Showing posts with label Denham Studios. Show all posts
Showing posts with label Denham Studios. Show all posts

A Signal Arrow Arrives



I have recently posted a still from Walt Disney’s Story of Robin Hood and his Merrie Men (1952) showing the scene where the sheriff is led into the outlaws camp. Here is another detailed image of the camp,  created on one of the huge sound stages at Denham Studios by Disney’s art department. This time it shows the moment a whistling arrow arrives, warning Robin Hood (Richard Todd) and his men of imminent danger. 

Those of us who have seen this wonderful film, will know that Little John (James Robertson Justice) has been seen making his way through Sherwood Forest in search of Robin Hood and his men. Eventually Little John meets up with Robin and we witness their fight with quarter-staffs.


Robin Hood is pulled out the stream by Little John


In my opinion this legendry duel has never been bettered on the silver screen.


Behind the Scenes at Denham Studios

Anthony Eustrel, Patrick Barr and Walt Disney

Once again I am indebted to Neil Vessey for sending me yet more rare pictures of the making of Walt Disney's Story of Robin Hood and his Merrie Men (1952). Neil has kindly scanned these images from the Picture Show Annual of 1953. Above we can see Anthony Eustrel in costume as the Archbishop of Canterbury, Patrick Barr as King Richard the Lionheart with Walt Disney, during the filming of Robin Hood at Denham Studios.

In July 1951, just as his cartoon version of Alice in Wonderland  was released in America, Walt Disney visited England with his wife Lilian and his daughters, to supervise the production of his second live-action movie.


Ken Annakin with Perce Pearce

In the second image (above) we can see Ken Annakin (1914-2009) the director of this wonderful film with Perce Pearce (1899-1955). Pearce was chosen by Disney to supervise and produce his early film productions in England, including Treasure Island, The Sword and the Rose, Rob Roy the Highland Rogue and of course The Story of Robin Hood and his Merrie Men.

To read more about the making of Robin Hood at Denham Studios and the wonderful cast of actors that appeared in this Technicolor masterpiece, please click on the relevant labels.



Behind the Scenes at Denham Studios

Filming the final scene at Denham Studios of Robin Hood

Many of us have often wished to be at Denham Studios during the filming of The Story of Robin Hood and his Merrie Men in 1951. Well - at least this incredibly detailed photograph (above), goes somewhere to fulfilling our wishes. It has been sent in by our regular contributor -Neil.

We can see Joan Rice (Maid Marian) hugging Robin Hood (Richard Todd) shortly after he has been made the Earl of Locksley by the returning King Richard the Lionheart. To see our picture strip of this scene, please click here.

Detail - showing Joan Rice, Richard Todd, James Hayter and Ken Annakin


Many of the production crew are visible in this remarkable image, including director Ken Annakin, standing alongside James Hayter (Friar Tuck). Also several of the 'outlaws', including Ewen Solon. Notice also, the huge Technicolor camera, which is possibly being operated by the director of photography, Guy Green.

Neil says:
"That is the Studio scene at Denham showing the filming towards the end  in Robin Hood’s Camp – but this is the original photograph and absolutely crystal clear  whereas we will both have seen this one in a smaller less clear version – I think from the Old Monrovians visit there at the time.

I think this scene would be filmed at the end of July 1951  - and I have a feeling that we would be on our holidays in St.Albans at  that time - so as a small boy with my parents and brothers, would have been passing the Denham Studios at that very moment

The other picture with Walt Disney, Richard Todd and Elton Hayes, we have seen before – but again this is a bigger clearer one.

I am so happy with these. Please use them on your site if you wish."
Neil 

In the second picture that Neil has kindly sent, we can see Walt Disney on the Nottingham Castle set, during his visit to Denham Studios in June 1951. Alongside him is Elton Hayes (as the minstrel Allan-a-Dale) and Richard Todd (Robin Hood ‘disguised as a soldier of the Sheriff’). 

In his autobiography (Caught in the Act, Hutchinson 1986), Richard Todd describes the ‘solid’ dungeon walls as being constructed of pure wood and plaster.


Elton Hayes (Allan-a-Dale), Walt Disney and Richard Todd (Robin Hood)

Filming of Walt Disney’s Story of Robin Hood and his Merrie Men began on 30th April 1951. Ken Annakin, the director of the movie, in his autobiography (So You Wanna Be a Director, Tomahawk 2001) says that 10 weeks into shooting, Disney made a surprise visit to the set. Annakin describes how the great man had photos taken with the stars of the film in the Nottingham Square set on the lot. This also included ‘numerous’ pictures with Joan Rice (Maid Marian) on the archery field.

This fits with Richard Todd's (Robin Hood) memoirs where he describes Disney coming over from London to Denham near the end of June 1951 and how he was thoroughly pleased with the way things were going.

