glenn Miller. Trail Street 1947 with Randolph Scott. Jamaica Inn 1939 with Charles Laughton. In the audience, is Eileen Brent, who had had a small part in a 1929 Hitch film, but it had ended up on the cutting room floor! Vaudeville Parade 1948 with The Hoosier Hotshots. The Hurricane Express 1932 with John Wayne. Roy recalls the great Jack Buchanan, with a clip from the 1937 This'll Make You Whistle, dancing I'm in a Dancing Mood with his greatest partner Elsie Randolph. Jack Warner is welcomed into the studio after a clip from his 1947 Hue and Cry. He talks about his days in the motor trade when he once was a driver for Jack Buchanan. He dismisses his first film the 1942 The Dummy Talks as "shocking." A subdued Warner talks us through his memories of his first good film The Captive Heart. He recalls Richard Widmark seven years later remembering one memorable scene. He had a small role in The Blue Lamp, getting bumped off early on, but look what that lead to! What was only a small part with Kathleen Harrison in Holiday Camp led to three more Huggetts films and nine radio series To Movie Memories . . . . . . . . . . . . 1.2 Roy Hudd talks about Saturday morning serials, mentioning his own Hippodrome Croydon. First clip is Reed Hadley in The Fighting Legion (1939). Roy talks to Robin Osborne, who has researched such serials, and he gives credit to the fine stunt man on this clip. Next comes The Crimson Ghost (1946). Eddie Cochran is featured singing in Go Johnny Go (1959). Then Roy tells us (this is before imdb) what happened to some famous stars, most are actually still living. He has a trailer of Richard Denning and Buster Crabbe in the 1946 Caged Fury. Jim Reeves sings A Friend is Just a Friend from Kimberley Jim (1964). A clip of Will Hay in Good Morning Boys (1937) serves to introduce guest Charles Hawtrey. We watch a clip of his entrance in Carry On Constable (1962) and he talks a little about Carry Ons. But our guest seems ill at ease, perhaps not hearing Roy's questions perfectly, and the interview ends quite abruptly Movie Memories . . . . . . . . . . . . . . . 1.3 guest Ann Todd Astaire and Rogers in The Gay Divorce 1934, Roy Hudd says they took up to nine weeks to rehearse a number. Mighty Joe Young 1949, a sub King Kong story. Roy adds a topical quip. Saturday Morning Clubs: Roy chats with Mavis in the audience and she sings the ABC Minors song, Roy joining in for a few bars. He also mentions the Roy Rogers Riders Club and shows a rare clip from the opening welcome from Roy Rogers. Scene stealer Jack Nolan in Brooklyn Orchid 1941. Norman Evans in Under New Management 1946. Check Your Guns 1947 with Eddie Dean singing. The Seventh Veil 1945, the piano scene with James Mason and Ann Todd. She is Roy's guest, and says "they built the sets bigger" since she played a young girl. The film made a star of her. She talks about The Sound Barrier, in particular a scene in which she played a pregnant woman. She also says she made her own films on the theme "things we are losing." "I've been lucky," she admits. Roy shows us her new autobiography To Movie Memories . . . . . . . . 1.4 Roy reveals this is to be a special horror programe, and the audience, on cue, scream when he removes the horror mask he had been wearing. Having talked about the many models of King Kong made for the film, we see a clip from the 1933 movie, with the monster seizing Fay Wray. Roy talks about cinematic gimmicks before the clip of The Bride of Frankenstein 1935. Guest is Alan Frank, author of a book on the genre. He has a story about Psycho, before introducing his favourite film, the "small budget picture" Blood Beast Terror 1967 with Peter Cushing and Roy himself. Bela and Boris Play Chess, with Lugosi and Karloff. After two stories from Roy, we have a clip from Invasion of the Bodysnatchers 1956, then Ghosts on the Loose 1943 with Bela Lugosi. The House That Dripped Blood 1970 with Ingrid Pitt turning into a vampire, serves to introduce the guest star. Ingrid hams it up with fangs and relates one of the funniest moments in making the film. Her horror films include four made in England, three in America, and one in Argentina. Her favourite is that film we saw her in, with Jon Pertwee who made it all fun. She has just completed a script from Hammer House of Horror, in which she will star, "the ultimate ego trip." (Unsure whether this came to fruition) "We'll have a bite together," promises Roy to her, as he bids us goodbye. A nicely compiled show To Movie Memories . . . . . 1.5 Something to Sing About with James Cagney is first on, a trailer from the 1937 film. That's followed by Buster Keaton in Mixed Magic 1936. Then Roy chats with Jack in the audience: he had salvaged a spire from his local cinema in Ipswich and erected it in his own garden. Third clip is Cyclone Fury 1952 with Charles Starrett as The Durango Kid. Then Jean Simmons in Sports Day 1944. Danger Ahead 1940 has James Newill singing. Stormy Weather 1943 features AIn't Misbehavin' with Fats Waller. Then Roy meets an idol of his, Roland Culver OBE. They watch together a clip from French Without Tears 1939. Roland admits he was wearing a toupee in it. He had nightmares about losing it. He tells a story of a scene he played with Joan Fontaine, with two French poodles, to the director's exasperation it took twenty takes. Roy finishes by telling us that Roland's autobiography is titled Not Quite a Gentleman To Movie Memories . . . . . 