A Little More History

It was whilst watching our Queen, when she was Princess Elizabeth, in a newsreel of a royal tour that she was in the process of partaking, that I developed a mad passionate urge to have a cine camera. On the newsreel soundtrack the commentator gave reference to the fact that she was taking pictures with her cine camera. For the rest of my childhood, every Christmas I hoped that I would get one too.

However, it was some years later, whilst in my teens, that I acquired a cine camera. I had previously heard of the young Hemel Hempstead Cine Society, but not having equipment, at first, plus other reasons, never joined. However, had I joined when I obtained my own cine camera, I could have been associated with what is regarded as the first club production. As referred elsewhere, official records state that the club was formed in 1960 by Frank Maidment. Although there is reference in the local press to a Hemel Hempstead Cine Club in the 1950's. Either way, I started making standard 8mm films during 1961 and early 1962 and beyond. So I suppose that I have cause to celebrate over fifty years of boring audiences, a task that I still perform today. Perhaps I should celebrate down the pub. But members commiserate.

However, in 1962, The Hemel Hempstead Cine Society, as we were then known, combined its resources and made TAKE THE 'L' OUT OF IT. I think it was last projected at a club meeting in the 1980's at Leverstock Green.

Although a comedy, the centre part is reasonably serious. This is necessary, as it deals with a lady (portrayed by Eve Bysouth) who has driving lessons. Therefore we see her progress and I found it to be a very well made film. What is now very interesting, despite the fact it is entertaining, is that it can also be viewed as a piece of local history. Places in the Hemel Hempstead area are recognisable but not as they are today. For example, our main thoroughfare, Marlowes, is viewed in its New Town era, so although it is identifiable, it has noticeably changed.

My sadness is that Hemel Hempstead gives the impression in this film of being a better town than it is today. And in my opinion, that impression is correct. It could be questioned by a present day audience, what has gone wrong? But enough philosophical thoughts from me.

As far as the production is concerned, it may look dated, but it is good. There are also some other excellent standard 8mm film productions in our archive. But I gather they have not been digitalised for whatever reason.

The club seems, according to the records that I read some years ago, a very enterprising and enthusiastic organisation in its early years. Then the rot set because I joined it in 1968.

Although I was turning over in my mind to talk about the fact that the first club production in 2012 is fifty years old, a surprising development has occurred. Prior to me joining, we had a member called Keith McKnight, who emigrated to Adelaide in Australia. He also became our first honorary member. We know that he sent us a documentary about Adelaide which is in the club archive. But with the progression of time, and a lot of water flowing under The Sydney Harbour Bridge, we have had no contact with him. Suddenly out of the blue, he has contacted the us and refers to TAKE THE 'L' OUT OF IT. In fact he was involved as a director. He has also confirmed that he still has a b/w copy of it as well as some other material. Such as a copy of CLUB NIGHT.

It looks as though there could well be further communication in the near future. This means some more historical facts could be discovered about HHMM.

I think that 2012 is going to be a fare dink-um year for us.

Alan French.

Useless information:

Are you aware that Adelaide is where Magali, another club member has recently moved to?

Are you aware that Eve Bysouth, who starred in TAKE THE 'L' OUT OF IT, was the first woman in this club to hold the post of chairman/chairperson?

Alan French 2011

 

World War 2 Battle of Britain
Aeroplanes at Bovingdon

Whilst in a blog mood, I recall a few years ago seeing an article together with some photographs in a local publication. Someone had submitted pictures taken at Bovingdon of some genuine WW2 aeroplanes. The aircraft had been utilised for a major film, The Battle Of Britain. The publication also wanted to know if anyone else remembered the public display and had any photos. I responded but for reasons too fiddly to detail, something appeared to go wrong with the communication. I copied my e-mail and promptly submitted it personally to the reception area pertaining to the anonymous publication. It was to be passed on to whomever.  
Unfortunately, in the wake of this submission, over the next few weeks I could find no reference to my response or anyone else’s, who may have contacted the journal.   

At risk of me being incorrect, I feel that my unpublished article could qualify as a blog for our website. Despite the fact that I see an area of improvement to some of the phraseology, the rest of this blog consists of my original believed to be unpublished reply.

Here goes:- 

Dear Sirs

It was with interest that I saw the photographs of WW2 aeroplanes in your history section. In fact it pleases me. I have read and heard some people omit this area's involvement concerning some of this film's location work. I gather some was also done in Spain. Hemel Hempstead may not be quite so exotic, but it still played its part in the film, The Battle of Britain and the location is more authentic.

I seem to recall reading something in your paper, stating that we should not be surprised if we see WW2 aeroplanes in the sky. Even in battle or on fire. I don't recall seeing anything that spectacular, but every so often I saw these planes flying in the local skies of 1968.  

I believe that the display on the ground at Bovingdon Aerodrome was one Saturday during early to mid October. By coincidence, the previous Monday, I joined The Hemel Hempstead Cine Society, now Hemel Hempstead Movie Makers (I am still a member.) I say coincidence, for I visited Bovingdon that Saturday and took some home movies with my first cine camera. It was an 8mm Kodak Brownie. A few years later, this gauge became known as standard 8 (also referred to on occasion as normal 8 or regular 8). This was due to the introduction of the super 8 and single 8 gauges. Whilst on my very modest production I met someone from my new film making club.

I remember returning home and watching a rock 'n' roll show on television. Modern movie making enthusiasts may wonder why I did not watch my cinematic pictures on my television set as well. The reason for this is that the four minutes worth of film I shot on this roll of Kodachrome II stock, then had to be posted to the Kodak laboratory, also by coincidence in Hemel Hempstead. It was then I had to wait until it was developed and subsequently returned to me, before I could, with excited curiosity, load, thread, and project it onto a screen.

A few years later in October 1971, I started working at Lucas Aerospace and I was now part of the aircraft industry.   But it was an interesting, and possibly unique experience, for me to actually be able to go close to these historic aircraft both British and German. When I was born, their pilots were enemies. That Saturday at Bovingdon Aerodrome the planes stood beside one another, no longer utilised as flying foes in opposition, but now in welcome peace.  

Copyright Alan French November 1st 2006 and December 2010. 

 

 

THE QUATERMASS LINK
by Alan French

The following has been edited/adapted from something that I have written for another project, which may or may not materialise. So if it seems a little odd and esoteric, you know why. I thought it would be of interest to our local history. So, here goes:-

THE 'Q' LINK
                  
Hemel Hempstead lies approximately 36 kilometres north of central London. One of the town's claims to fame is the famous Buncefield Oil Depot explosion which took place just after 6 am on December 11th 2005. It was, at the time, reputed to be the largest explosion of its kind in Europe since World War 2. It was even heard in the Netherlands . However, some people may be forgiven for thinking that the oil depot in question was utilised for film sequences regarding a science fiction adventure presented originally for television, and subsequently the cinema. However, the story in question was made during the 1950's. According to local records The Buncefield Oil Depot was not built until circa 1968. But it is a remarkable coincidence that the Buncefield incident does bear some resemblance to an incident during this drama. Nor is it the only coincidence in Hemel Hempstead which liaises the story's hero. Who is he? Professor Bernard Quatermass!

There is more than one version of how his creator, the late Nigel Kneale who originated from The Isle of Man, acquired this fictitious character's name: Professor Sir Bernard Lovell, a night watchman, a telephone directory, and the name of a London East End family who ran a seafood stall. Well, it may not be exactly the same style of seafood, but by coincidence in the Boxmoor Village area of Hemel Hempstead, there is another type of traditional seafood emporium. It is a fish and chip shop called Weston's Fish Bar. But deep in antiquity, it was for a time, a shop called Quatermass!

Oddly enough, not all that wonderfully far from this chippy, is a war monument. Further evidence that there was a family named Quatermass in the area is, in remembrance and respect engraved upon this memorial. So again, we come across the name Quatermass! In this case, Robert Alfred Quatermass, who fought and died for his country during The First World War of 1914-1918. I understand that he lived in Berkhamsted High Street.

