When I take a look at this sort of advertisement from the ‘Sub Standard Film Magazine’ of 1951, I try to assess how many films I know and have seen and there always seem to be such a lot that I don’t know and have never heard of.

On the ABOVE advertisement, quite unusually I seem to know them all. I just love ‘So Long at the Fair’ and remember the first time I saw it along with my daughter who was, like me, baffled as the story unfolded and then came to that surprising ending. It was the whole way that this was done though – and the final moment when Dirk Bogarde managed to locate and break in, to that room that had been hidden – as it turned out for very good reasons.

I really like this film and love the story !!!

It took two directors, Antony Darnborough and Terence Fisher, to create SO LONG AT THE FAIR in 1950.  This romantic mystery starred Jean Simmons, Dirk Bogarde, Honor Blackman, and David Tomlinson.  Jean Simmons looked stunning as a visitor to Paris searching for her missing brother. It really was a mystery because he had just simply disappeared and no-one in the hotel seemed to remember that he had ever been there.

So Long At The Fair – The Story.  –

Vicky Barton (Jean Simmons) and her brother Johnny (David Tomlinson) arrive in Paris to attend the Great Exhibition of 1889 and enjoy a night on the town before returning to separate rooms at their hotel. The following morning Vicky discovers her brother is missing. Not only is there no record of his registration at the front desk but his room doesn’t exist either. No one on the hotel staff recalls ever seeing him and in desperation Vicky goes to both the British consul and the local police chief but neither one believes her story. Determined to unravel the mystery of her brother’s disappearance, Vicky enlists the help of a sympathetic stranger, British artist George Hathaway (Dirk Bogarde), and their valiant efforts eventually uncover the truth. Based on a novel by Anthony Thorne, So Long at the Fair (1950) has a premise that bears similarities with Alfred Hitchcock’s The Lady Vanishes (1938) but also looks forward to the “missing person” plot devices of Bunny Lake Is Missing (1965), Flightplan (2005) and other suspense films. Though leisurely paced, the intriguing narrative holds one’s interest through the unexpected but plausible resolution and the authentic period detail, lavish art direction and impeccable performances by the main principals help suspend disbelief. The directorial duties were shared by Antony Darnborough and Terence Fisher who displayed  who would eventually attain cult status for his stylish period horror films for Hammer Studios such as Horror of Dracula [1958], The Mummy [1959] and The Curse of the Werewolf [1961]. Both Jean Simmons and Dirk Bogarde were rising young stars in the British film industry when they appeared in So Long at the Fair.

Bogarde and Simmons had never appeared in a film together before (and never would again) but they enjoyed a close working relationship on So Long at the Fair. Bogarde recalled, ‘Jean is about the sweetest girl you could wish to meet and all you read about her being natural and unsophisticated is absolutely true. She has a great sense of fun, and one of these days I would like to do a comedy with her.’ Simmons was equally complimentary saying, “He was such fun – a great giggler. I loved Dirk, and was hoping that perhaps we would be married one day; but I was dreaming, I was fantasising…I never really knew him. I didn’t realise he was gay – in those days people didn’t talk about it.”

In another interview, Dirk Bogarde confessed that he actually didn’t care for So Long at the Fair, adding “but I had to do it, and at that point, I was very much in love with Jean Simmons.

Rank thought it was a great idea to encourage their two juvenile stars and we were given this film which was supposed to launch our engagement. Unfortunately, by the time the film was finished Jean had fallen in love with Stewart Granger, thereby ruining the publicity effort.”

Regardless of Dirk Bogarde’s own opinion of So Long at the Fair, , it did help advance his career. One of the film’s producers, Betty E. Box, was so impressed with his performance that she thought of him for the lead in Doctor in the House (1954), the romantic comedy that catapulted him to major stardom in England and led to numerous sequels, two of which also starred Dirk Bogarde (Doctor at Sea [1955], Doctor at Large [1957]).
The critical notices for So Long at the Fair were generally positive, with many noting that the incident that sets the plot in motion was inspired by a reputedly famous disappearance case which had taken on the mythic proportions of an urban myth.

The New York Times also commented that directors Darnborough and Fisher “have chosen to have their cast speak quite a bit of dialogue in French, a circumstance which may confuse American audiences. But they have also taken the trouble to set that cast, charmingly attired in Victorian bustles and top hats, in authentically bustling, carefree  Parisian locales.”

We all remember going into the cinema – most looking like this. These pictures are taken from a Television show recently which I had recorded and seeing this struck me because this seemed to me to be just as it was !!