1.6 Roy Hudd starts by revealing what happened to a few American starlets. First clip is Kelly the Second 1936 with Charley Chase. Then The Sain't Double Trouble 1940 with George Sanders and Bela Lugosi. Fabulous Joe 1947 stars Walter Abel. Larry Parks sings in The Jolson Story 1946, then a 1940 trailer for Swiss Family Robinson. Lash la Rue stars in Fighting Vigilantes 1947, requested by projectionist Bernard King who chats with Roy. Deanna Durbin sings Ave Marie in It's a Date 1940. Guest is Richard Greene who had worked with Shirley Temple in America. His big film test had been for Korda in a film with Loretta Young (the actual film was Four Men and a Prayer). He left Hollywood due to a lack of good films, Hannah Weinstein offered him the role of Robin Hood, it was "a difficult decision" to accept, the programme was shot over hte next four years. Roy says he has received more requests for a clip from this series, than any other. So we watch a brief excerpt from a 1958 episode To Movie Memories . . . . . 1.7 A wonderful start to this programme, with Roy introducing Laurel and Hardy dancing in Way Out West 1937. Richard Dix is in a clip from The Kansan 1943. A trailer of Don't Knock the Rock 1957. Brian Sheard is in the audience, telling Roy about working in a cinema, how they presented different types of films in different ways, for example by selecting appropriate recorded interval music. He mentions problems associated with screening Cinemascope films. His chosen clip is I Married A Witch 1942. A much requested clip is from Al Jolson in The Jazz Singer 1927: Tootsie. Anthony Steel, sporting a white beard and plenty of white hair, still looking distinguished, though a little stuttering at first, talks of his first film The Wooden Horse. Then his world ranging films in which he was ever the hero, made in "smashing locations," but where they "lived rough." Nevertheless they ate "good food!" We see him in action in the epic Storm Over the Nile 1955, the famous scene in which he receives the white feathers Movie Memories . . . . . 2.1 Roy talks about much requested B westerns, before showing a clip from Forbidden Trails 1941. The B Westerns Club is run by Clive, who is in the audience. He tells Roy about the aims of the club. Dick Foran is in a clip from Ride 'Em Cowboy 1942, singing I Remember April. The third clip is of John Wayne in Three Texas Steers 1939. Next is William Holden in Texas 1941. A fine first half for those who enjoy Westerns. Part 2 begins with a clip from House at Sly Corner 1946. This serves to introduce guest Diana Dors. Roy: "you don't look any different!" No comment. Maybe she looked better in this show. She talks about how, aged only 14, she landed the role. She was part of The Company of Youth, better known as the Rank Charm School. She always played "the flirt." She got a big break in A Kid For two Farthings in 1954, before "the best part I've done," Yield To The Night 1956: a clip is screened. She relates how when it was shown at a film festival, she wore "a mink bikini." She fulfilled her childhood dream of going to Hollywood, getting the chance when she was seen in the States on a British Bob Hope Show. "It was an experience." She saw the good and bad sides of the fading old face of Hollywood Movie Memories . . . . . 2.2 Jessie Matthews had died the previous year, so Roy Hudd starts with a clip from Evergeen 1934, the song Daddy Wouldn't Buy Me a Bow Wow. In the audience is Jim, who knows a lot about British leading ladies, some of whom are sadly almost forgotten today. A second clip is of Anna Neagle with David Farrar in Danny Boy 1941. Then Alice Faye sings in On the Avenue 1946. 1961 film of Jayne Mansfield at an awards ceremony, alongside Mickey Rooney: Roy comments on her at the end. Next clip is Barbara Stanwyck and Joel McCrea in Great Man's Lady 1941. Spring In Park Lane 1948 is "a little bit of fluff" according to studio guest Anna Neagle. She talks about her six films with Michael Wilding ("such a darling"), and we are shown a photo of the long queue outside the cinema which was showing the premiere. They talk of her husband and how she studied the characters she played, she enjoyed playing those she admired, like Odette, and Nurse Edith Cavell, a scene is shown from this 1939 film Movie Memories . . . . . . 2.4 Boris Karloff at his most sinister is in The Mummy 1932. Roy reveals that Deanne Durbin is the most requested star, and he shows us a clip from Three Smart Girls 1937. The Great Movie Stars is a book by David Shipman. He is in the audience, and chats with Roy. Next clip is Shirley Temple, the baby burlesque Polly Tix in Washington 1932, truly cringeworthy. Roy explains why cowboys always wear hats: the reason is allegedly to do with their doubles. The western clip is from The Phanom Engine 1934 with Gene Autry singing. The Fabulous Joe 1947, then Jimmy Rogers in Prairie Chickens 1943. A clip from Watch Your Stern 1960 with Kenneth Connor in drag, serves to introduce the special guest, who "never got typecast." Kenneth talks about his different voices, including a long story the moral of which seems to be not to work with children. Of course Carry Ons are mentioned, with one story from Carry On Abroad with a gay man. At present he says he is working in tv and radio, waiting for the next Carry On Movie Memories . . . . . 