Another version of this name, is that of Quartermass. Elsewhere in Hemel Hempstead, there is a housing estate called Warners End. It is here that two place names appear. Quartermass Road and Quartermass Close. Many people understandably believe that these addresses are named after Professor Quatermass, despite a slight difference in spelling and pronunciation. But in actual fact they are not. In this instance they are more likely to be named after twelve year old Katherine Mabel Quartermass, who according to local history, was brutally murdered on July 16th 1896. She had, apparently, left her home at Bods End for Boxted Farm. She never arrived at her destination. According to one report in The Hemel Hempstead Gazette regarding place names, Bods End, spelt with either a single or double 'D', lay somewhere in between Gadebridge and Warners End. (Fields End?)

Near, or in this area, is a dip which we today tend to call The Warners End Valley. A road called Galley Hill not only traverses this dip, but also beyond. However, as far as The Warners End Valley segment is concerned, there is a certain degree of fame applicable. In the 1950s, part of the cinema version of the second Quatermass serial was made.  Quatermass 2. Other local spots seen in the film are, as far as that we are aware, the building at the entrance to the ruins of Berkhamsted Castle, The Watford By-Pass, and just over in one of the next counties, Buckinghamshire, Ivinghoe Beacon. These areas were used for the fictitious Winnerden Flats. Also used on location in both the television and film versions for Winnerden Flats was the Shell Haven Refinery in Essex.

Horrible screams of pain can still be heard from the top of Galley Hill. It is here that the local dental surgery is located. A witness to the making of the Warners End and Gadebridge location segment to the film, a former film projectionist, an excellent musician, and briefly, a member of The Hemel Hempstead Movie Makers, was Tony Rogers. I believe he was allowed to look down the camera lens in between shooting by the production crew.  
Looking across the valley from Warners End to what is now The Gadebridge Estate, a dome is seen by some cinematic jiggery pokery during the film. For locals, it could be easily imagined that this is where the present day Gadebridge Hall stands. Between 1965 and 1986, Hemel Hempstead Movie Makers, formally Hemel Hempstead Cine Society and possibly Hemel Hempstead Cine Club, used to meet

This is not our only connection with Professor Bernard Quatermass. There are others. One of them concerns the first Quatermass story, The Quatermass Experiment, first broadcast by the BBC in 1953 as a serial. It caused quite a sensation in its day. Subsequently it was made into a cinema film. But what of the cinema film? Honoury Member and former President of The Hemel Hempstead Movie Makers, Alan Willmott, has personal associations with a special showing of this production. Note that a descendant from the poet, William Wordsworth, acquired the role of the doomed astronaut, Victor Caroon, in the cinema version. Richard Wordsworth arranged for a private screening of the film. Alan Willmott was the projectionist.

Sometimes there have been friendly liaisons with fellow organisations who are cinematographers, such as the one based in Finchley, North London. In fact a member from Finchley Cinematograph Society, who was at the time a proof reader, named Kenneth Seeger, was approached to narrate some documentaries for us. Somewhere along the line, it was discovered that he had been a jobbing actor in programmes such as Dixon Of Dock Green,  a cyberman opposite Patrick Troughton as Doctor Who in The Tomb Of The Cybermen, and you have guessed it, a supporting role in the television version of Quatermass And The Pit. Some members of Hemel Hempstead Movie Makers, including myself, once shared a lift with Kenneth Seeger. I can recall having a very interesting chat with him.  (Note that Kenneth originally was to be a sapper in the serial, but ended up as a Doctor Klein instead.)

In 2005, a real live Quatermass experiment was broadcast. Adjustments and adaptions were made for the story to be performed as a one off play. As a broadcasting exercise, it was performed live on BBC Four. Jason Flemyng starred as Quatermass.  Apart from the 2005 interpretation, we have heard about the cinema production with Brian Donlevy, but what about the original 'proper' version, broadcast as a serial consisiting of six parts in 1953, starring Reginald Tate?

In those days many dramas went out live. Video recording arrived a few years later. A method which we called tele-recording was occasionally utilised to record some programmes. In lay-man's terms, the basic idea was to film the programme from a television screen whilst it was being broadcast. Up to a point this method was applied to the original Quatermass Experiment. There is talk of quality, an industrial dispute and even a fly upsetting the tele-recording. Episodes 1 & 2 definitely exist. But what of the rest of the serial? According to some research, the BBC claim that 3, 4 & 5 were tele-recorded by BBC Presentation, although some may dispute this. Episode 6 was not recorded. A question mark shaped grey cloud has also been placed concerning all this. It is too intricate to go into detail.

I am a Warners End location resident, Hemel Hempstead Movie Maker member, and frustrated rock 'n' roller. I gave some of my enquiries on this subject a temporary rest. But in 2010, I returned to them as a result of a rumour that some missing episodes were found. Again, I have hit my head against a metaphoric brick wall. Why am I frustrated? It is because of the following, which I advise to read slowly:- 

A lady named Jacqueline Mackenzie, who had conducted some television journalism on the old Tonight programme had an idea for a programme which, in a light hearted way, took a nostalgic look at the television scene of the 1950s. It was broadcast one Bank Holiday evening during 1969, 1970 or possibly 1971. Very briefly, for x amount of seconds, moving film was shown of the unidentified species of plant, growing upward toward the ceiling of Westminster Abbey. A voice over was naming programmes. It said,"We had Quatermass." I was watching the programme with my parents in the room. My mother said, "Ah! That is what he (meaning Victor Caroon) turned into." The images did not match the still photograph that exists of the special realistic glove puppet, which Nigel Kneale operated when an unidentified alien species is first spotted in The Poets' Corner segment of Westminster Abbey, at the end of episode 5. This photo appears in numerous places, both on the internet and books. What I witnessed, matches the written description, given in the Penguin paperback of the script, regarding episode 6. And yet it is not supposed to exist. I can think of explanations but I would like to know what the BBC says, but unfortunately it has not been as easy as you may think.

During 1996, BBC Radio 3 first broadcast the 5th and last Quatermass serial, The Quatermass Memoirs. This included sound extracts from the first 3 serials, including some from the Westminster Abbey sequence. Does this mean that the original Quatermass Experiment exists solely, or partially, in sound? Or are there any other explainations? The only information that the BBC could give me concerned the title music Mars: Bringer Of War, from THE PLANET SUITE by Gustav Holst.
There is certainly a mystery concerning the original Quatermass Experiment. What I do know is this. That somewhere, the truth is out there! Whether I find it or not is another matter.

For reference:-    

1953. The Quatermass Experiment. Starring Reginald Tate. (BBC TV serial)  
1955. cinema release. The Quatermass Experiment. Starring Brian Donlevy. (Hammer Films)  
1955. Quatermass 2. Starring John Robinson. (BBC TV serial)  
1957. cinema release . Quatermass 2. Starring Brian Donlevy. (Hammer Films.)  
1958-59. Quatermass And The Pit. Starring Andre Morell. (BBC TV serial. Also repeated  approximately a year later as a two part omnibus edition. Plans for a radio version were dropped.)  
1967. cinema release. Quatermass And The Pit. Starring Andrew Kier. (Hammer Films)  
1979. Quatermass aka The Quatermass Conclusion. Starring Sir John Mills. (Euston Films a subsidiary of Thames Television. Serial)  
1996 . The Quatermass Memoirs. Starring Andrew Kier. (BBC Radio serial)  
2005. The Quatermass Experiment. Starring Jason Flemyng. BBC TV play.
   
Alan French. Copyright August 2010.
Submitted in its present adapted form, March 2011.  
Since writing the above, some interesting information has come to light.
Robert Alfred Quatermass also appears on at least two other memorials, but as Quartermass. The memorials are at Berkhamsted and Theipval in the Somme. I gather he may have married someone from Berkhamsted and lived in its High Street.
The other concerns the film made in Hemel Hempstead. The Warners End housing estate was still under construction when it was used for location work for the film Quatermass 2. In conversation with someone who was an apprentice gas fitter, I have learned that during their work, Brian Donlevy, the famous Hollywood actor chosen to act as Quatermass, entered the house, and asked if they had a toilet, and if he could use it? Unfortunately, one had not been installed and, so he had to use his own resources.