‘Strangers on a Train’ was released in 1951

We all remember going into the cinema – most looking like this

We all remember going into the cinema – most looking like this

ABOVE – We just loved an ice cream usually between the films – after the supporting film and before the main event

ABOVE – An even earlier photograph and from the film advertised on the giatnt bill board probably 1948

Back to Strangers on a Train

“Strangers on a Train” is one of the most cinematically suspenseful films in history. #

It is an astonishing example of filmmaking used to invoke uneasiness.

The story, which begins when two strangers meet on a train, is so entertaining you sometimes forget it’s about murder.

This is one of Hitchcock’s best films

A truly Hitchockian film, “Strangers On a Train” cleverly plays with two of Hitchcock’s favourite themes (murder and the “wrong man”),

In many of his films, he contrasts dramatic events with familiar places, this time using an amusement park as a place for terror. It also features one of the most entertaining and creepiest villains ever put on-screen. Everything is framed by camera angles, lighting, and sound.

I can’t imagine a magazine title like this today – the very name ‘Sub Standard’ would just have no appeal I would have thought.

However thinking about it, back in 1950 that description probably covered films, only a year or two old, that had been on General Release and now were issued on 16 mm reels – probably to be shown at smaller cinemas or Village Halls.

As we all remember, at that time films were very popular – after all there was little else – television had barely got going then

This really is a fascinating magazine – the more I read the more interesting it gets..

In 1950 quite a lot of smaller 16mm commerical kinemas were popping up all over the country and this article in the magazine concentrates on two that had recently opened in July of that year – one at Sandy Bedfordshire and One at Lavenham in Suffolk

ABOVE – The Auditorium at Sandy, Bedfordshire

ABOVE Inside the Ideal Cinema in Lavenham, Suffolk

ABOVE – More releases that year – not many I know though

ABOVE Lana Morris at the opening of the Albany Cinema, in Sandy along with John Blye and Mr M.H.Whitworth.

John Blythe and Lana Morris represented The Rank Organisation at the opening of the Albany – and Rank also supplied the film ‘Trottie True’ to be shown that night – this would be on the 16 mm format and would be in Technicolor. The film was only a couple of years old then.

Mr A H Whitworth was a very keen 16 mm Cinema enthusiast very much behind the Sandy Cinema Project – he had his own equipment and had been someone who travelled around showing these feature films at Village and Town Halls around that area. He had made a superb job of equipping the Albany and must have been a very proud man on this occasion. Credit due to him

These pictures were taken after Treasure Island when they were back in Hollywood and maybe two to three years later

Walt Disney and Bobby Driscoll

Walt Disney and Bobby Driscoll

One of Bobby’s notable roles was as Peter Pan in 1953. Although he was approaching his teen years, he was perfect as Peter Pan in Walt Disney’s eyes, as Peter Pan would have been the same age.

Bobby had many qualities that matched Pete Pan. Although a fictional character from our childhood and means a lot to a whole generation.

Despite Peter Pan being his most successful role, his career quickly declined after this.

Not long after this film, he was dropped from his contract at Disney and left jobless. Bobby could no longer play the cute and charming little boy. He moved schools, started going by the name Robert, and started a new life.

A new life that was heavily influenced by drugs.

He did pick up a few more roles here and there, but away from Walt Disney he didn’t seem to have much appeal to other studios

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In 1966, Hammer studios gave the world its cave-girl classic One Million Years B.C., which featured fur bikini-clad girls, including Raquel Welch and Martine Beswick

The next year they also made ‘Prehistoric Women’ ( Slave Girls), a jungle adventure which saw Martine Beswick back again this time once again playing a wildcat with a nasty streak.

The plot doesn’t make a lot of sense (how exactly the “legend of the white rhinoceros” is tied to the rest of the story is never made clear), Michael Latimer is a bland lead and the pace is padded with lots of tribal dancing.

Written and directed by Michael Carreras, ‘Prehistoric Women’ is technically one of Hammer’s weakest efforts. However, it is also one of those rare films that manages to be entertaining thanks to its awfulness.

Michael Latimer plays David Marchand, a jungle guide who is taken captive by savage, white rhinoceros worshipping natives who intend to sacrifice him to their god. Just as he is about to be killed, David touches their sacred rhino statue, which freezes time and opens a doorway into a kingdom where a tribe of girls, led by the heartless Queen Kari (Beswick), have enslaved a different tribe of other girls

After falling for a slave girl named Saria (Edina Ronay), David vows to help the women overthrow their oppressors, a task made all the more difficult when he is clapped in irons for spurning Kari’s sexual advance

Then film includes loads of native song and dance numbers to pad out the action (including a solo routine from Martine Beswick, the occasional cat-fight, a jungle battle, and a surprise ending that makes no sense whatsoever.