Coinciding with Walt’s stopover, the then Princess Elizabeth (later Queen Elizabeth II) paid a visit to the Denham Studios, accompanied only by her lady-in-waiting and equerry. The future queen was shown by Walt Disney and the art director Carmen Dillon around the outside sets and the costume department. Perce Pearce, the producer of Walt Disney’s Robin Hood, insisted that filming should continue as normal as that is what the young princess wanted to see. So for about twenty minutes she stood quietly in a dark corner, while production carried on, then gave a friendly wave and slipped out of the stage. I wonder what scene it was she saw being filmed?

To read more about the production of the film, Walt Disney, or see the picture gallery please click on the labels in the side bar.

A huge thank you to Neil for sending these images.

Denham Studios or Burnham Beeches ?

Joan Rice (Maid Marian) and Richard Todd (Robin Hood)

These rare stills, taken from Walt Disney's live action movie The Story of Robin Hood and his Merrie Men (1952) raise a number of interesting questions. Was this scene filmed on one of the huge sound stages at Denham Studios? On location at Burnham Beeches? Or both?


Joan Rice and Richard Todd

I originally believed that the scene in which Robin chases Marian through the woodland was filmed at Denham.  But now I am not so sure. The sets were so realistic it is hard to tell. What do you think?

Elspeth Gill (1936-2012)

Elspeth Gill with Richard Todd in 1951


I was saddened this week to learn that Elspeth Gill passed away two years ago. Her father Alex Bryce (1905-1961) was the celebrated director, producer and writer who had worked on Walt Disney's live-action movies The Story of Robin Hood and his Merrie Men (1952), Sword and the Rose (1953) and Rob Roy (1953).  

In July 2012 I had the great pleasure of talking to Elspeth about her visit to the set of Robin Hood with her father and was struck by her warmth and kindness (I have re-posted the interview). Since then, I have learnt a great deal more about her incredible life.


Elspeth Gill


Below is her obituary sent to me by Neil Vessey:


Elspeth Gill
(1936-2012) 
Dare To Be Different

These are the words used by Elspeth Gill who used them to describe why she should be considered for the Hackney Performance Horse of the Year Award, She was right, she was different and yes she won that award! Elspeth was a remarkable woman who led an extraordinary life, this is her story..
Elspeth Mary Macgregor Gill was born in North London in 1936 where she spent much of her childhood growing up in Scotland. Her father was a celebrated film director who worked for Walt Disney. The youngest of 4 children, Elspeth spent many of her formative years on set with her father where her love of acting was born. She adored the glamour and showmanship of acting, developing a talent that would furnish her with essential skills for her future. In contrast to the glamorous lifestyle, another one was brewing, a keen interest in the harness horse inspired by the horsedrawn delivery tradesmen such as milkmen, bakers and coalmen around the suburbs of Rickmansworth.

In 1954 she won a scholarship to RADA, THE Royal Academy of Dramatic Art in London, where her natural gift for acting was honed. She studied alongside contemporaries such as the Oscar winning Glenda Jackson and Leonard Rossiter. On graduation, she went on to spend many years in repertory theatre performing in theatres around the country. The ability to travel around independently and adapt to the ever changing face of theatre demands set the scene for a remarkably strong woman who faced adversity and extraordinary challenges in her personal life

After meeting her first husband whilst starring as GiGi in the Wolverhampton Grand, she settled into in the rural idyll of Shropshire, They went on to have three girls, Lesley, Emily and Abbie. Elspeth married a second time and their son Daniel was born. With the children fast outgrowing their Welsh Ponies, Elspeth decided to be resourceful and break the ponies to harness, drawing on her skills learnt as a girl with the milkround! The rest they say is history!

Elspeth’s original driving pony was Tilliepronie Emperor Tilly a versatile children’s riding. With the fuel crisis in 1973 she drove her ponies to town with the kids in a governess cart to do the shopping, a feature broadcast on local television. She was then approached by the Bromsgrove driving group, joined up and opened up a whole new world of showing.

Elspeth’s passion for drama was now being put to good use in carriage driving, Her illustrious career in competitive Private Driving had just begun. With the combined smell of greaspaint…and horses, her achievements in the show ring culminated with her attaining a third place at the Horse of the year show in 1976. Third place was not good enough for Elspeth and realized that to be better, and to win, she would need to be different; to be outstanding and to be noticed, and so she turned to the aristocrat of the showring, the Hackney.

Her lifelong association with the hackneys had started. She became impassioned about of the breed and became a respected lifelong advocate of the Hackney Horse Society. Her first horse was Blue Cap John, a stunning Hackney which she had many a success with. With her constant quest for craving perfection and success in the show ring, she acquired the indomitable hackney stallion Finesse from Holland, Nessie was the love of her life, the greatest hackney of them all. To achieve her supreme goal, she called on the services of master coach-builder Philip Holder of the Wellington Carriage Company to design and build a new type of vehicle, her famous Cane Whiskey which is now on show the Redhouse Museum in Darbydale. The combination of a stunning lightweight carriage, outstanding hackney and impeccable turnout provided the desired effect, they were virtually unbeatable in the show ring and went on to win the supreme accolade, the Concours d'Elegance at HOYS in 1982. This single solitary rosette will adorn her wicker coffin to her funeral.