2.7 A movie stunt never seen before, or since, is in the first clip from When the Daltons Rode 1940. Another stunt with a fire engine in Never Give a Sucker An Even Break 1941. Derek Ware is a stuntman who is a guest, he is also a fight arranger "like a dance." He gives Roy a fake punch, and hits him with a prop bottle. His work in Subterfuge 1968 is shown, and Derek has a story of the star Gene Barry. Roy gets his own back to finish. Another stunt with Kermit Maynard in Northern Frontier 1935. Then a swordfight, Tyrone Power v Basil Rathbone in Mark of Zorro 1940. To end part 1 Roy and Derek stage a mock fight. Part 2 begins with Basil Rathbone as Sherlock Holmes in Woman In Green 1945. The tune The Davil's Galop leads in to Dick Barton, and a clip of Dick Barton Strikes Back 1949. Chester Morris stars in A Close Call for Boston Blackie 1946, then John Bentley in Calling Paul Temple 1948. He is the guest, he reveals he had the choice of playing Paul Temple or Dick Barton. His start in films had been Hills of Donegal with Dinah Sheridan who was also in this last clip. He played numerous detectives, he mentions Confession which was "well written." He tried his luck in Hollywood but none of the films he was scheduled for, ever got to the screen. So he suggested he was loaned out to television, where he did many live programmes. Unfortunately time runs out for any more chat Movie Memories . . . . . 3.5 Roy refers back to Hazel Ascot's appearance in the last series, and reads a viewer's letter, "what a pity the war halted her career." To mark Arthur Askey's death, a Pathe snippet is shown of him singing The Moth. Then Anne Ziegler and Webster Booth singing a medley from Demobbed 1946, "sound recording by Dynrod," adds Roy. Dick Barton Strikes Back 1949- a clip of the Blackpool Tower scene. Then George Formby singing You Can't Go Wrong in These from Turned Out Nice Again 1941. A singalong starts part 2, with Carmen Miranda ("not Shirley Williams"), from Sing With The Stars 1943. A clip from The Navy Lark film serves to introduce guest Leslie Phillips, "a genuine Cockney." "How did you ever talk so posh?" A scene from The Smallest Show on Earth: he says the front of this Kinema was only a facade. He tells how his part indirectly led Kay Kendall to recommend him for Les Girls. He did three Carry Ons, referring to the first in which they had to run through the shower, "without your clothes on," adding a nice punchline. He also made three Doctor films, and we end with a clip from Doctor in Love Movie Memories . . . . . 4.2 Some musical clips in the first half, interspersed with viewers' queries. 1 Betty Grable with a nice duet from In the Future 1932. 2 Jeanette Macdonald sings and dances in The Lottery Bride 1930, "that number ain't so hot!" 3 Marlene Dietrich, now aged 83, sings Falling in Love Again in The Blue Angel 1930. 4 Revnell and West sing The Cuckoo Song from Up With The Lark 1943 - way out! Roy also apologises for laughing at Nelson Eddy in the last series, some viewers took offence. He also plugs the Deanne Durbin Appreciation Society. Part 2 welcomes a chatty Dora Bryan, "we haven't met before." Dora got her film break via Carol Reed for a small part in Denham Studio. She had to walk from the tube station and arrived late. She played "the tart with a heart of gold." She admits of her many early roles, "half the time I didn't know what the film was called." Clip from The Crowded Day (1954) in which she pretends to want to buy a fur coat. Dora can't recall this. She says her favourite film is actually Old Mother Riley Meets The Vampire, though she says that more correctly she ought to be saying A Taste of Honey. Of this sixties film, she talks about location filming in Blackpool and Salford, and some fun in the dance scene. We see her in a clip singing the lively Why, Because He Loves Me. Neither she nor Roy could recall who sang this though they offer some suggestions. Actually it was Lily Morris Movie Memories . . . . . 4.3 Roy has an arrow in his heart, or seems to have. It's to introduce some rare westerns, starting with a clip from Pirates on Horseback 1941 featuring Hopalong Cassidy. He talks about The Three Mesquiteers before a clip from Death Valley Rangers 1943. Roy plugs the British B Western Club before the third clip clip from Laramie Mountains 1952, a comedy scene. Buster Crabbe had died last year, so a tribute to him with a trailer from Billy the Kid Wanted 1941. Then a singing clip with Roy Rogers in Song of Texas 1944. Guest star is Geoffrey Keen, who came into films when he met Captain Reed of the Army Film Unit, and made an army training film. In 1955 he appeared in Passage Home 1955, cue clip. They talk of typecasting (Roy says he's Valentino!), Geoffrey was often an official, and he talks of one film with him in the Salvation Army. He says Bernard Lee "liked the drink" which prompts Roy to mention a comic he worked with ditto. We end with a clip with Geoffrey and Bernard Lee in The Angry Silence 1960 Movie Memories . . . . . . 4.5 Roy informs us that younger viewers' favourite is Laurel and Hardy. What he offers is a clip of "the Barry Manilow of the Thirties," Jimmy Durante singing Inka Dinka Doo in Palooka (1934). After this, The Three Stooges in Disorder in Court (1936). A potted life story of Shirley Temple is followed by Buster Keaton in Mixed Magic (1936). A viewer's letter describes being a projectionist. The golf course scene is shown from WC Fields' The Dentist (1932). Roy plugs the book Who Was Who On Screen. A clip from The Awful Sleuth (1951) with Bert Wheeler and Minerva Urecal. Part 2 introduces guest Michael Craig who tells us how his working life began in the navy. His first film (so it is said here) was Passage Home (1955) and we see a clip, with him playing a sailor. "He looks like my son," Michael comments after seeing himself in this. He talks about some "dodgy" Italian films he made, "if you finish the picture, you won't be paid." In another film in South Africa, he relates problems with animals, including a lion and a porcupine named Percy. He co-wrote The Angry Silence (1960) and we see a clip with him addressing the mob Movie Memories . . . . . 