Copyright Alan French. October 7th 2011

 

CINEMA CLUB Gone But Not Forgotten

As recorded elsewhere, film projection was not strictly confined to the cinemas. During my schooldays, still films, and sometimes epidiascope projection, was utilised during the mainly halcyon days of my schooling. Usually for educational purposes, but not always.

I have, in another article, given reference to an exception when Belswains School showed two still films. Pilgrim's Progress and Sinbad The Sailor (mind you, I have never heard of anyone ‘sin’ing good).

At Bennetts End Secondary Modern School, the practice of still projection continued. I do not recall any of these film strips being shown for entertainment, but motion pictures were. I do not think any entertainment movies were shown at Belswains, their projector was for educational purposes. Whereas Bennetts End was for both.

I left Belswains in 1955, and started at Bennetts End shortly after. Not only was I one of the original pupils, I found that my colleagues were very much the pioneer corps. The school and its neighbouring Apsley Grammar School  were still being built. There were forbidden zones due to the construction. On occasion  there were shared facilities between the two schools. So when in 1970, they merged and became Longdean School, technically, it could be argued that there was sign of what was to come in 1955.

In addition, many clubs and societies were formed within Bennetts End's complex. One of them was The Cinema Club. The school during its educational administration did use its projector for lessons, but surprisingly, to our delight, it was to be used for cinema films. Like most of the other clubs, it met after school.
I remember that early screenings were in the Science Room. In fact, I do not think it was a Cinema Club meeting, but some films were shown in this room during the school's first Christmas party held  in the Art Room, so we all had to evacuate to the Science Room to see the films.

There was one occasion, when the cinema style film was not shown at one meeting, and instead, an educational production was projected instead. There were a few pupils who were disappointed and promptly left.

Progress with the buildings in 1956, saw some of our out of bound areas being opened up. This included the main assembly hall. This part of the building was much better for film shows, so it was inevitable that it became the new venue for the Cinema Club. I cannot recall how frequent the meetings were.

Irrespective how regular or irregular, the screenings proved popular. If my memory serves me correctly, the productions were in 16mm. The projectionist was usually Mr. Thompson, the science teacher. I am not sure if anyone else helped him.

Some of the films that were screened were; John of The Fair, Tarzan The Ape Man, O'Rourke of the Mounties, etc. Among the stars seen were Johnny Weissmuller, Maureen O'Sullivan, Alan Ladd, Shelly Winters, Abbot and Costello and many more. When Treasure Island was shown, we were told that it featured actors who may not be too familiar as it was an old version.

Projection on the educational scene was sometimes enhanced by films. Although usually the standard documentary that was shown in schools of the era, we had fun when we discovered that Walt Disney had made some documentaries. These proved entertaining as well as informative. Such as a film about vaccination which involved art work based on the characters in Snow White And The Seven Dwarfs. Another, involving live action and animated cartoon, demonstrated what happens in your body when attacked by germs; and what happens to the germs when the body is vaccinated. It was all compared to a battle. This was highly amusing, and yet we learned something during that science lesson.

I am not sure if it was a Cinema Club presentation, or a school presentation. But it was decided that one evening, in 1956, the new hall would be used for a showing of Sir Laurence Olivier, in a film version of William Shakespeare's Henry V. Mrs. Carver, the history teacher helped the build up during a lesson, by giving us the historical facts and figures about what we would see. The whole school could attend the screening. People from the neighbouring grammar school were also welcomed. I believe admission was by ticket. The Headmaster, Mr. Cyril Fowler, was proud of his school, and wanted to show how good it was. Certainly, the atmosphere captured within the confines of the hall, did the venue proud. Apart from no ice cream girl, the presentation was as good as that which was experienced at the local cinemas; The Luxor and The Princess in Hemel Hempstead's town centre. There was even compatible music. But then the rot embarrassingly set in. The projector broke down during the show. It was fixed. I am not sure how many times this happened. But as The Battle of Agincourt was in the process of commencing with the famous speech made by the King followed by the charge, the projector broke down and this time could not be fixed.

It was announced that those in attendance would qualify for another showing, date to be confirmed, and of course the announcement incorporated an apology. However, at the later date, they changed their minds, for whatever reason, and showed a feature film about Christopher Columbus with Derek Bond, as one of the stars. There was still a sense of occasion, but this time, pleasingly, no breakdowns.

I do recall seeing years later in the geography room, a combined epidiascope which was combined with facilities to show slides. In its capacity as an epidiascope, it was able to project images of pages from books and of course, still photographic prints etc.

Belswains School used its still film strips for educational limited entertainment, and projected photographic images of the school events. It’s movie projector for education, at least while I was there. Whereas Bennetts End used its movie projector for both educational and entertainment.

However, Bennetts End's still projector did cause concern in one history lesson. We were 11-12 year olds. It was a more innocent era. Mrs. Carver informed us how pre-historic people lived. She had decided to enhance the lesson by demonstrating by film strip. The still film consisted of, not illustrated artwork, but photographs of a tribe of people, still living in a remote jungle today, as our pre-historic ancestors had in ages gone by. Unfortunately, for the lesson, they still dressed, as our forbears. This caused the obvious sniggers and hushed comments from us pupils. Eventually, notwithstanding further comments, Mrs. Carver angrily turned the projector off.  She stated that there was nothing to be ashamed of in their style of minimal dress. Unfortunately, in so doing, utilised the terms that we are all built the same. If I was built like some of the people in the film, I think my parents would have sent me to our doctor.

I did not bear the fruits of Bennetts End's purchase of a Bell and Howell cine camera and whatever make of standard 8mm projector, as I left to go out into the big wide world. Having said that, I may be in one of the school's films.  Mr Fowler captured moving images of a hobbies exhibition held there during the latter part of my school career.

I cannot remember if The Cinema Club was still in existence when I left, or whether it had folded. Great if it is still going! Perhaps it could be argued that it was the first film club I joined. If so, what was the other? Hemel Hempstead Cine Society of course, still going strong today as Hemel Hempstead Movie Makers.

Ah, Halcyon days!

Useless Information:-

Bennetts End Secondary Modern School has appeared in at least two documentaries and one BBC Children's Newsreel.

During a radio broadcast, John Lennon read a poem sent in by pupil/s from Bennetts End Secondary Modern. It is available on an album The Beatles Live at the BBC. After the poem, The Beatles perform a song titled Clarabella.

Copyright Alan French August 2011

 

IN VIEW

One of he great beauties about our genre, is that it not only can entertain, but also, record events which people may wish to view as a memento, or even, from a local history perspective. Hemel Hempstead Movie Makers aka Hemel Hempstead Cine Society; possibly Hemel Hempstead Cine Club; and on rare instances; Dacorum Films, have over the years, played its part in this. DVD copies of a small portion of some of our material, in fact, have gone into the local history archives for posterity.

In the 1960's for example, we did make some films on standard 8, at least two productions about Hemel Hempstead's Spring Festivals. One of them shows film of legendary jazz pianist, Earl Hines at Cavendish School in Warners End Road. After his concert the production crew captured him acting as himself signing an autograph, especially for our film. (See David Harrington for more details) Earl Hines was in one BBC documentary, described as the greatest, or one of the greatest, jazz improvisers on the piano. In other words, our film could be compared to that of having Louis Armstrong posing especially for us!

But other events have also popped up for our productions, presented in a montage, or compilation form, with members being responsible for a particular assignment. The longest epic was the controversial 'Jubilee In Dacorum' but to go into detail would be too intricate. Just let us say, as stated elsewhere, the club nearly wound up as a result. But pleasingly, as we know, has survived. But in order to do this, our weekly meetings had to become fortnightly. I leave with delight, reference to this full length feature epic, and hurriedly go to the next paragraph.