With a move to Cheshire, Elspeth worked her horses as commercial weddings and tourist rides. Her proximity to Manchester and the Granada television studios opened up new opportunities and returned to acting, this time with the horses and carriages in tow. She supplied carriage turnouts and horses for film, she appeared once again on screen in ITV productions such as Handel and Sherlock Homes. She commissioned John Willets from West Wales to build a hansom cab for film work for the Sherlock Homes and held a Hackney Cab license for rides around Chester. She famously performed a display for the Liverpool Taxi Cab association in a hansom cab, reversing a serpentine down a street to the astonishment of watching taxi drivers!

Elspeth’s attention to detail was revered across the country and became a well loved doyenne of the showring. The previous successful working relationship with Phillip Holder on the Cane Whisky was rekindled when she commissioned another stunning carriage, a pony Spider Phaeton to her exacting designs, which she excelled in many shows, and was often seen with her children perched precariously on the back dicky seat, usually it was her son Danny looking resplendent as the tiger boy Their glory came when they won at the British Driving Society National show and were presented to the Queen. So confident that their turnout was a show winner, Elspeth had already prepared a posy for a young Danny to present to her Majesty.

Whilst living in Dorset, Elspeth added Sunbeam Fantasia (Billy) to her yard, a stunning black Hackney Stallion who proved to be her soul mate seeing her through many a triumph and tradgedy. On return to Shropshire where she ‘retired from the show ring’, Elspeth moved to Bromdon Stables where she was able to look out from her window to see Billy staring back at her from his stable. The lure of the show ring was compelling. She made a call to Gary Docking to find a vehicle, and off to Reading she went and bought the vehicle of her dreams, the iconic Studebaker Princess Basket Phaeton. Great successes followed up and down the country. 
Undeterred by the onset of old age, Elspeth decided to travel to France and take part in the Concours d’Elegance d’Attelage de tradition at Cuts. For a 70 year old woman, a 21 year old horse a 100 year old carriage and a 30 year old battered old transit box, the team set off on an epic journey of a lifetime and yes she won again. Later that year she went on to win the Concours class at the National Carriage Driving Championships at Windsor too! 
Elspeth enjoyed all aspects of carriage driving, both Billy and her would travel all over the country taking part in various events. They even starred together in a couple of theatre productions with Equilibre with their magical performances. At the end of the 2006, their combined carriage driving exploits accrued them enough points to win the highly prestigious Hackney Performance Horse of the Year award. 
In recent years, the stresses of travel, failing health and Billy’s prolonged lameness took it’s toll, so Elspeth drew her competitive driving days to a close. Her final swansong came in 2010 when she fulfilled a lifelong dream to retrace the steps of the Reverend Henry Philpott from his journal of 1835 called "From Worcestershire to North Wales in a gig" chronicling his 11 day 260 mile adventure driving his little black mare. Her youngest daughter Abbie took time out with Elspeth to explore the route by car and when possible would bring Billy along to recreate the journey with a pony and trap. 
Elspeth was very close to her family and hugely proud of their achievements, She was especially thrilled to travel to see the Equestrian Olympics at Hong Kong in 2008 with her daughters Lesley and Emily and grandchildren. 
It was ironic that the hackney horse should offer one last page to the story of her life , sadly on the 5th June, whilst tending to her beloved Billy, she took an unfortunate fall and was taken to the Royal Shrewsbury Hospital where she passed away peacefully in her sleep. Elspeth Gill was an exceptional woman, a formidable character and wonderful person, so as a fitting epilogue to one of life’s great actresses…as they say in the theatre land “Stage…Exit…Left”


Elspeth Gill on the set of Robin Hood

A few years ago both Neil and myself contacted Elspeth and she graciously shared with us some of  her memories of those days with her father while he was filming Robin Hood.

Elspeth’s father was in charge of the Second Unit, which specialised in all the action shots and fight scenes of this wonderful Disney movie. These included the ambush of the royal coach, the rescue of Scathelok in the market square and Robin’s various battles with the Sheriff. She was about sixteen years old at the time and remembers the filming very well. Below is a copy of the blog post I did after our conversation:

"At the age of sixteen, Elspeth had the enviable experience of watching the filming of Robin Hood at not only Burnham Beeches but also the huge sound stages at Denham Studios. During that period she was living in a house approximately four miles from the legendary studios. When Elspeth entered a fancy dress costume at that time, she was lucky enough to be allowed to borrow one of Richard Todd’s Robin Hood costumes. She won the contest-of course! And afterwards rode her horse all the way to the Denham Studios. The security men on the gate were apparently pre-warned of her arrival!