The film is sheer nonsense from start to finish – but it is also great fun

Despite its American retitling, Prehistoric Women, Michael Carreras’ Slave Girls doesn’t really belong to that run of cavemen films that Hammer Films made around the same time (One Million Years B.C. (1966), When Dinosaurs Ruled the Earth (1969) and Creatures the World Forgot (1971)). It’s more of a “lost world” story with an adventurer stumbling across a society secreted away in the heart of Africa and it’s a pretty awful one to boot.

It had been decided that in order to save money Hammer would shoot the whole thing on sound stages at Elstree Studios. One Million Years B.C. had cost Hammer a small fortune by their standards so sets and costumes were recycled and where the prehistorics set sail for exotic climes like the Canary Islands and Namibia, Slave Girls stayed studio bound. Art director Robert Jones does his best, even going so far as building a waterfall set.

I personally thought that the studio sets were pretty impressive and very colourful

In the UK ‘Slave Girls’ was first released on a double bill with one of Hammer’s  The Devil Rides Out (1968) 

A film entitled ‘Prehistoric Women’ was released in 1950 – a Cinecolor Production – showing at the above cinema in Amsterdam

Earlier than this in 1950 we had a similarly titled film – apparently ‘Prehistoric Women’ was put out in the USA on a Double Bill with ‘Man Beast’ itself an Ultra Cheap Production.

This still I took from the Newsreel footage of the event – I was so interested to see ‘Brigadoon’ advertised – a Show and a Film I really like, maybe because where I worked a lot of years ago, some of the girls from the Offices were in a local production of this. It was big news for us at the time – although a good few years after this film came out

The world premiere of ‘The Dam Busters’: an Associated British picture, was held at The Empire Theatre, Leicester Square… Monday, May 16th 1955

A wonderful story – about a village in Scotland that only comes to life for one day in a hundred years. Two travellers from the USA come across this village – the village of BRIGADOON – and one of the men Gene Kelly falls in love with one of the villagers Cyd Charisse but he soon realises that she will never be able to leave the village and so he must stay there forever.

Brigadoon was a Broadway musical that ran for over 12,000 performances both in the United States and England. In 1954 it was made into a movie musical starring Gene Kelly, Van Johnson, Cyd Charisse, and Virginia Bosler.

As far as musicals go what made Brigadoon interesting was that the storyline was unique.

MGM decided to make the film in the studios which meant enormous studio sets of the Scottish Highlands. The film is and Colour and Cinemascope Scotland looked magnificent – as it always does !!!

The world premiere of ‘The Dam Busters’: an Associated British picture, was held at The Empire Theatre, Leicester Square… Monday, May 16th 1955

BELOW – Richard Todd signs autographs for quite a lot of young fans during the filming of ‘The Dam Busters’ – this could have been at Waddington Lincolnshire – not sure on that.

Interesting to see on a film of the occasion, Princess Margaret attended and introducing some of the RAF personnel was Lord Tedder accompanied by his wife Lady Tedder.

She seems to have been a great film fan – a few years earlier she had visited Denham Studios to see filming of ‘Treasure Island’ and is seen here enjoying a drink with Robert Newton =- in costume in his memorable role as Long John Silver – and Walt Disney himself.

ABOVE:  Robert Newton in costume as Long John Silver with Walt Disney and Lady Tedder

You have got to hand it to Talking Pictures, they unearth and show films that would never see the light of day again – I have a feeling that this is a good example.

In The Lost Lagoon, Charlie Walker is a hard-working man with a lot of responsibilities but when he is washed overboard in a storm and is washed up in the Bahamas, he comes to realise that he no longer likes his old life and disappears to a new life as a hotel manager with pretty, young Liz Moore. They fall in love and the hotel becomes successful, life seems idyllic

LOST LAGOON is a mixture of Caribbean romance and melodrama. When he is washed up on the island, Jeffrey Lynn is nursed back to health by the small island’s population, including Liz Moore

Leila Barry – in her only film tole as Liz Moore looks quite beautiful

Jeffrey Lynn as Charlie, gives a fine performance, full of melancholia and soul searching and because of this the film is a better-than-average effort although it did have a quite meagre budget.

Unfortunately, later in the film we come to learn that his life insurance requires proof of death, and so in comes a curious insurance adjuster c (Peter Donat) looking for that proof.

The script is credited to Mr. Lynn and director John Rawlins

“Lost Lagoon” is a very low-budget film that still is very much worth seeing – it does very well considering the money available to make it.

Apparently this is the only production by Bermuda Studio Production and the leading lady never appeared in another film – nor can I find out any more about her after this. A pity – she looked so good.

