Whiplash.. Down Memory Lane…

I remember watching this TV series way back in 1960 on my father’s tiny 9in black and white television and how much I enjoyed it because it was quite original and unlike most cowboy shows set not in the US but in Australia. Aside from the American lead actor Peter Graves the cast were all Australians, and of course singer Frank Ifield who voiced the title song was an Aussie!

“Set in the 1860s, the series is a western filmed in Australia, and stars Peter Graves as “Christopher Cobb”. The series is loosely based on the life of Freeman Cobb, who was the genuine founder of Australia’s first stagecoach line Cobb and Co. Peter Graves, in his character of Christopher Cobb, did not carry a pistol and often used a bullwhip to settle disputes. He carried a rifle and used it on more than one occasion.”

“The series stands out from other television western series of its era in that the guest casts are composed of actors available in Australia, so none of the character actors so ubiquitous in American westerns, aside from Graves himself, appear at all.”

“Created by Michael Noonan and Michael Plant and produced by Maury Geraghty and Ben Fox at the Artransas Studios, (owned by ATV), Sydney Australia. Post production was completed in the United Kingdom.”

From Wikipedia

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From January 2013…

The Cottingley Fairies…

This interesting item was sent in to me by Burton W. McKinney in a follow-up to my recent blog on The Cottingley Fairies. I thought perhaps everyone might like to read it.

To this day, the suburban area of Cottingley continues to get visitors and the official retraction, even though more than 20 years ago, is still not as a well-known as the hoax itself. This may be partly due to the fact that the story was put to film in 1997 under the title Photographing Fairies. Locals are asked where the Fairy Glen is, even though the site along the small river is off limits, due to the danger of erosion. The story begins with Elsie borrowing her father’s camera one Saturday afternoon in July 1917, in order to take Frances’s photo, to cheer her up. She had fallen in the beck and been scolded for wetting her clothes. The girls were away for about half an hour and when Elsie’s father developed the plate later in the afternoon, he was surprised to see strange white shapes coming up. He believed these were birds, then sandwich paper, but it was Elsie who told him these were fairies. Apparently, in order to prove that fairies really did exist, Elsie had taken the picture, showing Frances with a troop of sprites dancing in front of her. In August, the roles were reversed and Frances took a photograph of Elsie with a gnome. The print was under-exposed and unclear, as might be expected when taken by a ten year old. The plate was again developed by Elsie’s father, who suspected that the girls had been playing tricks and refused to lend his camera to them any more. Elsie’s parents searched the girls’ bedroom and waste-paper basket for any scraps of pictures or cut-outs, and also went down to the beck to search for evidence of fakery. They found nothing, and the girls stuck to their story: they had seen fairies and photographed them.

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Buggleskelly Today…

Buggleskelly Today… The year of 1937 began the birth of Buggleskelly, the mythical Irish railway station set on a stretch of disused line near Basingstoke in Hampshire England. The setting was for the film Oh, Mr. Porter starring Will Hay, Moore Marriot, and Graham Moffat… The film was to become a classic!

A tumbledown railway station, representing Buggleskelly was built at an old halt, and even during filming the line was being taken up by The Basingstoke and Alton Railway Company. The film itself is one of the funniest of British comedies in the Music Hall tradition of the 1930′s. The location of the run-down mythical Buggleskelly station was very overgrown when we visited there with our cameras in 1996, but it was still possible to make out where the booking office, rail lines, and signal box had once stood.

Shot taken looking from the gate crossing and signal box position.

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The Saltair Pavilion Utah from my blog of December 2010…

Saltair Pav

Some of you have watched with interest the DVD of ‘Carnival of Souls’ 1962 after my recent blog, and emailed to say that you enjoyed it, but wondered if I knew anything about the creepy derelict Pavilion used in the movie.

The Pavilion was built in the 1800′s as a health spa on the edge of The Great Salt Lake in Utah. Thousands came to take to the waters that were heavily salted… the only creatures able to sustain life in it’s saline depths were tens of millions of Brine Shrimps, harvested today as pet fish food… In those days one could simply float without drowning in the water! The end of the Pavilion came as part of The Great Salt Lake began to dry, and by the time the movie ‘Carnival of Souls’ was made in 1962 The Saltair Pavilion was in a sorry state.

I hope that makes the film even more interesting for you… By the way, the director had seen the Moorish type Pavilion driving home one night across state, and seeing it at its most erie gave him the idea for the film.