Although it was over sixty years ago, she could vaguely remember meeting Walt Disney and described the Art Director, Carmen Dillon, as a formidable woman. Richard Todd she said “was such a lovely, lovely, man.” He became a friend of the family and Elspeth had fond memories of Scottish dancing with him during the making of the later movie, Rob Roy. Her father, she explained, loved making those live-action Disney movies."

Alex Bryce with Richard Todd (Robin Hood)

"During the filming of the scene in which Robin Hood meets Friar Tuck (James Hayter), Richard Todd asked Elspeth to keep hold of Barron, his Great Dane. Unfortunately Baron was a great deal stronger than Elspeth and she was dragged by the huge dog downwards towards the river!"


Peter Finch as the Sheriff

"Elspeth could also remember being somewhere high up during the filming of a scene in Nottingham Town Square. But she kept feeling something hitting her body and when she looked around, she realised it was Peter Finch (Sheriff of Nottingham) throwing pebbles at her!"

It was a memorable experience for me to be able to talk to Elspeth about her fond memories of those golden days. She was a charming and remarkable woman.

Hubert Gregg


Hubert Gregg (1914-2004) was an actor, songwriter, author, director and radio presenter - among other talents - as if that isn’t enough. His career spanned 70 years in theatre, film and radio.

The picture above was sent in by Mike and shows Gregg in his role as the evil Prince John in Walt Disney's live-action movie, the Story of Robin Hood and his Merrie Men (1952). In my opinion, his performance as the 'sneering' brother of King Richard the Lionheart is very underrated and is up there with the likes of Claude Rains and Guy Rolfe.

This is a excerpt from his autobiography Maybe It's Because... :

'It was during a tour of Agatha Christie's The Hollow that I got a telephone call to say that I had been asked to test for the part of Prince John in the coming Walt Disney production The Story of Robin Hood. I was told that Ken Annakin was directing. He had directed me in a pot-boiler called Vote for Huggett and we got along well together.

I made my first film at Denham Studios - I hadn't set foot there since In Which We Serve - and the final choice seemed to be between Kenneth More, Geoffrey Keen and myself. I won by a short beard.

The Disney Robin Hood was a new screen experience and one I wouldn't have missed for seven whodunits in a row, director or play. Peter Finch was cast as the Sheriff of Nottingham and we shared a crack of dawn car to the studio each day. It was a colour movie with absolutely no expense spared. The costumes were beautiful, if unnecessarily weighty in their adherence to medieval reality. One cloak was heavily embroidered and lined with real fur: it cost more than a thousand pounds (a good deal of money in pre-inflationary days) and took all my strength to wear. In one scene I had to ride into the town square, leap off my horse and enter the treasury building in high dudgeon.

To add to the reality our saddles were fitted with medieval pommels at the back that had to be negotiated carefully when dismounting. In the first take, I lifted my leg as gracefully as I could the necessary six inches higher than usual and leaped beautifully off my steed. As my feet touched the ground the weight of my cloak carried me completely out of frame to the left.

One day on the set, a week or two after shooting had begun; I heard a quiet voice coming from a chair on my left."How are you, Mr. Gregg? My name is Disney." I looked surprised at this modest newcomer to the studio - he had arrived from Hollywood the day before. "I'd like to thank you...." he was saying, adding flattering things about my performance, which however he referred to as 'a portrayal'. The choice of word was typically American and the modesty typically Disney.


I enjoyed every moment of the filming but had to put my foot down over a suggestion from the publicity department. They wanted to send me by car, in costume and make-up, to Alexandra Palace where I would appear on television singing Maybe it’s Because I'm a Londoner!'

To read more about Hubert Gregg click here and scroll down.

Perce Pearce

Richard Todd, Joan Rice and Perce Pearce

This blog now contains over 640 posts, so sometimes it is hard to catch-up with comments left by readers on earlier pages. Just recently I was thrilled to discover a comment by Kath Owen on a post I did in 2011 about Disney's film director Perce Pearce (1899-1955). I wish I had seen it sooner:


"I've been looking on the Internet for any mention of my Dad's family who all seem to have worked on (or watched as a child) the filming of Robin Hood, Treasure Island and many other films made at Denham. I'll have to double check with Dad but I'm sure that my Grandmother worked as some kind of housekeeper to Perce Pearce while he was there (they lived nearby). Dad always said she met Walt Disney and now it seems she did!! Wow this is amazing! My maiden name is Owen. I'm looking for the Denham archives to see if I can find any mention of my uncles Will, Eddie and Ralph. My Dad (Allan) was too young but watched the filming and my Grandfather I think is listed as Ned he worked on the props. Dad has so many stories about that time. Everyone loved Perce Pearce."

I hope my readers and I haven't lost an opportunity to learn more about the making of those magical Disney movies here in England. So please get in contact again Kath at: disneysrobin@googlemail.com

We would all love to know more about your research into the work your family did at Denham Studios for Walt Disney and any other anecdotes you might have!