4.7 This week Singing Favourites, starting with a screen test of Al Jolson singing Baby Face for the film The Jolson Story 1945- Al didn't land the part! Bobby Breen sings in Hawaii Calls 1938, then Richard Tauber in Land Without Music 1936. Bing Crosby sings the title song of Blue Of The Night 1933 and Harry Richman offers the title number of Puttin' On The Ritz 1930. Roy also reads some interesting viewer letters. Part two welcomes Victor Maddern, "once seen never forgotten." He says he did star in one film aged 22, Street of Shadows with Cesar Romero, whom Victor made a gaffe when mixing him up with Anthony Quinn. He was in Sink the Bismarck, though his part was added after the film had been completed! Lewis Gilbert directed him in The Sea Shall Not Have Them 1954, a clip is shown. Seeing his "marvellous face," the Boulting Brothers gave him his first film break while he was at RADA in Seven Days to Noon. After that, "I never stopped working." To finish, we have another clip, this from Light Up The Sky 1960 To Movie Memories . . . . . To Movie Memories . . . . . . . . . . Movie Memories Series 3.1- Muriel Pavlow talks about her meeting her husband Derek Farr, initially on the set of Quiet Wedding and then in The House at Sly Corner. The first half contains some footage of child stars 3.2 Harry Fowler tells us how he was invited to talk on In Town Tonight leading to his screen test for Those Kids in Town. He's also seen with Joan Collins in a bikini in I Believe in You 3.3- Robert Beatty and his instantly recognisable voice "like honey in a hairy jar." Beatty blames his over-exposure on Dial 999 as to why "I was out of work for ten years on television." Perhaps not quite accurate. A scene from the first story of Dial 999 is shown 3.4- with Liz Fraser who is deploring of the forced "stilted" accent she was required to use in The Painted Smile. Gallantly she allows us to see a clip 3.5- Leslie Phillips after a clip from The Navy Lark, tells Roy how, despite being a Cockney kid, he learned to speak proper. "Everything came from the theatre," he explains and relates how he obtained his part in Les Girls. There's a clip from The Smallest Show on Earth, then he predicts perhaps optimistically that Carry On Nurse will be seen as a classic and has a tale from the first Carry On, Constable, a shower scene (not THE shower scene). A clip from Doctor in Love ends the programme. The first part includes Arthur Askey singing The Moth, Ziegler and Booth in Demobbed (1946), the Blackpool Tower scene in Dick Barton Strikes Back (1949), George Formby with You Can't Go Wrong in These, and Carmen Miranda. 3.6- Lionel Jeffries talks of his childhood love of making films, and has a story of his role with The Crazy Gang in Life is a Circus (plus a clip), and a nice tale of Bernard Cribbins in Two Way Stretch in Windsor High Street. He boasts that he'd also been "paid to cuddle Ava Gardner." Plus "very rare bits of film" from Xmas Greetings 1938 (including George Formby, Stanley Lupino) and the 1941 Lambeth Walk, guying Hitler. Also Stolen Jools (1931), A Friend Indeed (Deanna Durbin 1942) and Command Performance US (with Judy Garland 1943) 3.7 - Jean Kent talks of her family's showbiz origins and her work on stage with Max Miller. She talks about her part in the 1948 Good Time Girl and sings White Wings from Totti True To Movie Memories Documentary Programmes Menu . . . . . . . Movie Memories Series 5 5.1- with David Tomlinson, whom you have to get used to with his white hair, I always thought of him as eternally fresh faced and youthful. He recalls his film debut in 1941 with the short Name Rank and Number. The first clip not surprisingly is from Miranda (1948) in which he carries Glynis Johns, "she weighed a ton!" Then he talks of Mary Poppins, "that was fun of course," and how he oddly landed his part. He also remembers "genius" Peter Sellers in Up The Creek and there's a clip from Further Up The Creek (1958) with Frankie Howerd. As for Carry on Admiral, it was "a b***** awful title," not the sort of language I expected from the innocent DT 5.2- with Joan Sims, who at this time (1985), Roy tells us had made over 70 films. He reminds her of her first screen role in Colonel March Investigates, and Joan tells us Boris Karloff was a very nice man. Then there was Meet Mr Lucifer, "I played a fairy," and a more serious role in The Sea Shall Not Have Them- she talks about working alongside Griffith Jones who was a terrible giggler. We have a longish clip from Please Turn Over in which Joan plays a daily with a fag constantly in the corner of her mouth. She talks of the Carry On films, "we were like a lot of kids." The programme finishes with watching a rather untypical Carry On scene, Carry On At Your Convenience, an almost romantic scene alongside Sid James 5.3- with Guy Rolfe, who appeared with everyone from Elizabeth Taylor to Sting. He mischievously enters with a false moustache. He's a good raconteur too. After 20 years out of acting, he had emerged from his retirement initially to appear on stage. The first of his clips is from Saraband