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Mitchell and Kenyon…

Found in the basement cellar of a shop in Blackburn Lancashire England were over 800 short films of Edwardian life in the North of England. They were made by the partnership of Sagar Mitchell and James Kenyon and the films they shot were of local people and events. It is a remarkable glimpse into history. They made the films to be shown at the Music Hall, Town Hall, or Fairgrounds. They were made for commercial reasons with the sole intention of putting ‘bums on seats’ after all, for people to see themselves on a projected screen was something new and quite wonderful!

Between 1897 and 1913 Mitchell and Kenyon made hundreds of short films depicting the everyday lives of ordinary people, and when the business closed its doors in the nineteen twenties their original negative film stock was left hidden away in the basement of the shop. Here it lay for years simply collecting dust until 1994 when a building contractor found three large metal drums containing hundreds of Mitchell and Kenyon films. The films were passed to a local film historian who in turn gave them to the British Film Institute Archives in Hertfordshire.

The film stock was nitrate, very delicate, and highly flammable, although the coolness of the basement must have helped to preserve the material from utter decay. The films were brittle, but the originals were painstakingly re-photographed onto modern film stock, a process that took around three years. They now form one of the largest collections of early non-fiction films in the world.

Kenyon had originally made penny slot-machines, and Mitchell had been a stills photographer. At the time they set-up in business together the moving image was the hi-tec of its time. Many of their films show people leaving work and putting as many faces on the screen as possible was their aim, after all, this was a paying public! They could watch themselves in showings at the Music Hall, Town Hall, or local Fairground. Mitchell and Kenyon would hand out lealets telling of the showing times and where, and saying “See Yourselves As Others See You”

Mitchell and Kenyon did also show the prosperous side of Edwardian life in visiting other larger towns and cities with their camera and they also made a number of rather stilted dramas that were less accepted by the public who really loved their ‘local’ films.

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Well, It was around this time last year…

The Family at Santa Pod…

It was nice to get out to Santa Pod Monster Truck Venue, near Bedford UK on Saturday evening for a Fab show and Fireworks to round off the season… But ‘I Curumba’ – the cold weather! fair froze us… Anyway, here we are in the LUVELY HOT BAR having a beer or two!
It was nice to get out to Santa Pod on Saturday evening for a Fab show and Fireworks to round off the season... But 'I Curumba' - the cold weather! fair froze us... Anyway, here we are in the LUVELY HOT BAR having a beer or two!
Steve (right) enjoyed the event so much that he made this shot his profile picture on FB! Well Done Stevie!
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Whisky Galore!

WHISKY GALORE!  It was in the summer of 1948 when the Ealing crew arrived on the beautiful Island of Barra in the Western Isles of Scotland. Michael Balcon, head of Ealing Studios had not been happy about the production, saying as he looked at the story board, he just did not understand it!  “It holds few laughs” he was heard to comment. Based on a Compton Mackenzie novel, shooting almost entirely on location presented huge problems, everything, including cast and crew, and a huge amount of camera equipment, had to be shipped from mainland Scotland. Actors were billited with a number of the Islanders, and in fact, many of the inhabitants appear in the production. Their view of the film people was… That they were quite mad! Prefabricated sets were constructed at Ealing Studios in London then shipped for assembly on Barra. Under the brilliant direction of Alexander Mackendrick, an American born Scot, the film gently eases you into a world of warmth, gentility and innocent skulduggery. I think this was partly due to Mackendrick’s insistence on being present during every scene, however, this did push the budget over by 20,000, and in those days that was a lot of money…as Michael Balcon soon pointed out, and when he saw the rushes he hated it, and ordered the film to be cut and released as a B’ supporting picture! At this point, Mackendrick asked Charles Crichton, a top editor, if he would look at the negatives. He did… And Recut, and Recut… the result was a more acceptable product for the Ealing Studio boss. Being based on a true maritime sinking means that some facts had to be changed. The real sinking took place off the Isle of Eriskay, and the local Islanders did profit from their huge haul of ‘Scotch’… Unlike the movie that had to deal with the moral issue. In America the movie was given a new title and called “Tight Little Island” because a number of States were at the time ‘Temperance’  If one looks at the stills today Alexander Mackendrick is always there beside the camera operator, and I think, that is what made it such a lasting and enduring, warm and attractive film.

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The Shriving of Miss Esme Stamp…

Episode Eight…Witchhunt

That night Esme was to be denied the closure of soundless sleep. She lay in the half gloom; her eyes open to a flickering, shapeless room. Emily had made her hot chocolate and settled her down; saying it would help her sleep, but her tickling mind ran with regenerating reliving joy. She had been his pleasure. His delight. He had drenched himself in her body. He had supped his fill of her. He had enjoyed the fruits of her soul and not turned away. She pulled the Eiderdown over her face to remember his kiss. His flesh touching her flesh. His hands ran through the creases of her soft tissue and his mind again penetrated her spirit with its erotic grace.