Robin Hood and the New Elizabethans


The new Queen arrives back in England

To celebrate our Queen’s Diamond Jubilee (and as an unashamed royalist) I would like to look back  60 years ago, when she began her reign and her war weary subjects were treated to some Disney magic at their local cinemas.

At her accession, Queen Elizabeth II was in Kenya at the start of a five month tour of Africa, Ceylon, Australia and New Zealand. Her father George VI had passed away on 6th February 1952 at Sandringham. She returned to London immediately and was met by members of her privy council headed by Winston Churchill. A battery of cameras caught the poignancy of this moment as the twenty-five year old sovereign climbed down the aircraft steps to be received by a statesman who had entered parliament in the reign of her great-great grandfather.  Elizabeth was proclaimed queen on 8th February after taking the royal oath. Her father was buried 7 days later. In the following months the press and radio began to talk of the New Elizabethan Age.


Meanwhile, on the 13th March of that year, Walt Disney’s Story of Robin Hood and his Merrie Men had its world premiere in London.  The young queen had visited the making of the film at Denham Studios in Buckinghamshire the year before. Then as Princess Elizabeth, along with just her lady-in-waiting and equerry, she had been shown around the outside sets and the costume department by Walt Disney, himself.

At that time, Britain was licking its wounds after a hard and bitter war; nearly every family had lost relatives and friends. Towns and cities still had whole streets flattened by bombing and food was still rationed. It is hardly surprising then, that under the dark cloud of austerity, the population flocked to the cinemas; eager to be entertained. And Disney’s Technicolor live-action version of the British medieval legend proved to be the most popular. In fact it heralded the beginning of a new interest in Robin Hood, not only on the silver screen and television, but also in the corridors of universities and colleges up and down the country. Soon debates would start in earnest about the historical existence of a ‘real’ Robin Hood.



Richard the Lionheart and the Houses of Parliament after a bombing raid

But what was life like for those New Elizabethans, sitting in the picture palaces up and down Britain in 1952, watching a film about their countries most popular folk-hero? Well, it was a great deal different to today! For a start their life expectancy was 11 years shorter. Food in those days was scarce; today we have such abundance that obesity is a problem! In modern Britain we have far easier access to all-sorts of pain killing drugs, medically and biologically.

Sixty years ago only one in five households had a washing machine and one in ten a telephone. One in twenty owned a fridge and one in five families owned a car. Back in 1952 there were only 2 million private cars on the road and no motorways. Today the number is a staggering 27 million with 2,200 miles of motorway.

In the year that Disney’s Story of Robin Hood first hit the silver screen only 11 percent of the British population had access to the all-new new, flickering, black and white television. Today we have access to the internet, smart phones and seemingly limitless TV channels. But back in 1952, television had only just arrived in Scotland. The following year the New Elizabethans would gather around their nearest neighbours television set to see their young queen’s coronation at Westminster Abbey.

Queen Elizabeth II

Most of the cinema audience watching  Disney's Story of Robin Hood in that year would have rented their homes. Those old terraced houses that are often looked back upon in a nostalgic way, were often very damp, had no electricity, an outside toilet and dreadful sanitation. Today 66 per cent of people own their own modern centrally heated house.

So we can see that Britain is a lot different than it was 60 years ago. We have advanced incredibly fast, although I personally feel that we have left many qualities and disciplines behind as we have strived to embrace the modern age. But Queen Elizabeth has remained a stoic figurehead to her nation and shown a remarkable stability in this ever-changing world. She continues to represent our nations glorious past and give us hope for the future, just as she did back in 1952.

Robin and his men kneel before Richard the Lionheart

Today we can watch Disney’s Story of Robin Hood at any time, just by inserting a DVD in our laptop computer. It has been described as the best example of a Technicolor film ever made in England. So next time you watch it, imagine what it was like for the New Elizabethans as they sat in those cinemas back in 1952. With that special Disney magic, they were transported away from a bombed–out Britain, in the severe grip of austerity, to a romantic Technicolor past where the monarch eventually returns to save the nation.

“On your feet sir!” Thundered Robin Hood.
Reluctantly De Lacy got to his feet.
“To Richard of England!” Cried Robin,
“God grant him health and long life.
Speak Up!”

Elspeth's Memories of Robin Hood

Elspeth with Richard Todd

I was thrilled last week to finally get the chance to talk with Elspeth Gill, daughter of Alex Bryce the second unit director on Walt Disney’s Story of Robin Hood and his Merrie Men (1952). Elspeth is a charming lady and we had quite a chat about those golden days. It was Neil who initially made contact with her last year and she shared with him some wonderful photographs taken behind the scenes, which can be seen here.