for Dead Lovers. They talk about Snow White and the Three Stooges in which he played an ogre, "I don't remember that at all-" and you can't blame him for that. The last clip is from his role as captain in Girls At Sea. He brings us up to date with his film The Bride with Sting, "a wonderful story," in which he plays a count 5.4- with Eunice Gayson 5.5- with Peter Jones 5.6- with Googie Withers 5.7- with Ian Carmichael To Movie Memories Documentary Programmes Menu . . . . . . . . . Intertel The International Television Federation, to give it its full title, was set up in 1960, an alliance between the Canadian Broadcasting Corporation, the Australian Broadcasting Commission, the Westinghouse Broadcasting Company, the National Television and Radio Education Center in America, and Associated Rediffusion. Aidan Crawley was in charge of A-R's operation, claiming, "Intertel may well establish itself as the most thorough and authoritative television commentary on international events in the English speaking world." The organisation did win an award in 1964 for contributing to international understanding. In Britain, despite its prestigious aura, it disappeared along with Rediffusion in 1968. Members held annual meetings, the first in Vancouver in November 1960. Others followed in Lisbon, Georgia and Sydney. On Thursday Oct 31st 1963 the group convened in Britain, staying at Ditchley Park nr Oxford. The programme was: Nov 1st: critical reviews of past programmes by Maurice Wiggin and a US critic. An evening at Stratford to watch The Tempest, was followed on Sat 2nd Nov by meetings to thrash out problems of production, finance, and future assignments. In the evening, a pre-transmission showing of A King's Revolution, including an interview with the Shah of Iran (photo). Sunday was spent on a tour of Oxford, before the group moved to London on the 4th for a luncheon in their honour in the House of Commons. More sightseeing, then an evening hosted by Lord Hill. Events concluded on Tuesday 5th with a tour of A-R's Television House, with a final lunch there. Some Intertel productions listed on this page: The Heartbeat of France June 14th 1961, Living with a Giant February 21st 1962, Forty Million Shoes March 21st 1962, America Abroad May 30th 1962, The Unfinished Revolution September 19th 1962, Africa- The Hidden Frontiers February 19th 1964, America- On the Edge of Abundance January 27th 1965, America- The Dollar Poor February 3rd 1965, Children of the Revolution A Report on the Youth of Czechoslovakia July 21st 1965, The House on the Beach October 13th 1965, The Men in Black April 27th 1966, One in Every Hundred June 8th 1966, The Lion and The Eagle The Anglo-American Alliance from Pearl Harbour to Vietnam, December 7th 1966. Documentary Programmes Menu . . . . . . . . . . . . . . . Religious TV About Religion ATV's long running Sunday night religious programme ran from 1956 to 1966 in the God Slot details The News on Good Friday (ATV, shown Friday April 15th 1960, 6.10pm) - my review Inquest at Golgotha (1961) - for my review The Rise and Fall of a Hero (Mar 22nd 1964). Readings by Jane Asher, Keith Barron etc - for my review Journey of a Lifetime (1960-2, ABC) - my reviews Paul of Tarsus (1960, BBC) Life with Johnny (Tyne Tees 1969) From Inner Space (ABC) Part 1 April 17th 1966 This is about Dag Hammarskjöld. It starts with a dramatic scene at a space station with a Red Alert: "identify yourselves." But though it is a false alam, it causes the the men to reflect on their reactions to what might have been a catastophic crisis. Discussion then ranges on to war and those who try to prevent war, such as Dag Hammarskjöld. Film of a speech of his to the United Nations is superimposed with graphics of a world map. The men talk of the past that shaped his views, and his particular inclination to isolation. His role as secretary general to the United Nations is covered, from the 1955 Atomic Peace Conference, up to the 1961 Congo crisis. After his tragic death in a plane crash, it is revealed the only book he carried was by Thomas a Kempis. The men quote extracts from Hammarskjöld's autobiography revealing his Christian views. This is followed by extracts from his 1960 UN speech when he played Beethoven's Ninth in its entirety. Some of the men's scripted conversation is artificial when it turns to moral issues, and the opening sequence to arouse viewer interest seems misguided, but this is a curiosity, attempting to draw out the serious issues of war and peace There were three further parts on the following Sundays. Parts 2 and 4 script Kenneth Boyd, and part 3 script Sydney Carter. Sunday Break details . . ITV Sunday Services details . . To Documentary Menu . . . . . Paul of Tarsus 1960 serial with Patrick Troughton in the title role. Walter Fitzgerald was, for me, too old and portly to take on the role of Simon Peter. Thankfully Joy Harrington's production avoids the almost sacrosanct tradition of characters speaking Authorised Version English. 