However, during the 1980's, at least three films using a similar approach were made annually. They went under the main title of 'In View' followed by the respective year. At the time we presented cheese and wine charity film shows. So they at least had a showing there. They captured events occurring in Dacorum and were shot on super 8mm film. Regrettably, they came to an end, as a number of events, such as the boat race on The Grand Union Canal or The Mayor's Charity Fun Run, were annual functions, which basically made our productions look like re-makes of one another. A similar idea was put forward by Guy but for whatever reason, this did not seem to come to fruition. Interestingly enough, it would have been a very interesting production. The Dacorum Borough Council was quoted as saying they wanted Hemel Hempstead put on the map. The Hemel Hempstead Gazette stated that it was the day that the town changed. They were right, but not in the way they all meant. These aforementioned quotes were referring to the brand new Riverside Shopping Area, with its star player being Debenhams. The town was now posh. However, Hemel Hempstead was put on the map and changed. The event has gained international attention, was photographed from space, and is still an ongoing saga. No not Debenhams opening, but what happened in its wake. It was the year of the Buncefield Oil Storage Depot disaster. When the town and beyond was rocked by this explosion, just after 6am on Sunday December 11th 2005. In fact one of our former meeting venues Leverstock Green Hall was utilised for the H.Q. by personnel to administer the handling of this emergency. I could rant and rave about Buncefield, but this would be a diversification of this blog's subject, as well as a piece of writing that would make Tolstoy's 'War and Peace' look like a short story. So I shall move on.

We also had a member from New Zealand who suggested the club making a production consisting of a film montage regarding places depicted on a Monopoly board. Like the other productions, it would involve different members shooting their respective assignments. I know some ground work was started, but never completed. Unfortunately, the member who suggested the idea, I understand, is now back, living in New Zealand.

Capturing something and combining it on one film is not unique for newsreel or travelogue. Just before I joined, I gather the club had been divided into segments to produce their productions for our Society. One film however, was a compilation of three individual stories with a central theme. The film was shot on standard 8, and although with striped sound, I believe there may have been a reel to reel taped soundtrack in our archive as well. It was titled 'Fishy Tales.' It had a liaising theme of anglers in a bar, exchanging stories. We, in turn, then see the stories. One popular tale featured a mermaid being caught in the River Bulbourne, Gade or Grand Union Canal. Regrettably, as far as I am aware, there are no copies of the film. Therefore you can only see it if it is shown on a projector with standard 8 and striped film facilities.

There, I now conclude my blog. Hope you enjoyed it. Please join me again for my next one when Alan French rides again! In the meantime, if you know of anyone who is keeping a pet mermaid, please let us know, so that we can sign her up for a film.

Useless Information:-
Do you know that Brian Bennett was at one time one of Marty Wilde's Wild Cats?
Did you know that The Shadows were at one time called The Drifters? Not to be confused with the American vocal group of the same name.
Do realise that the writer of this blog was born in The Royal Northern Hospital in Holloway Road?
Did you know that many famous pop hits were recorded by record producer Joe Meek in Holloway Road, the most famous hit being Telstar?
Did you know that not only is the road that I was born in featured in the film Telstar, but so is the turning where I lived, as an unpleasant incident depicted in the film took place yards from my home?
Do you know that John Lennon and Yoko Ono visited Holloway Road?
That there is a rumour that John Lennon and Paul McCartney, before they were famous may have practised on the same premises where we currently meet?
If anyone knows if this is true, could they please let us know? 

copyright Alan French 2011

 

HHMM Immortalised

Are you aware that in the last approximate 50 years +, Hemel Hempstead Movie Makers aka Hemel Hempstead Cine Society and possibly Hemel Hempstead Cine Club, have periodically appeared in news items, journalistic items and even been involved in capturing and presenting local history images. Recently, it has also been itself recorded for posterity from a local history perspective.

A few years ago, I started blogs for our website. Oddly enough, around the same time I submitted some information, together with photographs on a thread to a forum on the britmovie website. Among the responses was a request to submit something on the same lines, with the same location photographs to a Quatermass website. This I subsequently did. In fact one of the images is on my blog page and refers  to this club as well as Professor Bernard Quatermass.

Even more recently I have gazed at some of my blogs and thought that some could qualify for submission to a website called Herts Memories. This local history project is administered by The Hertfordshire County Council. I gather Dacorum may be acquiring something similar soon.

Not all, but a portion of blogs from our own website, have therefore been submitted. In some instances there have been modifications. One of the submissions is about the origins of this club.

On looking at Herts Memories, I found there is a wealth of information on local history linked to web pages associated with other areas of the county such as St. Albans to South Oxhey. As well as obvious subjects of yesteryear there are also write ups about the film industry.

It might be worthwhile for those interested in investigating this website, whether it be for this club or any other local history subject.

Items so far published from me are:-

British Westerns Plus Created: 14/12/2010; Modified: 15/12/2010

Happiness is a film Created: 14/12/2010; Modified: 15/12/2010
A. French Film Pianist!?  Created: 07/12/2010; Modified: 14/12/2010

World War 2 Battle of Britain Aeroplanes at Bovingdon. Created: 10/12/2010; Modified: 14/12/2010
Hemel Hempstead Movie Makers aka Cine Society. The Legend Begins Here.  Created: 10/12/2010; Modified: 14/12/2010
UFO Hemel Hempstead. Created: 30/11/2010; Modified: 07/12/2010
Stripped for action. Created: 28/11/2010; Modified: 07/12/2010
Annual Hertfordshire Film Competition  Created: 23/11/2010; Modified: 07/12/2010
Hemel Hempstead Hospital Blues. Created: 25/11/2010; Modified: 07/12/2010
Demolition of a Princess  Created: 22/11/2010; Modified: 30/11/2010

A possible member of Hemel Hempstead Movie Makers  Created: 25/11/2010; Modified: 29/11/2010
Hemel Hempstead Old Town Hall Memories  Created: 24/11/2010; Modified: 29/11/2010
Memoirs of Alan French Created: 19/11/2010; Modified: 29/11/2010

Hopefully, there may be other material at a later date.

The websites referred to in this blog are:-

www.hertsmemories.org.uk

www.quatermass2.com

www.britmovie.co.uk 

Perhaps I will see one of your names on these websites?

Alan French

 

Breaking ground at Hemel Hospital

HHMM visits the new Chiltern Radio with Phil Fothergill at the desk

Technical Stuff

Many years ago, photographers extended their activities to motion pictures. At least the respective images seemed to move. It was all an illusion, for as we know, the films were a series of still images. In fact, this principle still applies with the new technology that is now utilised.

But of course, the images then were developed chemically. Today we tend to do things electronically, from video tape or disc, to computer. Should we still call motion pictures films? Well we tend to, irrespective as to whether the production is on film proper, or an electronic image.

But with the development of new technology, the film industry has been very quick to hit on to computerised methods. Certainly the special effects that are seen, and even heard, are amazing. Even King Kong looks real! Fun in the hands of productions intended to be for our entertainment on television and cinema but not so much fun in the wrong hands.

Already holographic images and sound of airline staff are used to greet the public at an airport. This enables the employee to be able to do something else while their holographic persona is 'meeting' customers. The mind boggles! However, one of the problems with new technology is that when it first started to become common around the workplace it was brushed aside by some people in strategic positions. When a bona-fide question or problem was foreseen, or even occurred, that a computer could be wrong, it was brushed aside. It was your fault. Wear and tear or any malfunction was a taboo subject. I must admit it is also true, that some people blame the computer when the problem is a human one. I do object to the idea that things cannot go wrong and that a computer is a divine piece of technology. They are not divine!

I did some time ago submit a blog as to why there were no productions from me these days and the possibility of French Films riding again? Much of my activity has been performed on public library computers. Not so long ago I rightly or wrongly purchased a computer and have been producing some projectable material. Whether I shall continue or not remains to be seen. Whether you wish to call certain photographic or artwork that I have been working on ‘films’ is open to debate. So for the time being, French Films appear to be active again. So watch out French Films are about.