Alex Bryce second unit director with Richard Todd

At the age of sixteen, Elspeth had the enviable experience of watching the filming of Robin Hood at not only Burnham Beeches but also the huge sound stages at Denham Studios. During that period she was living in a house approximately four miles from the legendary studios. When Elspeth entered a fancy dress costume at that time, she was lucky enough to be allowed to borrow one of Richard Todd’s ‘Robin Hood’ costumes. She won the contest-of course!And afterwards rode her horse all the way to the Denham Studios. The security men on the gate were apparently pre-warned of her arrival!
Although it was over sixty years ago, she could vaguely remember meeting Walt Disney and described the Art Director, Carmen Dillon, as a formidable woman.  Richard Todd she said “was such a lovely, lovely, man.” He became a friend of the family and Elspeth had fond memories of Scottish dancing with him during the making of the later movie, Rob Roy.  Her father, she explained, loved making those live-action Disney movies.
James Hayter (Friar Tuck) and Richard Todd (Robin Hood)

During the filming of the scene in which Robin Hood meets Friar Tuck (James Hayter), Richard Todd asked Elspeth to keep hold of Barron, his Great Dane. Unfortunately Baron was a great deal stronger than Elspeth and she was dragged by the huge dog downwards towards the river!

Nottingham Town Square

Elspeth could also remember being somewhere high up during the filming of a scene in ‘Nottingham Town Square.’ But she kept feeling something hitting her body and when she looked around, she realised it was Peter Finch (Sheriff of Nottingham) throwing pebbles at her!

Peter Finch as the Sheriff of Nottingham


I hope to be able to talk to Elspeth again very soon, and capture some more of her  wonderful memories of those golden days!

  

Peter Ellenshaw Master of 'Matte'


Above is an example of the beautiful ‘matte’ work that was used by Peter Ellenshaw for Walt Disney’s Story of Robin Hood (1952). The image was kindly sent in by Neil, from his copy of ‘Ellenshaw Under Glass’ and shows how the master of matte painting created his illusions. In the picture above from ‘Robin Hood’ (wrongly described in the book as from The Sword and The Rose) we see Queen Eleanor, Maid Marian and the Archbishop of Canterbury ride alongside the River Thames and into the Tower of London. In reality the only part of the set used, was the road in which the horses had to gallop along and some reflections in the water. The entire castle, the bridge, and the typical British sky were all painted into the final scene by Peter Ellenshaw.

An interesting article recently in The Daily Mail described the art of matte painting:

“Before computer-generated special effects, film-makers relied on ‘matte painting’ as a cheap substitute for building sets or filming on location. Matte paintings were made by artists using paints or pastels on large sheets of glass or integrating with the live-action footage via a double exposure.

Its foremost practitioner was Peter Ellenshaw (1913-2007), who joined Denham Studios in 1935 as an uncredited assistant to his stepfather, W. Percy Day, the inventor of matte painting on such things as Things To Come (1936) and The Thief Of Bagdad (1940).

In 1947, he created the wonderful mountain scenery for Michael Powell’s and Emeric Pressburger’s Black Narcissus. Martin Scorsese, a big fan, said that watching it was ‘like being bathed in colour.’”

After Black Narcissus, Ellenshaw worked on more than 30 films for Walt Disney Studios. He began working as a freelancer for Walt Disney in 1947 and became involved in the making of Treasure Island, the studios first live-action movie. It was the great art director Carmen Dillon that recommended Peter’s work to Walt Disney, for his next project in England, ‘The Story of Robin Hood and his Merrie Men’ in 1952.

“Peter Ellenshaw is a clever young painter,” Dillon said, “and has the backing of his father-in-law, Poppa Day, who has been doing optical tricks and mattes with Korda for many years.” Walt Disney was interested and replied, “Good! We’ll paint all the long shots of medieval Nottingham, the castle, Richard going to the Crusades, etc. on glass. They’ll be much more fun than the real thing.”

On Robin Hood, Peter Ellenshaw eventually painted twelve matte shots. A technique that impressed the film’s producer, Ken Annakin so much, that in his next picture for Disney, ‘The Sword and The Rose’, he used seventy five of Ellenshaw’s fine matte work.

So began Peter’s long career with the Disney Studios and a 30 year friendship with Walt Disney himself, of whom he regarded as a wonderful inspiration. Ellenshaw was officially designated a ‘Disney Legend' in 1993.

 To read more about Peter Ellenshaw, Denham Studios, Carmen Dillon, Behind The Camera on this blog, please click on the relevant Label below.

James Hayter at the Piano


Richard Todd in his autobiography ‘Caught in the Act’ described Disney’s live-action film the Story of Robin Hood (1952) as a ‘happy’ movie, and the image above is a good example of that. This great picture of James Hayter in 1951, sat at a piano and in costume as Friar Tuck was sent to me by Neil. Hayter appears to be accompanied by some of the production crew at Denham Studios and they all seem to be having a good time. If you can identify those two other faces, please get in contact with me at disneysrobin@googlemail.com. I would be very thrilled to hear from you.