1 The Feast of Pentecost 2 The Road to Damascus 3 Simon Peter 4 Herod the King 5 From Saul to Paul 6 To the Gentiles 7 Greece 8 Diana of the Ephesians 9 Jerusalem 10 To Rome Religious Menu . . . . . . . . . . . The Feast of Pentecost The story starts with a reading about Jesus' promise of the Holy Spirit. Luke the narrator introduces the Feast of Pentecost with Jesus' friends in Mary's home, praying for the promised power. The Spirit descends- it's not at all dramatic, a contrast to the razzamatazz that would surely accompany a modern production. The noise of The Galileans attracts the attention of the authorities. Simon Peter preaches to a small gathering, relating how Jesus had died and risen from the dead. This is taken from Acts 2, and is well scripted, the long speech broken up with questioning from the crowd. Saul is one who listens in disbelief, chatting with Barnabas about who Jesus was. Saul describes Jesus' sect as "a monstrous deceit." Barnabas however is more curious, and goes to ask his sister Mary about it. Saul decides to investigate the Nazarene sect, but is warned by Gamaliel to be patient, "time will tell..." By the temple, Simon and John heal a cripple, whose thankfulness causes Saul to demand that Simon and John be arrested. By contrast, Barnabas has decided to stay with Mary and join the Nazarenes. Peter and John are threatened in jail, summoned to appear in court. No denial of his master this time, Simon explains that Jesus had healed the cripple. Despite a command not to speak again of Jesus, Peter warns that he cannot keep silent. A pensive Saul is listening on Paul of Tarsus start . . . . . . The Road to Damascus Stephen is chosen to feed the numerous needy poor. But Saul drags him before the high priest with charges of blasphemy. A long speech might well have been abbreviated, before the trial culminates in Stephen being seized and dragged away to be stoned. Saul watches on. Persecution causes many of the Nazarenes to scatter, and Saul makes for Damascus to arrest the Christians there. Ananias is leader of the group, and warned of Saul's intentions, is advised to flee the city. Yet he sees it as his duty to stay. On the way to Damascus, Saul is struck down by a vision of Jesus. It's very simply done, as you might expect. Saul is blinded, though his men guide him thence. Ananias is told to visit Saul, "he's half dead." The two men talk, what time Saul's sight is restored. Now a changed man, Saul's task from God is "to bring my name to the Gentiles." In the synagogue, Saul tells of his conversion, while his ex-followers inform the king, who orders Saul's arrest. But Saul is hidden in a basket and secretly lifted down the city wall to freedom Paul of Tarsus start . . . . . . 3 Simon Peter After a recap of the Damascus road story, the scene reverts to Mary's house in Jerusalem, where James, brother of Jesus, has joined the group. Mark is asking Peter about Gentile believers, when Barnabas returns saying that Saul wants to meet them. Peter shakes Saul's hand, then washes his feet. "Welcome," he declares, even though James is suspicious. Others in the brotherhood also fear that because of Saul's bold preaching, persecution will be renewed. So Barnabas takes Saul away, up North. Peter makes for Joppa, where he stays with Simon the tanner. Soldiers come from Caesarea, with a message from their master Cornelius, a centurion. Will Peter come with them? Peter agrees and meets the centurion and his family. Cornelius had heard about Jesus from a fellow centurion whose son had been healed by the master. Perceiving Cornelius to be a man of faith, Peter tells his family the good news about Jesus. At some length they discuss why Jesus had been crucified, Peter sadly admitting his own failure in denying his Lord. Peter also recounts his own memories of Jesus' life on earth, and why he believes Jesus is the Christ. But Jesus has risen from the dead! Their conversation gradually becomes less natural and more stagey, regrettably. When James learns that Peter had stayed with a Gentile, and baptised him, he is angry, but Peter reminds him that their calling from Jesus is that the good news is for all people Paul of Tarsus start . . . . . . Herod the King "The smell of death," declares King Herod, of the famine ravaging the land. He munches contentedly, enjoying being treated like a god. He is told about Jesus, "He had his moments of glory." Then Herod's son returns home from abroad, "like a young Emperor," but he is more sensitive about the plight of the starving, and pleased that some are distributing food to the hungry. Christians from Antioch seem to be doing this. All a contrast to the luxury inside Herod's court. But the Christians are also preaching Jesus, and the High Priest convinces Herod that a rebellion might be imminent. Arrests are made. Peter is reminiscing with Rhoda, having obtained five rolls of bread, and recalls Jesus' miracle with the Five Thousand. Then news comes of James Zebedee's death, and soldiers arrest Peter. Chained in jail, Peter is told to get up, and his chains fall off and he walks to freedom past sleeping guards. It's none too convincingly done. He reaches Mary's house, where The Nazarenes are at prayer. Rhoda responds to the knocking at the door, and seeing it is Peter, is so overjoyed she fails to open the door, but runs to tell his friends. Finally Barnabas lets Peter in, and he is given instructions to go to Saul, "his time has come." In Antioch, Titus is watching the Christians, chatting with Symeon who promises to tell him more about Jesus. Mark is transcribing a letter dictated by Saul to the Jerusalem church, about plans to spread the faith. I liked Hilton Edwards' portrayal of Herod, aloof, bemused, in a well developed scene. However it is not followed up and is thus largely wasted, nor do we see, perhaps thankfully, Herod's gruesome end Paul of Tarsus start . . . . . . From Saul to Paul In Cyprus, Barnabas and Mark and Saul, now called Paul, meet the Roman proconsul, who is impressed by Paul's