In that heat of airlessness gripping hands pulled back her covering; heapishly throwing her nightclothes to the floor. She lay nude in the reflective hue of that dismal air. His hands were upon her breasts. She kissed his face and caressed his features. She tasted his skin of masculine balm and he lifted himself and took her under him again. At five thirty she fell into a troubled sleep. Her trial would begin with the coming light. Her ordeal would wait for her as sure as death. Silence met her arrival next morning to the walnut occupied dining room. The onyx mantle clock ticked with a deliberate glaring cunning from its godly-valid posture above the unlit open fireplace. She had the poise of indignation. She knew it would not be enough. She sat presumptive and roused, and looked at her mother’s paltry eyelids and assaulted plunged face.

Emily placed an important plate of bacon and fried eggs in front of her; said nothing and melted to the kitchen. Her mother was sat reading The Telegraph’ as she always did, then carefully folded it beside a pot of marmalade.

‘I trust you slept well?’ the question was unconvincing and wavered precariously.

Esme said nothing and proceeded to cut her bacon; her head bowed; her eyes moored insistently to the plate of food. Her indifference brought forth a high pitched glare from her mother and a more forceful advance.

‘I did not!’ her feet shuffled under the weight of parental responsibility. You never returned for dinner in the evening. I’ve been sick with worry. You should have left his number…You should have telephoned…I was frantic!’ The muscles in her face became homely for a moment.

Somehow the thought of her mother becoming anything other than frantic’ did not prevail on her with much astonishment. The inkling that she had fired this state of mind pervaded with a soothing weird irritation.

‘You know I was with Charles,’ he lifted her head slightly avoiding her mother’s direct glare. Her reply was sallied; full of thrown-back denunciation. ‘Anyway, he’s in the phone book! You had no reason to be concerned.’ The words spat and bubbled like spit on a hot stove, and her eyes turned and watched the pallid window of Nottingham lace, that in turn watched a quiet respectable street of suburbian London. Constance felt she might have launched a quantified word-for-word tack at that time, and supported by her thoughts for the morals of pretty young girls and ambitious young men, but she was well aware of her daughter’s fired nature and self assertion. The fruits, she was sure, of a solidified upbringing and the desire to do well. Esme sat in ashen loneliness. She was very hungry. But did not touch her food. There was growing self-will in her young womanhood. She waited for the next volley.

‘Did you spend all of the day with him?’ There was now a decisive sharpness to her voice. Her nose seemed to thicken with a temper. It was clear she had made her mind up to be direct.

‘Yes, of course.’ There was a sudden kindled reflection to her thoughts; a momentary oasis. She floated her mind airlessly. ‘It was a wonderful day…he is so nice, and Toby too…and the parrot…mother you should see the parrot, it’s…’ her voice trailed away. Her mother was not to be infected.

‘It is obvious to me that this Charles would not have kept you out so late, causing you to miss your dinner and failing to let me know if you were dead or alive…if he were anything of an answerable nature.’ She was charmingly malicious and now flogging a seething anger. Esme knew the signs. She was turning into the wind with all guns ready manned. Emily returned and placed another large silver teapot; steaming with hot green tea beside the bowl of white roses that listened handsomely from the centre of the dinning table; and turned to go.

‘Esme is staying in the house today, Emily. She is to have No Callers!’ The sudden unrehearsed words tossed red-hot pokers in to Esme’s thoughts.

‘What!’ Esme shrieked with a sudden awoke hysteria. ‘How dare you!’ she roared. Her face bloated quickly to blood-red. Her legs rose angrily. Her knife and fork fell silently to the heavy dull carpet. ‘How dare you keep me in the house? You have no right! She continued in furious indignation; ‘I will not be made a prisoner by you or anyone!’

‘Will you please sit down?’ There was no pain of physical torture in her mother’s face; only a look of restraint. The look shocked Esme into a degree of submission. She sunk slowly back into the chair; her face portraying a grimaced glimmer of anger.

‘Look…’ her mother was wildly calm, ‘…I have certain concerns for your well-being. I always have. You must understand. I have a stake in your future…just as you have. You must see that?’

Emily picked up the knife and fork, her head down to avert any stray gaze and placed clean ones beside Esme’s plate, then withdrew quietly to the kitchen.