Sadly the making of Disney’s Robin Hood in 1951 was tinged with sadness, as it was the last major feature film to be made at Denham Studios. The Rank Organisation who owned it decided to close operations there. The massive film making complex, covering 165 acres and seven sound stages was built in Buckinghamshire by the Hungarian impresario Sir Alexander Korda. The site was finally demolished in 1977.


To read more about Denham Studios, please click on the label below.

Denham and Pinewood Letter Heading


Neil has posted to me, yet another fascinating item from his collection. Above is an original letter heading from the legendary Denham Studios in Uxbridge, Middlesex. It was at that massive film complex in 1951 that Walt Disney’s Story of Robin Hood was filmed-the last major feature to be produced there.

It was originally built by the Hungarian impresario, Alexander Korda (1893-1956) and some of Britain’s most memorable films were produced there. But sadly its size was its eventual downfall and after the infamous film companies crash of 1937 Prudential stepped in and offered Denham Studios as a going concern to Charles Boot and J. Arthur Rank. Korda’s control of his ‘dream factory’ was effectively taken off his hands as Denham merged with Pinewood.
I am not sure of the approximate date of Neil’s letter heading, but as you can see Denham Studios was by then already linked with Pinewood.

In 1977 the site of Denham Studios was sold to a developer and demolished by British Land for construction of an industrial park.
If you click on the label Denham Studios you can read much more about the making of Walt Disney’s Story of Robin Hood at Denham and the glorious history of Korda’s ‘dream factory.’

The Monovian at Denham Studios in 1948

The Sir George Monoux College of Walthamstow, London was founded in 1527. The school was a selective boy’s grammar school until 1968 and included among its notable students - or Old Monovians- are Fred Pontin, Johhny Dankworth and Teddy Sheringham.

The extract below is taken from the school magazine, known as The Monovian, which describes a visit to Denham Studios in 1948; three years before filming began on Walt Disney’s Story of Robin Hood, the last major film production to be made there.

“Entering the studios, we were assailed by an indescribable din of hammering, rehearsing, and raucous shouts of “Quiet everybody!" Walking down the corridor, we were overtaken by a big fat man, probably a producer, with a lighted cigar behind his ear and with scripts dropping out of his trouser's pocket. He was furiously yelling, "Where ze hell's ze continuity girl?" Half a minute later we bumped into a small bespectacled girl with a worried look in her eyes. When she saw us stopped and asked if we'd seen the producer.

On Stage One, a celebrated film star was bashing his leading lady with a length of lead pipe. On Stage Two we met the producer again. He had found the continuity girl and now was looking for the script.

Something rather in this vein we expected; but Denham Studios aren't at all like that. We walked down a long, cream corridor with little noise and few people. All the way down one side were the offices and dressing-rooms; on the other, the entrances to the stages. For a film studio Denham seemed remarkably sane.

There are six stages, three large and three smaller. We walked on to one of the large stages, where Laurence Huntingdon was directing Hugh Walpole's school story, Mr. Perrin and Mr. Traill, from the script by L.A.G. Strong. Our first impression was of huge lamps glaring at us from all directions and consuming vast amounts of electricity. When we cast our glance above and around us, however, we saw that we were in a vast, empty, wooden, hangar-like structure, the roof of which, sixty feet above was obscured by the beam and platforms slung in mid-air and used for the construction of sets. On our left, a large taut canvas of roughly daubed grey scenery, the Cornish coast, came to an abrupt end. In the middle of the stage were three sets: one in process of construction, one of the master's dining-room, and one, brightly illuminated so that it seemed like an island of light amidst the half-dusk of the rest of the stage, of the masters' common room.

In this last was concentrated all activity. A gentleman sitting on the camera-trolley was moving his chariot backwards and forwards trying to have the lighting entirely satisfactory. A young man at roughly two minute intervals said quietly into the microphone the single word "Cecil." Six or seven bored gentlemen in masters' gowns sitting on the set were the stand-ins. Twenty yards or so back behind the window of the masters' common room was a huge arc-lamp, the sun. Within the set, against one of the plaster painted walls, five lamps shone down on the stand-ins, while nine lamps on platforms above the walls illuminated the whole scene. Everyone was very bored except the man on the chariot, the man who was saying "Cecil," and us.

We talked with Edward Chapman, one of the supporting players of Mr. Perrin and Mr. Traill whom you will remember as George Sandigate in It Always Rains On Sunday. He said, “I'm playing with David Farrar, Marius Goring and Greta Gynt. I'm the only sane man on the staff; I make rude remarks about all the others."

Hardly had we finished with Mr. Chapman when we were whisked away to meet David Farrar, and an utterly bored David Farrar. A big, beefy man with a still camera took three publicity photographs of David Farrar showing two young enthusiasts around the studios. As soon as the photographs were taken, our guide disappeared into his dressing-room and was never seen again.