Last evening I strolled up to our local pub for a drink, and as it happens taking place there was a pool match between our village and a team from the local town

The visitors were very friendly, amiable people and it was a pleasure to welcome them there. However they looked to me as the most heavily tattooed crowd I have ever seen and it got me to thinking back to the film world – something I do all the time.

I thought that Queequeg from Moby Dick 1956 who seemed very strange indeed at the time, would have fitted in very well with this team. His tattoos would probably have made him the star of the team I reckon

Queequeg played by Friedrich von Ledebur

Queequeg is the best harpooner aboad the Pequod sailing ship. He predicted death in chasing the big white whale and did not survive the sinking of the Pequod, in Herman Melville‘s literary masterpiece Moby Dick.

Gregory Peck as Captain Ahab, the obsessed master of the Pequod, in the 1956 movie: Moby Dick.

Last night at the local and in many other areas these days, Queequeg would certainly not seem out of place

Well I am repeating an earlier post below and in it I have written that no photographs are known to exist from this film, let alone a print of the film itself. I wish I could say we have found the film but as yet no luck.

This bit of luck came my way though – a still from the film showing Richard Todd in RAF uniform and his colleague. who I think is either David Markham or Peter Marinka – from the cast list coupled with process of elimination

It arrived in my possession today and I am so pleased.

This film had a very strong cast – Gillian Raine who Richard Todd recommended for the part, Patrick Barr who had been with him in The Story of Robin Hood, Sonia Dresdel, Susan Jameson and Malcolm Tierney – all seasoned and polished actors with a lot of experience in films.

What a pity this Technicolor Film cannot be found – I have a feeling that it would be quite special – maybe even a mini classic

RE- PRINT Below :-

Well, I don’t know anyone who has ever seen this film – and I do know that even the star of the film Richard Todd never saw it.

There seem to be no pictures or film stills for us to use from this film

It starts out in a curious fashion in October of 1967.  Richard Todd was staying at his flat in London one evening when a knock came at the door and he opened it to quite a forlorn looking character who was Peter Everett. He had written a script for a film and was producing and directing it. He begged Richard Todd to read the script which Richard did later that night.  

The following evening Peter Everett came round again and was almost in tears and imploring Richard Todd to take the leading role in his film – he explained that Richard was vital to the film.

Richard Todd had , however been very impressed by the script that Peter Everett had written – they story centred on a former RAF fighter pilot who had seen much action in the War, and now the War was over seemed unable to adjust to the realities of post war life. He became more and more engrossed with memories of those finest hours and about the colleagues who had perished – he became lost in a hideous dream world much to the contempt of his son and the agony of his long suffering wife.   He had in the story, taken on a Pub close to a Wartime airfield in Kent – and proceeded to cram it with memorabilia of the conflict.

Finally almost deranged he dons his RAF uniform and wanders on to the airfield, surrounded in his mind by ghosts of the past.  His son finds him and at last seems to understand his inner turmoil and quietly talks him back to safety.    This is a touching scene that bridges the generations.

Richard Todd was profoundly disturbed by the script – however he found it beautifully written by Peter Everett who was a novelist and poet.

Richard Todd agreed to do it – he had by this time been told that filming would start in a few days time down at Hawkinge in Kent – and he learned that quite a strong cast of well-known British actors had been lined up including Patrick Barr, David Markham, Sonia Dresdel, Sue Jameson and Malcolm Tierney.  Then a  new cast member Gillian Raine was brought in to play the Airman’s wife – on Richard Todd’s recommendation. He said that he loved working with her.

The first day’s filming proved a nightmare of incompetence and chaos – a young cameraman had been assigned who had been a still specialist and no experience of this type of work.  That evening Richard Todd phoned up contacts he had and an experienced film cameraman and crew arrived on set  the next day.

Scenes in the local Pub at Paddlesworth went well –

Other studio scenes were done in a converted Hangar at Panshanger, a former RAF airfield Nr Welwyn.

This film was finished in November 1967. Richard Todd thought that they had managed to produce something really good.

However, he added ‘ What happened to ‘The last of the Long Haired Boys’ I don’t know’ 

Apparently he was out of the country when it was due for release – and he never saw any share of the profits from the film – if indeed there were any.

However one day some time afterwards he was sitting in a Restaurant in London when an old acting friend Trevor Howard came up to him and said ‘ Just seen your film Ther Last of the Long Haired Boys.  Bloody marvellous, Dicky old boy’

As Richard said ‘ I could not have asked for a finer accolade than that from my screen hero’

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If anyone out there knows of – or has seen this film please let me know. I have searched around for years for it – but to no avail. There must be a 16 mm or 35 mm copy somewhere