In the meantime, here are some images which may, or may not, be seen at the club, sometime in the future.

The dishevelled cinema attendant is acted by Tom Lowrence.

The photographer seen operating the camera is Mike Quinlan.

I took both pictures whilst the club were filming at Gadebridge Hall.

Useless Information: There are times when I love computers. There are times when I hate them. So far I have refrained from allowing them from meeting a famous comic strip character; The Incredible Hulk! When computers are good, they are great but when they are bad...Oh Boy!

Boring but necessary legal bits. Photographs taken at the club, were shot by me. Therefore I own the copyright. Other images, although created by me were based on images that I changed from Adobe Photoshop Elements 8.0

Alan French

Hemel Hempstead Old Town Hall Memories Film & Pianola By Alan French

"By coincidence, I submitted this article to the Herts Memories website just before Byron showed a rough edit of his film about the restoration of a pianola. It can be seen, together with other blogs of which Hemel Hempstead Movie Makers are referred. I shall write my useless information part first. Are you aware that on our website, the piano featured in the photograph of me playing, whilst wearing a pearly king suit, is also a player piano?

Going through my old emails, I found a submission made to a journal whose name I shall keep anonymous. It was in response for memories of the Old Town Hall. After some searching, I did not find that my memories were published. Upon re-reading the article, I feel that people, who, like me, are interested in films and pianos, may enjoy the article. So in view of the fact that my memory is an unpublished item gathering microchip dust within a computer e-mail file, why waste it?

There now follows the unpublished work:

Film and pianolas

The emphasis in the recent article regarding the Old Town Hall, seems to be that of live entertainment. But oddly enough my entertainment memories are that of film and pianolas. One of them involved a film which projected on a screen placed flat facing upward on a floor. The audience entered a small curtained enclosure and gazed at aerial views specially filmed and which now were projected by some mirror refracted system onto the screen. I am not sure who presented the event.

Hemel Hempstead Cine Society

Two other film events that I recall were presented partially or wholly by my film and video club. As Hemel Hempstead Cine Society, we had on occasion, presented the results of an international film competition called The Ten Best. The last time that we did this was in the Old Town Hall. The other event, was presented either just prior or after we changed our name to Hemel Hempstead Movie Makers. This was an all day event. We, on behalf or in conjunction with another club, presented films made on the single eight gauge. The other club specialised in this gauge. Single eight was a rival and similar gauge to super eight. However, where more than one company manufactured super eight, only Fuji made single eight film.

Pianola

However, there is one event that I attended one Saturday morning or afternoon that did not have anything to do with films. It was to do with mechanical piano playing. On display there was a pianola. The hammers were external and placed over a real piano's keyboard. A paper roll was placed inside the pianola and one could pedal away and allow the pianola to play the real piano.

Mechanical Pianos

However, someone did take this invention further and invented a player piano, which was both a real piano and a mechanical one. Inside were two special pedals which when operated by foot, again, a paper roll would be operated, and with a combination of bellows pipes, cog wheels etc...... (hidden from view), a tune could be played. As years progressed, someone invented electric versions so that the pedals moved without the assistance of human feet. Now that the coming of everything being done by one piano, which could be played both by a pianist or a mechanical paper roll, many of the earlier pianolas were destroyed. These I gather are rare and very valuable. Today the system is computerised. The player pianos were operated while the audience sat, listened and enjoyed tea, cakes and scones in the Old Town Hall. It was very enjoyable.

This page was added by Alan French on 25/11/2010

 

No Home Should Have One

It has been a traumatic decision as to whether to write this piece ever since I have indulged in producing these blogs. However, it does illustrate how I have suffered for my art on behalf of the club. I emphasise that it was not my idea, I was asked to do it, I was not the only choice but it is funny. Just don't ask me to do it again! It happened like this.

History at the moment in some ways is repeating itself. Currently, I have lost a phenomenal volume of weight. This has happened before. In fact way back in 1970, I acquired an unhealthy weight of 16 stone 5 pounds. About the same time, it was felt that it would be a good idea if we could shoot a film before the end of our 1969-70 season. Furthermore, have it edited and ready by the start of the 1970-71 season. In those days we met weekly. A chap named Tom Lowrence (spelt with an O, not an A), submitted a storyline. It was accepted and discussed at our regular meeting.

It was about a husband who returned home only to find that his mother-in-law had arrived and decided to stay. She took over the house, and made the husband's life a misery. Even The Incredible Hulk would have run from her. Seeking solace in his shed, the husband throws darts at a picture of his mother-in-law. One dart drops down somewhere, thus resulting in him finding a book amongst some rubbish about magic. He then decides to get rid of his hated mother-in-law by casting a spell. Thus giving scope for the production to contain special effects. The first person to comment was Harry Rewell. He felt that the part of the mother-in-law should be portrayed by a man. Furthermore, he felt that Peter Field would be suitable. Peter was upstairs drinking in the bar. Harry stopped me from fetching Peter because he had observed that because of my size I would be suitable. I was built more like The Incredible Bulk. Rightly or wrongly, I accepted the role.

David Harrington was made director and subsequently produced a storyboard. John Pewsey was cameraman. Tom Lowrence was an excellent actor and was superb for downtrodden parts, so he was cast as the husband. Jackie English was cast as the wife. There was tremendous enthusiasm within the society. At one point, much of a shed was quickly erected within our club room, for some internal shots one evening. I did a felt tip drawing of the mother-in-law, which in the film, Tom appears as though he drew and subsequently threw darts at. The dust was powdered milk , which we used at tea and coffee breaks. The film stock was standard 8. It was shot silent, with a view to adding a striped soundtrack at the post production stage. There was so much enthusiasm that we extended our club meetings by one week for extra filming before the summer break! But all was not smooth and well, it was the location work that created problems.

Much of the film was internal work, but some external shots were required. The internal shots inside the house and shed, were to be filmed on our club nights within the confines of our programme. The external shots were to be filmed on location at Simmonds' Nurseries at Hunton Bridge, just by the official entrance to the town of Watford. The reason being, Terry Simmonds was one of our members, and the shed which we used for our studio work had been supplied by him and his Nurseries. Shots of the shed would be required. For this, an after work early evening session was planned, over and above our club meetings. Unfortunately, the weather and lighting was not idyllic for our needs, and the shoot was cancelled on the spot. It was decided that if we made an early start, we could make another attempt and then make a mad safe dash to Gadebridge Hall and do our studio work for the rest of the evening.

We ensured that members who were to attend our regular meeting would know and be warned to be patient and wait. The cast, crew and whoever else required, arrived at Simmonds' Nurseries. I had to change in a very, very, very small space. I believe it was the gardener's toilet. I had already given myself more than one going over when shaving. But on arrival, I had to put layers of greasepaint on for the part. The whole transformation into this bullying mother-in-law usually took approximately half an hour. It was a good job that I had a certain degree of entertaining experience. The filming session started. People in passing vehicles were peering over to see what was happening. But I also realised there was an unfortunate problem regarding me. The fact that there was a time factor involved posed problems to change back to myself, return to Hemel Hempstead and start the whole process of becoming the battle-axe mother-in-law again. Remember that the location shots were before the sun started to set; the internal shots had to be in the can before our hall hire expired. I therefore had to be whisked back to Hemel Hempstead as mother-in-law. Plus the fact that to keep gender changing, might start to affect my personality.

David Harrington bravely gave me a lift. He had an AA book in his car. During built up areas or passing vehicles, I placed this book in front of my face. We arrived at Gadebridge Hall after an interesting journey via Kings Langley and other delights on the A41, and other relative roads en route. No-one was about, and so it was easy and a relief for me to just rush out of the car, then into the hall's foyer and our room. But our troubles were not over. There was some more location work to be done. Unfortunately Tom had mistakenly double booked himself. On the day, I was informed that the filming session was postponed. In fact it did not take place until approximately a year later.