After lunch we visited the offices of some of the Two Cities publicity men. Each film has attached to it one or two people who do nothing but send publicity to the central Rank Publicity Office. In the offices, for Mr. Perrin and Mr. Traill were piles of typewritten duplicated sheets headed in glaring red "Two Cities Films Ltd,” full of information about the film for the daily and weekly press. But the offices for the publicizing of Hamlet were even more interesting. Photographs of the stars and scenes from the film were scattered about on chairs, on tables and on cupboards. We asked the publicity man how many and he said excitedly, "nearly a thousand! It's a record for the British film industry.”

We also saw the props department, where they stock everything from stage-coaches (of which they had two) to telephones (of which they had. thirteen). What props haven't got, however, is supplied by the department next door which, out of plaster and Perspex, makes everything from a clockwork spider to the castle in Hamlet.

Then we visited another stage. On this, John Paddy Carstairs was directing a comedy-thriller, Sleeping-car To Venice, with Jean Kent and Derrick de Marney. Scattered about on the floor of the stage was half a restaurant car, with the director rehearsing his player on, the platform of a French station, on canvas, with Saille d'Attente and Billets, and the door of a ship-building firm's factory. Behind the restaurant car was a revolving vertical drum on which was painted the scenery which you see through the train windows; fuming and dripping away on the floor was a steam-pipe, for locomotive effects. The whole restaurant car was built on "swingers" to simulate the movement of a train.

Denham Studios, we learnt, were built a year or so before the war by Sir Alexander Korda. During the 1939 slump they were sold to Mr. J. Arthur Rank, who uses them chiefly for his Two Cities productions; they have the reputation of being more business-like than Pinewood, the sister studios, where Cineguild and The Archers do their work. But to us the most surprising thing about Denham was the absence of bustle. Nothing could be more untrue than that "description" at the beginning of this article; film-making evidently, is a. comparatively leisurely business and tends become extremely boring. Some other future presentations from Denham will include Hamlet, Vice Versa (from the Victorian comedy by F. Anstey) and a comedy, One Night with You. Now when you see those films, we guarantee you'll be fully convinced by the effects which Denham's technicians have produced. But we've been behind the scenes, and will films ever be the same to us again?”

R. E. Durgnat (Vm)

I am sure many of my readers would have loved to have walked around those studios in the spring of 1951!


The fascinating website is at http://www.oldmonovians.com/text/monovian.htm

Denham Studios, June 16th 1951

This interesting magazine picture, was posted to me a while ago by Neil. It shows the cast in the studio filming one of the final scenes at Denham Studios of Disney’s Story of Robin Hood. King Richard has just made Robin Hood (Richard Todd) the Earl of Locksley and the Merrie Men look-on as Maid Marian (Joan Rice) embraces her future husband. Both Robin and Marian are out of the picture.

These last scenes were shot at Denham on June 16th 1951.

Neil says, “Just look at the set with the silver birch tree to the left of the enormous camera and note the camera on short distance 'rail' type lines for limited movement. Also the forest set behind them that doesn’t seem to have the depth to it that the film would indicate.”

Pictures like this give us a very rare glimpse of film production in the early 1950's. Thank you Neil.

Denham Film Studios in 1977

Herbert Smith (1901-1986) started sweeping the floors at Denham Film Studios in Buckinghamshire when he was 13 years old. He eventually became controller of the premier British studios from June 1945 until 1950. Above is a picture of Herbert (pointing towards his old office) taken on his last visit there in 1977 (the picture is strictly copyright Barrie Smith 2004). Shortly afterwards a golden era of film history ended, when those once famous studios (built by Sir Alexander Korda in 1935) were demolished by British Land, for construction of an industrial park.

Walt Disney’s Story of Robin Hood and his Merrie Men (1952) was the last major motion picture to be produced at that massive film complex.

Herbert’s son Barry has produced a website dedicated to his father’s long career at Denham Studios, with some fascinating personal pictures and rarely seen behind -the -scene photographs of the film stars that he met. The site is at http://www.frenchpix.com/herbert.html

I would like to say a special thank you to Barry Smith, for kindly allowing me to use the picture of his father at Denham Studios in 1977.

To read more about Denham Film Studios, please click on the Denham Studios Label.

A Trip To Denham Studios


A while ago I posted an article on The Boys' and Girls' Cinema Clubs Annual from my collection. It featured an article on two youngsters, Lavinia Bailey (as she was then!) and Peter Green who were lucky enough to spend a day at Denham Studios, in Buckinghamshire, during the filming of Walt Disney's Story of Robin Hood in 1951.
Lavinia has recently got in touch:

"I came across a very old photograph of myself as a girl taken for the cover of a film annual at Denham Studios with Richard Todd during the making of "Robin Hood". Just to say I am still alive!"

Would you be able to describe for us, your day at Denham, Lavinia?