Some truthfulness began to hover, as if waiting to be snatched from the air. Esme cut her bacon into several small pieces, then replied respectfully; ‘I understand your unease …and I love you for it. But please trust me. I’m not the under-vitalized child you take me for.’ She had to make a courteous stand. It was the only way if she wanted to see Charles again. It would be the only terms perhaps – that she could have him. In this moment she was alone and fearful. She had set herself above her mother with the arrogance of youth. For seconds a cold silence prevailed between the two women and yet she knew her mother would not wait long for any further sign of disobedience.‘Did you sleep with him?’ her mother’s voice broke the engagement of fleeting peace. In a way the sound echoed in a room not known for echoes. It bounced off ordained, respectable walls, and hurled itself into the ear of the unsuspecting like a long silver, dislodging blade. Esme shuddered with sudden panic and reddened intensely.

‘Well?’ Her mother’s eyes were strangely pale, hard and resolute. Her face portrayed inquisition of condemnation.

‘Well what?’ Esme’s head was numb. She could think of nothing to say. The two women looked at each other from a sustaining mistrust. Esme’s veins raged with fired emotion. Why should she lie…she was proud of his love for her. She caressed his desire within herself…she would not excuse him to others!

‘Yes! Yes I did…So there you are. So what!’ She angrily spat out the words in putrefied defiance.

‘My God! You’re turning into a whore!’ Her mother’s mouth was saggy. Her eyes wild. ‘You are disgusting.’ she screamed. She had not expected such an admission. She looked murderously at her child. Then her fist came thumpingly down upon the table bruising the polished surface with a grasp of sweat that extruded from her every pore. Then she was quiet. For minutes there was silence. Esme staked a small dry piece of bacon with her quite respectable silver fork and glared at its demise intensely, then popped it sharply into her mouth, and chewed defiantly. Her mother’s mind whirled like a turbo. Her head was full with discovery. She watched her daughter from behind a sudden webbed eyelid. She had the narrowness to accept eventualities from a teaseled thought…an easing readiness to capitalize.

‘If he’s made you pregnant…he’ll pay!’ she broke the still and settled air thunderously and transparent flecks of dust danced precariously in the hairs of sunlight that had the obstinacy to remain. ‘I don’t understand you.’ Her mother’s words; for an outlet; were almost considerate. ‘Why do you want to have this man? He’s…’

‘He’s had me.’ Added Esme rudely.

‘Don’t go simple on me, dear girl. I’m not a push-over for a juvenile love story!’ Suddenly her face stood out again.

‘We love each other!’

‘Rubbish child. What do you know of love? A man sticks his penis into you…and this time asks you nicely…and you’re in love! My god, if this gets out…’ She toyed with thoughts of sudden reality.

Her anger ebbed quickly and frights took hold. She sat back reposted. Her spine firm-square to the back of her chair. Her eyes darted about her endlessly. ‘Yes, of course, that’s it. I must phone Dr. Williams. He’ll examine you.’ Her brow was haggard and unpretty. She had the ability of the neurotic to focus concentration.

‘I’m not pregnant!’ Esme voice raised itself above her mother’s ruminations. Then it vanished with her breath, ‘we took precautions,’ she croaked. ‘Precautions! What do you know about precautions?’ her voice was unyielding; ‘…you’re a child.’ She had the wisdom of the years to her credit. This girl would not understand the reckless possession of this man. There were many fine young men within her circle of friends. Men with incomes to be considered which would find this beautiful product of her loins; a bedded joy, and would keep her in wealth, comfort, and respect, for the simple individual perfunctory of a few weak-minded demands.

‘Charles took precautions!’ she added with embarrassment. She averted her mother’s burning eyes of distasteful aggression and waited for her condemnation bellied from the fires of hell.‘Oh he did…did he!’ Her fury was pained and visible. Within every aging line of her powerful and pampered face was the artery of distain and her voice became sing-song like – ‘It’s well understood those things are no good.’ She stared almost with steadied reinforcement and arched her back raising her bosom to a point that demanded respect.

In that wilderness of the moment Esme regaled her mother’s implication for a second time. The inquest had petrified her defense with ease; laid her somewhat to waste. In a triumphant stand she would rally!

‘Mother,’ she said strongly; for this was uncharted ground, ‘I rather think your private parts have never been moved other than by a desire for wealth or the fear for the opinions of the well-to-do.’ There! She had said it. She had gained energy in the face of defeat. Her mother’s face glowed hot like a furnace. Her hands and arms shook with recoiled temper. She wanted to slap her daughter’s impudent, naïve, stupid face. ‘How dare you be so disgusting in the house? So this is the fruits of your relationship with this, this…’

‘This what?’ Esme was functioning to twist this tide with every offered, obstinate, opposed-over…tightening second. Her veins ran in the wealth of the young. In the certainty of eternal life.