In between times, Jackie and Terry got married. The club made a production of the event. John Pewsey was lighting man and Chairman and got an electric shock at Chipperfield Church. He later suffered heart problems. Tom, in his capacity as vice chairman stood in for several months. Tom may have had an accident with his teeth. I lost 5 stone in weight. We could not do any outdoor filming due to summer ending and autumn, winter taking over. I had also grown a beard but was told there was a good gag if mother-in-law had a beard by magic. However after sometime, the idea was dropped, so I had a shave. Then after some months it was announced that Jackie and Terry were to start a family. This gave extra incentive to finish the film that spring or summer. The shooting took place at Terry and Jackie's house in Chipperfield. I had to be padded out. David substituted for John as cameraman. After that, the soundtrack had to be recorded. One of our top sound men, Jim Carter, together with our treasurer, Harry Rewell, undertook the task. I am not sure if Jim had problems or not, but approximately another year later, the film was finally completed in 1972.

The soundtrack was based on the music "Slaughter on Tenth Avenue" by Richard Rodgers plus an occasional sound effect. I sometimes think that stories from behind the scenes are better than the fictitious ones. Useless information:- The part did not affect my personality. But I see a psychiatrist next week. Gadebridge Hall was, and is up to the time of writing, the longest venue this club has had lasting some 21 years. Our film was made years before the premises at Leavesden became film studios. The first film made there was GOLDENEYE. Some sequences for the STAR WARS series have been made there and more recently the HARRY POTTER series. Our film was called NO HOME SHOULD HAVE ONE. I believe the title was inspired by a film which was on release at the time called EVERY HOME SHOULD HAVE ONE. I believe the suggestion came from our programme secretary, Jim Carter. I play a piano as mother-in-law in our production. The music was heard briefly and was an out of tune version of the opening of Tchaikovsky's Piano Concerto in the key of Yale. Well I wanted to make them suffer. Why not? They made me suffer! It was brief, as I did not want to suffer more. I had suffered enough!

Copyright Alan French. 2010.

THE NATIVITY

This item highlights the fact that Hemel Hempstead Movie Makers is not the only organisation that is unfortunate to have been a platform for my occasional acting with problems. It also contains a query as to what has happened to a kindred art film media. Neither is the following intended to ridicule or be disrespectful to the Nativity story. But I hope it puts a smile on your faces.

During my time at Belswains School from 1950 to 1955, we occasionally had two styles of film projection. The school did acquire a moving film projector. But it also had a projector which presented still films. Also known as film strips. Every-so-often, we would be treated to not only presentations for educational purposes, but also pictures of life and activity at the school. I can also recall that at one Christmas party, we saw two entertainment strips. One was of John Bunyan's PILGRIM'S PROGRESS, and the other was SINBAD THE SAILOR.

But I can also recall that approaching Christmas 1954, a live still picture was presented on stage at the school hall. Huh?

It happened thus.  Every year, schools up and down the country presented Nativity plays. Ours was no exception to this tradition. But this particular year, for some strange reason, there would be a Christmas
Evening. But there was, as it emerged, no play involved.

I remember sitting with my fellow classmates. The door opened and in walked a teacher named Mr. Gibbons. He apologised for the interruption, but wanted to ask our class a question. Apparently, instead of a play, someone had an idea for inserting a live tableau of The Nativity. Any volunteers? I, being thesbianocally inclined, volunteered. I was cast as a shepherd. Other pupils, for the record, that I can remember, were:- Mary - Patricia Parsons, Joseph - Colin Howard and possibly a shepherd - Raymond Thompson.  I am not sure who else, but definitely Anne Carpenter and Patricia Whitehouse as angels. We had no lines to learn. All we had to do was pose and keep as still as possible. We were given our positions on stage. And then we posed as though we were in a still picture. So far so good. Anne Carpenter and Pat Whitehouse, I believe, were to have white sheets for their roles. Possibly provided from their respective homes. I do not know about wings and halos. But the rest of us were to have our outfits supplied from the school. There was still a degree of post war austerity. Nativity plays were very economic because whatever dress, blanket, sash, scarf utilised for one production, would be stored somewhere for next year's Nativity play. Again, so far so good. Then the rot set in. It happened thusly, like this.

 We arrived on the evening of the event. We had to go to a classroom near the entrance to the wings of the stage. A teacher, possibly a Miss Tucker, issued us with our outfits. She asked me what my part was. I told her. She rummaged through the contents of this large box to see what would be suitable for a shepherd. Unfortunately, owing to my slight problem with tubbyness, I was incapable of dressing myself. I announced that the garment did not fit. I was issued with another one. That did not fit either. I am not sure exactly how many times this occurred. Eventually, the teacher pulled out a yellow garment. She commented that if this did not fit, then I would not be able to be in the tableaux. A lot of people spend an abundance of money to lose weight. For me, this warning may have done the trick a lot cheaper. Much to the amusement of the other pupils and my relief, it fitted. After that I was decorated with other items and looked more like the part. At a given point we went up on the stage and positioned ourselves. Then the curtains parted. There was some impressed gasps from the audience. There was at least one photographic flash bulb in use. The curtains came together. Mr. Gibbons was pleased with the result and congratulated us. As for me, the moment of dread had arrived. Because I was a portly Adonis, I was now incapable of undressing myself. I could not get the costume off. Miss Tucker told me to lift my arms up. I obeyed. She then pulled. Briefly, I experienced mild claustrophobia. Would I be forever stuck within this yellow garment? Then it arose more. I then detected a slight sound. Rip!

The report in the local press detailed the event. But for some reason, omitted reference to the tableaux.

At least one photograph was taken. Maybe more. Were any photographic images developed in print form or for the school's film strip? I do not know. I have never seen any.

However, it does make me wonder what has happened to the many film strips for still projectors, be they toy or sophisticated equipment? Be they amateur or professional? Some have found their ways to DVDs. I have seen at least one regarding a television series. But what of the those that have not? Some may well be for entertainment. But some may, like those at Belswains School, capture a still film record of people, places and events that would make interesting viewing for local history. What happened to epidiascopes? I know that at my next school, Bennetts End Secondary Modern (now with Apsley Grammar School, part of the Longdean complex) we did have standard 8 cine films introduced just before I left. I did hear through the grapevine, that these may be with the headmaster's son. But there were no film strips as far as I am aware of the school. Only surviving snaps. But there was a stills projector, a slide combined with epidiascope projector, and a 16mm movie film projector. This was used for both educational purposes and for our Cinema Club.

Very interesting thoughts.

Alan French.

Not so useless information. An epidiascope contained a mirror which at an angle of 45 degrees, would refract the reflection of an illuminated image through a lens and onto a screen.

copyright Alan French 2010

 

TARZAN: THE BRITMOVIE BLOG

Sometime ago, someone started a thread on a forum on a website called Britmovie. The jungle drums sounded and to the ears of your intrepid blogger Alan French (me Alan) came the news. Donning a loin cloth and giving an operatic yodel, he swung on a conveniently placed vine on the telegraph poles of Hemel Hempstead and went in search of an available computer. He found one. What follows is the contribution:-
Posted 27 August 2010 - 06:40 PM
Hi,
It would have been interesting to have heard Andi's voice. Although based on the novel TARZAN OF THE APES by Edgar Rice Burroughs, it is not completely the same. The first Tarzan film, a silent, is also based on the novel. Some years later the Christopher Lambert film was made and Walt Disney Studio produced a full length cartoon of the novel, which also has some differences.

There have also been a number of re-vamps concerning Tarzan's origins and how he met Jane. The most famous are the three films made of TARZAN THE APE MAN. Johnny Weissmuller's being one of them. These are not based on the novel but scripts revamping the character in a story written specially for the cinema. The dialogue for the Johnny Weissmuller version was written by British composer, believe it or not, Ivor Novello.