teaching, despite the scoffing of court magician Elymas, "where is the man who rose to life again?" But the proconsul believes Paul, and Elymas is cursed, resulting in his blindness. On ship, Mark questions Barnabas about their mission, recalling some of Jesus' great teachings. Barnabas perceives that Mark's special gift is elsewhere. So once ashore, Mark is left, to return to Jerusalem. Paul and Barnabas spread the message in the synagogues, even though Paul finds it very tiring. In Iconium, Paul's message is well received, but though the rabbi is open minded, his wife is sceptical and the Jewish leaders oppose the message. Their conversation drags, the outcome is, "no place in this town for troublemakers." Paul and Barnabas are driven out. "Since you reject it," Paul declares, "we go to the Gentiles" Paul of Tarsus start . . . . . . To The Gentiles In Lystra, young Timothy eagerly tells his mother and grandmother what Paul is preaching, and persuades them to invite Paul and Barnabas to stay. Timothy watches on as two senior Jews confront the preachers. They warn Timothy to avoid such men. But Paul preaches to the crowd and heals a lame man. The crowd unexpectedly take Paul for a god! But he warns them to steer away from false gods. The two Jews stir up the crowd, insisting that Paul and Barnabas have an evil spirit, and after a fight, Paul is injured. At Timothy's home, Paul recovers, teaching Timothy the faith, while his family fear persecution for their action in sheltering Paul. In Jerusalem, the Christians are arguing over whether Gentiles who convert to Christianity should be circumcised like real Jews. But Paul argues against this and a compromise is reached. The church at Antioch is informed of the ruling, and the decree is sent out to all the churches. Paul however refuses to take Mark with him, and he and Barnabas fall out, the latter takes Mark himself, while Paul sets sail with Silas, and are joined by Timothy in Lystra. Silas delivers the apostles' letter to every congregation. Paul has reached Troas, unsure why he has come here. He is unwell and Timothy finds a Dr Luke to treat Paul. Naturally Paul witnesses to him about Jesus. Luke likes what he hears, and invites Paul to go to Macedonia. When he is cued, Paul agrees to go to help Luke's people there Paul of Tarsus start . . . . . . Greece Paul and Silas are in Philippi, where Lydia, a trader in dyes is converted and fixes for them to stay in her house. In the marketplace, a dancer prophesies, giving her master a fruitful living. Paul casts out her evil spell, in Jesus' name. That begins an argument with locals resulting in flogging and imprisonment. Paul and Silas sing God's praises, even in jail, to the amazement of their guards. Then an earthquake awakes the jailer and his wife. The jailer prepares to kill himself when he sees his prisoners have escaped. But they haven't gone far- what must I do to be saved? the jailer asks Paul. Over a meal, Paul tells him. An apology from the governor, and Paul and Silas are freed, "I advise you to leave the city at once." So they leave with Timothy, as Luke writes his memoirs of their stay. Jews are determined to get rid of Paul. He is in Athens debating with the Greeks. He is asked to address them, his long speech is greeted with no little laughter Paul of Tarsus start . . . . . . Diana of the Ephesians Luke is writing about Paul's disappointment at failing to win over the Athenians. He is now in Ephesus with Priscilla and Aquilla. Here silversmiths are up in arms, because Paul has threatened their income, making statues of goddess Diana. "We must unite to stop him," argues Demetrius. A mob gather outside Aquilla's house, and Paul, since he is so indispensible, is hidden. Other Christians are therefore seized, to be thrown to the lions. But the town clerk calms the rioters, and Demetrius silenced. Paul sets sail for Macedonia with Gaius and Aristarchus. Then he travels with Luke to Philippi, and on to Troas, where Timothy is standing up for Paul's pro Jewish stance, though it's hard to understand why Paul is so keen to travel to Jerusalem. At the inn of Carpus, Paul preaches to a large group, his message based on themes from the first letter to the Corinthians, especially chapter 13, but as they prepare communion, young Eutychus falls asleep, and as he is sitting by a window, falls out, to his death. But Paul revives him, and all share joyously in the Lord's Supper Paul of Tarsus start . . . . . . Jerusalem Paul bids a last farewell to the church at Ephesus, "I am going to Jerusalem." Away he sails and reaches Jerusalem in time for Pentecost. To James leader of the church here, he donates the gifts he has collected, and reiterates his calling to the Gentiles. In the temple, Paul listens to his old teacher Gamaliel, introducing to him his friend Luke. The Jews are stirred to anger by the presence of this Gentile and after a fracas, Roman soldiers silence the uproar, and even permit Paul to address the mob, witnessing to his past life and conversion. But when he mentions Gentiles, the crowd turn on him, and Paul has to be taken away for his own safety. Claudius informs Paul that he must stand trial before the Sanhedrin. Their verdict is guilty, even though Gamaliel speaks up on Paul's behalf. The Romans decide that Paul must be kept in protective custody. Paul's seventeen year old nephew visits him in jail, warning of a plot against Paul. The commander is informed and decides to send Paul to Caesarea to appear before the governor, Felix. Luke