‘Now I’m completely upset!’ feathered Constance in a vaulting endeavor to recover her direction and add weight upon her disaffected daughter.

‘Then I suggest you get drunk in the sitting room, as you always do in the afternoons.’ The words were foolhardy, irresponsible, and suicidal. A wet smack of skin upon skin and a growing mushroom of pulsing red blood within Esme’s face did not need to tell her that she have gone too far. She had lost. She had thrown away victory by being too bold. Too outspoken. Too confident with his love. Her mother looked as though she had hit the devil himself. She withdrew from her outstretched position across the table and sat back decisively and firmly in her chair. Her face a thunderous, conquering, deathly black. Outside, cloud shadows raged across pavement skies. Men went about their business as if possessed by a bitter knowledge. Esme began to cry. She nursed the hurting cheek. Salty tears formed within the curve of her eyes and ran down her cheeks like beads of glass. She dare not speak but broke into raucous sobs.

Constance studied her with the mastery of a fermented enrage. When she spoke; her voice was cool and steady, and her anger tucked behind rows of madistic teeth. ‘You have not kept within the bounds of formal behaviour. I forbid you to see him again.’ She rose from the table; her body arid like a stick. ‘Emily will ensure that you do not telephone him. If he calls here he will be turned away,’ she stepped toward the door. Esme wiped her eyes with sodden fingers and watched her mother with smoldering decent. ‘You can’t do this!’ she blurted the words in a feeble response.

‘Oh yes I can, my girl.’ Then her mother was gone and without further heed.

‘Go and get drunk!’ but the words were wasted; aimed uselessly in an empty room. She sat back, and plucked a composing handkerchief from a secreted position at her wrist, and touched her eyes with a gentle caressing manner of someone appropriate to tiaras and trailing footmen.

When Emily came to tidy the breakfast table – she looked at the plate of cold food with dismay and suggested Esme should go to her room and she would bring her something fresh from cook.

‘Please let me telephone him from the hallway, please Emily…I must speak to him.’ Her frothy blue eyes had a tear-soaked desolation about them.

It’s not wise Miss Esme, you know that. If your mother catches you it will only make things worse for both of us,’ she looked coyly on her much loved member of the family and the desolation of her remark.

‘Look, give it a few days. Let the dust settle a bit. Your mother will understand your feelings, I sure of it. Then you can see Charles whenever you wish. And anyway, I would like to meet him too!’ She grinned churlishly and her bright morning eyes shone as if polished up ready for the day. Often Emily made sense in a world of overbearing adults.

Esme obeyed. Though perhaps, from a sense of thoughtful resolution than from any notion of accepted defeat. She would find a way to contact Charles…he would know what to do. He would sustain her in his loving and devoted way.

Later Emily brought to her room some cold fresh salmon, tomato and lettuce and a glass of milk. Esme balked at the milk feeling it was a little immature now that she was growing up. But Emily said it would balance the acid-ness of the tomato and help to settle her anxiety. To phone Charles was not going to be easy. It was as if her mother was patrolling the hallway in some macabre way. Seemingly she would cross the chequered marble floor of the hallway several times on route from the lounge to the dinning room and back. Occasionally, she would be holding a glass of pale liquid or magazine and redress a rampant rug or dissolute wall mirror. Esme would carefully peep over the banister at intervals and watch the strange spectacle below.

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Interesting Movies From The Past…

The Adventures of Sherlock Holmes The Adventures of Sherlock Holmes - 1939- Poster.png

I was very pleased to recieve a prime DVD copy of The Adventures of Sherlock Holmes from Barry in Omagh, Co Tyrone recently. It stars Basil Rathbone and Nigel Bruce and was made in 1939. It’s the first time I’ve watched this movie and I must say that I really enjoyed it. It was produced by Darryl F. Zanuck and is lavish and well made, particularly for 1939, and sets the pace for other adaptions of Conan Doyle’s books. The plot is based around Professor Moriarty’s attempt to steal The Crown Jewels and to ridicule Sherlock Holmes in the bargain. The film reaches a gripping finish in The Tower of London as Holmes and Moriarty confront each other. The movie features American actor George Zucco as a brilliant Moriarty and a strong supporting act from Ida Lupino. Completely enjoyable from start to finish.  Highly recommended

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A Day Out At Stockwood Park…

Shana and Rhys Callaghan enjoying the delights of Stockwood Park Discovery Centre and The Mossman Collection at Luton UK… The Wells Fargo Stagecoach behind them was used in the British comedy film ‘Carry On Cowboy’ in 1965.

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