As far as Greystoke is concerned, I do know that some genuine foliage was transported specially to the film studio to give authenticity.

On another thread, a few months ago, I gave some details relating to the first ever Tarzan film based on the novel. The thread was 3 British Tarzan Films. Should still be on this website.

By the way, the story upon which Greystoke is loosely based, was first published in THE ALL STORY MAGAZINE in October 1912. 2012 therefore, commemorates 100 years of Tarzan. I wonder if he has a bus pass?

Useless information Chapter 2: The other blog. In answer to, did anyone remember Elmo Lincoln? Now read on. If you dare:-

Posted 09 May 2010 - 4:41 PM
Hi.
Although well before my time. I have seen him in two abridged silent Tarzan films. Tarzan OF THE APES (premiered in 1918) and THE ADVENTURES OF TARZAN (circa 1921) Also, he played an unaccredited supporting role as a native in or around 1949 in a Tarzan talkie which introduced us to Lex Barker. I have not seen him in the sequel to his first Tarzan appearance, which was THE ROMANCE OF TARZAN, part of which I gather takes place in England and sees Tarzan wearing top hat and tails.

I have come to the conclusion that there are three actors who can claim and share honours as the first screen TARZAN. Discounting any infants that were used. These are Gordon Griffiths. He acted as Tarzan when he was a boy. Winslow Wilson aka Stallon Wilson. He was Tarzan as a man. However, a few days after shooting the film in 1917, The United States of America entered The First World War. Mr. Wilson quit the role to fight for Uncle Sam. However, there are some tree shots of him used in the picture. A special deal was made and accepted, providing he agreed not to have his name in the credits. A quick search was obviously made to replace him. They found such a person in Elmo Lincoln. He had appeared in BIRTH OF A NATION and INTOLERANCE. Elmo Lincoln took over as the star of the film. Tarzan OF THE APES was premiered in EARLY 1918. Enid Markey was Jane. Tarzan's creator, Edgar Rice Burroughs, did not think that Elmo Lincoln or Enid Markey fitted the descriptions of his characters. Tarzan is not supposed to be built like the local blacksmith. Edgar was not happy with Enid Markey's performance, and decided to kill Jane off in his book series. The publisher queried was this wise? Edgar Rice Burroughs' wife said to her husband, "Oh! No you don't!" So Jane was not dead.

On film, over some years, the character of Jane gets complicated with the progression of the film series. The first time was with Natalie Kingston, who portrayed an alternative character called Mary Trevor. Then she turned up next as Jane.

As far as Edgar Rice Burroughs was concerned, a promise that the first Tarzan film would be faithful to his magazine and book story was not kept. And yet in some ways it is more faithful than most other productions of how Tarzan met Jane.

Edgar Rice Burroughs distrusted the film industry after that.


Alan French

                           
There. You were warned. Me now catch elephant bus. Cheetah's birthday. Jane cook meal. Me off. AAAAAAAA-AAAAA-AAAAAHHHHH!!!!!!!!!!

                                          
COPYRIGHT ALAN FRENCH 2010

 

HORROR!
FILM PRODUCTIONS; DVDS;
IS IT THE END?

Before the horror of horror documentaries was shown to the club, I had heard or read something about this subject before. The first time was some years ago, when it was learned that an album made by Kate Bush was unplayable. Certain people in the music industry were shaking in their boots in case they were sued. CD's were given such good publicity that it appeared they were immune to a lot of things. They were the best thing since sliced bread. Even if with jam. However, it appears that this is not the case. This situation has spread, not the jam, to DVD’s.

This was the subject of a thread on a film forum website that I sometimes join in on. In fact, someone stated that the best way of preserving motion pictures was on black and white film. I think this is a pity. Because the quality and methods involved in both sound and vision mediums, can be excellent.

It is strange to me, that some of the early images made by John Logie Baird, on video discs, in the late 1920''s and early 1930's, can still be viewed and even transposed on the Internet. I accept there are some that this does not apply to. But now with the technology, and especially in digital, one would think that we are nearing a Utopian status. Unless it is a crafty move to get us to spend more money and time copying our masterpieces.

Certainly, in the amateur moving image scene, this is not new. I do not know much about the rivalry between 9.5 and standard 8mm, but certainly there were problems when super 8 was first put on the market. We were unable to double expose, fade in and out, lap dissolve and film back to front. When super 8 cameras were eventually given this facility, we found that we were not allowed to do these things within the first and last five feet of the film. Single 8, which was exclusive to Fuji, however could. If you wanted to purchase a new projector, but remain in standard 8, you were not allowed by the industry to buy a new standard 8 projector. It was deemed you wanted to go into super 8. Dual gauge projectors were sold. But we conducted an experiment in a member's house, which resulted in us coming to the conclusion that dual gauge projectors were really super 8 devices, with facilities to play your old standard 8 films. The standard 8 quality, was not as good as the equivalent standard 8 projector. And of course, if you were happy with your film projector, but needed a new standard 8 cine camera, it was deemed that you wanted a super 8 camera. Therefore you will need a new projector to show the films on. In fact a lot of advantages that were given to super 8 could also be given to standard 8.

Then came the automatic threading projectors. If something went wrong, the word threader was substituted for shredder. Possibly okay if you could watch your film going through, but if  your projector did not allow you to see the film going through its thread path, if anything went wrong, it was unknown until the film reappeared at the take up spool. If it did not, or a splice broke, you may have had problems getting your production off the equipment. Some projectors did allow you to take their side off very simply and quickly. When referring this problem to some sales people, you were put in the wrong and informed that you did not want this facility, even if you did.

We were told video tape was better than film. When certain critical arguments were put forward you were wrong. Video tape and equipment did improve. Now it is on digital disc, our original arguments are permitted.

Now we find that our discs have a very limited life. The productions can still be viewed if you get them regularly copied, say about every five years.

How much more are film makers going to be treated badly? Will they also start to economise and declare equipment obsolete before it goes on sale? How? By not buying it in the first place! This some people may have done.  It is a pity.  But the light in the tunnel is that knowing the present system of discs is short lived. Part of the battle is won. Someone somewhere will see what can be achieved to rectify the matter. Let us hope so.

Alan French Copyright July 2010

 

STUNT

I have been watching recent activities in the Hemel Hempstead Market Square ranging from a Wild West show to a stunt show. Thus, I have been reminded that these forms of entertainment contain action of which could, if one is not careful, turn sour, if not performed correctly.

I recall during the 1970's, Hemel Hempstead Movie Makers aka Hemel Hempstead Cine Society, going over to Aylesbury to see stunt demonstrations. The people knew what they were doing and also could be hired.

We were shown people being safely smashed on the heads by what appeared to be glass bottles, but were made from candle wax. People going through window panes, which could be eaten, due to the fact that they were made from toffee. Bottles appearing to be shot off shelves when they in fact were not.

The most dangerous stunt utilised was a pyrotechnic. A stunt girl had some special gel sprayed on her clothing. The gel was set alight by some hand held equipment. She was then informed that this task had been done. She then ran to the door, opened it, passed through its opening, where at least one, maybe more, were waiting to douse the flames as she went to the floor. There is a time limit in which this has to be done. And I am talking 'X' amount of seconds. Despite assurances that it was safe, no-one from the audience volunteered to have a go. I told her as we left, she was a very brave young lady. 

I have also seen recently, stuntmen jumping and falling from as high as 35 ft and also a grenade exploding near them.

It is all very skilful stuff. If a situation arises and a film group wishes to utilise stunt work, it is best to leave it to the experts. Their stunt team must be competent. Rules, regulations and law, should not be ignored, and must be obeyed. No short cuts can be taken. Things can go wrong. Even on professional film sets and locations.

Two examples: One was when revolving blades in a film studio came off a helicopter, with fatal consequences. The other was during the filming of TARZAN AND THE MERMAIDS. Despite Johnny Weissmuller being a superb swimmer, he had a stand in, Angel Garcia, for a spectacular dive. The dive from a cliff was made. Unfortunately, once in the water, Angel Garcia, found he was caught in very strong current/s and eventually was fatally injured when he hit some rocks, jutting out of the waves.