follows the procession. Tertullus presents the case against Paul, "a continual troublemaker who stirs up sedition." Paul defends himself, stating how the trouble had brewed in the temple. Verdict: "Further inquiries will be made" Paul of Tarsus start . . . . . . To Rome 30 minute length overruns by several minutes! Paul has appealed to Caesar, and puts his case before King Agrippa and Bernice. He testifies that Jesus was "raised from the dead... I have seen him." Julius is in charge of taking prisoners to Rome, Paul travels with Luke. They reach Crete, making harbour at Fair Havens. The captain wishes to press onwards, against advice, but a gale drives them 30 miles, the ship in danger of sinking. Considering this is all done in the studio, it's not badly executed, lots of spray and wind and shouting. "All hope of being saved seemed lost." However Paul reveals that noone will die, and distributes food to everyone. Abandon ship! Land is sighted and though the ship (or at least a model) is shipwrecked on a sandbank, everyone reaches safety, including a man who cannot swim. Natives light a fire on the beach, leader Publius greets them. When Paul is bitten by a snake and survives, he is taken for a god. After three months Julius finds a ship bound for Italy, the last leg of their trip. Here a Christian greets Paul and takes him to Priscilla and Aquila. Then they walk the forty miles to Rome, Julius taking Paul to Captain Burrus, "we'd better see what the emperor thinks about him." Paul puts up in lodgings, and meets loyal Jews, who wish him well, but reject his teaching about the Messiah. For two years, Paul awaits a trial, Luke tells us how he transcribed Paul's letters and sent them to churches and to Timothy, "there will be hard times coming... accept the suffering that will come... the time for my departure is near" The end. Back to start of Paul of Tarsus . . . . . . . . Life with Johnny (1969) Cliff Richard starred in Tyne Tees Television's update of some of Jesus' parables. Sadly the Big Four wouldn't network the series, so few saw it at the time. Even more sadly, three of the six programmes have been wiped. 1 Up the Creek An exploration of the colour problem. "I've got nothing against them," Leslie Dwyer, as the man in the pub, remarks. Late at night, Johnny (Cliff) is short of cash and hasn't even got the bus fare home for himself and Carol (Cindy Kent). He asks the vicar, then the police (Johnny Briggs) but unlike the Good Samaritan, they cannot help. It's left to a black man, following the parable, to kindly offer the couple a lift home. The lesson of the original parable is well illustrated. Songs: Love is More than Words (Cliff and Cindy Kent), Help (a dance routine), Disasters in the Air, Compassion Road. 3 Johnny Come Home Johnny informs his dad (William Hartnell) that he's leaving home for London. With £200 in his pocket, Johnny the "softie" is befriended by a "doll", Michele (Una Stubbs). "London's very expensive," he innocently comments. After a good time, like the Prodigal Son he's "skint" and decides to go home. Whilst the main point of the parable, forgiveness, is missing, this is a tale powerfully told, illustrating the growing generation gap. Songs: Count Us Out, Fine Words, dance with Cliff and Una Stubbs followed by That's Ma Kind of Life, I Will Arise, Celebrate. 4 Johnny Faces Facts Not so easy to immediately see that this is an illustration of Jesus' saying about casting the log out of your own eye before the mote in your brother's. After the opening song, Cliff sings If You're Looking for a Culprit. With his pals, he watches a television talk about the dignity of work, and are bored to tears, "I lost the will to work." They mock the posh speaker, one of the idle rich as they see it. Janet suggests that instead of moaning, Johnny does something, like stand for parliament, or at least, "go and tell 'im." The song Chuck a Brick is followed by a pub scene in which Janet stands Johnny up. But she does show up late, apologising because her mother has been unwell. That leads into the song Baby Don't You Blame Me. Johnny makes up with her and they watch another epilogue. The subject is loneliness and Johnny mocks the priest. Tell him," repeats Janet, "he's too negative." After the song Hiding behind A Cloud of Illusion, Johnny meets the priest, "you don't include yourself," he suggests, "what do you know about it?" He receives a reply that makes him think. Give up some of your time to help the lonely, instead of offering mere words. The final song is Where Is That Man? Religious Menu . . . . . . JOURNEY OF A LIFETIME

the 39 films were: 1 Tents in the Desert 2 Taxi to Nazareth 3 The Sacred Mountain 4 The Shores of Galilee 5 Fire from Heaven 6 The Witch of Endor 7 Miracles at Capernaum 8 The Faith of the Fishermen 9 The Mines of Solomon

10 The Floor of the World 11 Ark of the Covenant 12 Voice in the Wilderness 13 Gates of Jerusalem 14 The Promised Land 15 The Road of Ruth 16 A Child is Born 17 The Innocents of Bethlehem 18 Bethesda: House of Mercy 19 Coat of Many Colours

20 The Teacher in the Temple 21 David and Bathsheba 22 Jacob's Well 23 City of Jezebel 24 The Good Samaritan 25 Scrolls of the Dead Sea 26 Baptism in the Jordan 27 Temptation in the Wilderness 28 Alone in the Desert 29 Water for Jerusalem

30 Jerash 31 Meeting in Jerusalem 32 The Garden of Gethsemane 33 The Prison on the Hill 34 Home to Bethany 35 Abide with Us 36 Brocade from Damascus 37 The Battle of Jericho 38 Petra 39 Into All The World