We have mildly used stunts and stand-ins. Stand-ins may be required to do stunts, but our productions where one or both have been featured are the following:-

BLAZE AWAY: Vicki Rewell being rescued from a blazing building.
ONE TO GO: I had to have someone drive a car for me in a car park, because I did not have a driving licence.
WHAT HAPPENED IN EL-PASO: The shots taken in the South of France.

If anyone knows of anymore, please let me know.

So if you find you have a need for stunts in your epics anytime. Make sure you comply with the law.

Even guns have to be registered with the police.

In the meantime, good luck.

Alan French 2009

 

SOUNDING OUT

When going to the cinema or watching television, how many people refer to the sound? We all talk about seeing, watching etc, but how many mention listening or audio? And yet as the visual film industry developed, so did its relationship with sound. But do we take this for granted?

It is possible for the film maker to spend hours getting the visuals of a production accurate, but when it comes to making soundtracks, an amateur may let the production down by the soundtrack or lack of it.

I well recall that just before sound cine cameras became the latest trend with the mythical Mr. Dixon in the High Street, someone who did not know anything about film making argued with me that sound cameras were "it". There was no need to make post production soundtracks. How could anything go wrong?

In those days more than one method could be employed by the amateur cinematographer. There were wild soundtracks, lace up projectors, magnetic stripe, magnetic paste and even sprocketed reel to reel tape. I do not know if optical sound was common for the amateur. The new films for cine cameras were pre-striped and therefore, if you had the right camera, you could as today, with the different video tape and disc methods, record sound as you photographed your latest cinematic masterpiece.

In fact, despite it all, sound is still utilised to enhance a film in its post production stage. Some say it is more difficult than editing. You are doing what a whole film crew does. Sometimes you may find your sound should not be used and new sound be added. How about music?

Today's equipment has an advantage over the cine film. Film frames were ex amount away from their respective sound. Irrespective of film speed, the distance, in time, was one second. The frame would go through the projector gate and then partly, contact the sound head. In fact we conducted an experiment to test editing on dialogue. The editing was done by listening to the soundtrack, rather than looking at images. The result should still be in our library. Unfortunately, thanks to JUBILEE IN DACORUM, the film proper was not made. However, both sound and vision on tape and disc are scanned simultaneously, so there is no problem.

Enhancements that sound people can do are for example; magnifying footsteps. By attaching microphones to someone's legs, it is possible to record walking sounds on hard or soft surfaces, such as grass. That is unless sound effect records are used.

However, sometimes things can go wrong, or are not acceptable. This may require someone re-recording their dialogue. Preferably with the actor seen on the screen. If not, someone else speaks the part. A classical example of this was in our production of WHAT HAPPENED IN EL PASO.  I visited Magali's abode to re-record the song, THE OLD CHISHOLM TRAIL. There was also some hand clapping recorded. When I left, Robert Newcater, who acted as the Mexican cowboy, was re-recording his lines, whilst watching his lips, on a showing of the production, by a laptop computer. 

Yes. Sound can be just as effective as the visuals in a film.

Good luck with your soundtracks. Copyright Alan French 2010

Useless information.

During the making of a soundtrack for an animated standard eight film, titled, ALCESTIS, I frightened myself during the creepy climax part.

The one man band person in COVENT GARDEN Part 2 was filmed silently. It is me on the soundtrack, playing a harmonica and a tambourine.

For members entering club competitions without soundtrack, a member named Jim Carter, would play a reel to reel tape on his splendid recording machine. Usually the music was by The Shadows.

I once made a wild soundtrack for a documentary. The man who spoke the commentary, Les Blackman, when finished, after several seconds jokingly said, "The end." When the film was shown in a club competition, the soundtrack was slightly faster than the film. As a result, the voice said that it was the end, a few frames too early. So I quickly, I turned the projector light quickly off, whilst the club laughed.

The title of the film which was not made because of the jubilee film, was THE CASE OF THE PHANTOM KNICKER NICKER. It was not going to be crude and was to be tasteful.

Due to my absence, I had three short films projected on my behalf, for a fun competition. One was super 8 with striped sound. Another was standard 8 with a wild musical soundtrack. The winning standard 8 film had no sound, and was supposed to have some background music. I was informed at my work place the next day, by the sadly late Terry Payne that I had won. On listening further, I discovered that the winning film's sound track had the members in fits of laughter. This intrigued me, as it was the silent film. Apparently, they continued playing the reel to reel tape and a soundtrack for a completely different production was heard. The winning film was called A SUNDAY MORNING WALK. The wrong soundtrack was for a film called THE FRANKENSTEIN CREATION.

Not so useless information.

Wild soundtrack: Sound accompaniment which may, or may not be specially made and may not be synchronised with film. The sound equipment is not connected or liaised with the projector.

Lace up projector: A film projector which had facilities to be liaised with a reel to reel tape recorder, by lacing the tape so that it would leave and return to the tape recorder via the projector. This would mean in theory that the sound and film equipment would run in complete synchronisation.

Magnetic stripe and magnetic paste: A thin stripe or paste, running near the film's edge. The stripe and paste were magnetic. The soundtrack then was always synchronised with the film. The paste speaks for itself. But the stripe was very thin magnetic tape. But neither two, as far as I am aware could be used on the same film. The projector was really like a recording/playback machine when these methods were used.

Sprocketed tape: Reel to reel tape with punched holes. This was because tape used to and still does, stretch. By punching holes into tape, the stretched factor is vastly, and perhaps completely, reduced. Therefore, for wild soundtracks and possibly lace up projectors, this was a boon.

Optical sound: Used in the film industry. Method by which sound can be 'photographed', best explained visually.

Pre-striped film: Method in which fresh film was already striped by the manufacturer, and purchased by the customer. This meant that if you had a sound camera, you could record and film simultaneously, prior to having the film developed. However, at least Agfa had a service which striped your film, when you sent it to them for developing.

Sound effect records: Recordings of sound and music which could be purchased with view of using for the making of your soundtracks. The BBC was one of many companies that sold these. One of their records was criticised by Mary Whitehouse, for its horrific content.

.Copyright Alan French 2010

A SPECIAL BLOG

I think it goes without saying, that like many in not only this club but also St. Albans' Movie Makers, I am shattered with regard to the sad death of Brian Harris. His dedication, enthusiasm and hard work for both clubs, will be missed.

It makes me think, however, that people who indulge in making motion pictures, irrespective as to whether they are amateur, semi professional, or professional, have a marvellous medium that can make the past re-live.

I remember way back, we were presenting a public showing of the international film competition called THE TEN BEST. It was decided to start the programme with an advert for the club. I heard that a widow of one of our founder members, Vic White, would possibly be in the audience. I queried that seeing her husband in the commercial, might upset her. I was informed that it would probably have the reverse effect. I am not sure if she did attend. But oddly enough, after the presentation, a lady named Vicky Rewell, said how nice it was to see Vic White again.

This brings me back to the motion picture genre. People can still be appreciated by their films, even though they themselves are sadly no longer with us.

Brian Harris is certainly in that category. He can still make us laugh. For example, in such productions involving a professor who believed there was no such thing as up or down. A comedy documentary about litter which involved references to fictitious Mafia bosses, and locations featuring wide open spaces of America, and a bus stop and shelter in Hemel Hempstead. And a film of which he won a special award for filming beyond the call of duty, which was a comedy about a house being renovated, in which genuine footage of his own house's roof on fire is seen. This is just for starters.

It is a marvellous and wonderful gift to entertain and make people laugh. Brian had that gift. What a nice thought, that in years to come, thanks to the motion picture genre, he can still do that. He may no longer be with us but his film legacy will continue for years to come. I believe that when we look back, we will still be laughing, a commodity which this world needs.

Brian, please rest in peace.

Alan French.

 

HOW LONG A PRODUCTION?