Book contents
- Frontmatter
- Contents
- Introduction
- 1 Faltering steps
- 2 Dog's body
- 3 Night Mail
- 4 Bernard Shaw exposed
- 5 Harry Watt challenged by the Savings Bank
- 6 ‘In loco parentis’
- 7 Rungs of the ladder
- 8 The G.P.O. becomes the Crown Film Unit
- 9 A passenger of the Ancient and Tattered Airmen
- 10 No escape from a dreary chore
- 11 Not a remake of Drifters but all at sea
- 12 Blank despair
- 13 We walk the course
- 14 ‘Tally Ho.’ The hunt is on
- 15 ‘Testing … Testing’
- 16 Faltering steps, again
- 17 A non-starter for a start
- 18 ‘Dead slow ahead’
- 19 S.O.S. to the C. in C.
- 20 The Temeraire to the rescue
- 21 The white swan from Norway
- 22 How to round up the remnants
- 23 So, this is Hollywood!!
- 24 An assignment, at last
- 25 John Sullivan and Pinewood to the rescue
21 - The white swan from Norway
- Frontmatter
- Contents
- Introduction
- 1 Faltering steps
- 2 Dog's body
- 3 Night Mail
- 4 Bernard Shaw exposed
- 5 Harry Watt challenged by the Savings Bank
- 6 ‘In loco parentis’
- 7 Rungs of the ladder
- 8 The G.P.O. becomes the Crown Film Unit
- 9 A passenger of the Ancient and Tattered Airmen
- 10 No escape from a dreary chore
- 11 Not a remake of Drifters but all at sea
- 12 Blank despair
- 13 We walk the course
- 14 ‘Tally Ho.’ The hunt is on
- 15 ‘Testing … Testing’
- 16 Faltering steps, again
- 17 A non-starter for a start
- 18 ‘Dead slow ahead’
- 19 S.O.S. to the C. in C.
- 20 The Temeraire to the rescue
- 21 The white swan from Norway
- 22 How to round up the remnants
- 23 So, this is Hollywood!!
- 24 An assignment, at last
- 25 John Sullivan and Pinewood to the rescue
Summary
The studio scenes were a doddle. Three to four minutes a day of screen time in Teddy Carrick's wonderful sets saw the interior scenes safely in the can and then, true to form, an unexpected problem appeared on the horizon. No British shipping line would take us on the round trip to New York. The excuse was that there was insufficient accommodation. When we assured them that hard lying meant nothing to us, hammocks anywhere would do very well, this failed to lower any gang plank. For several days we were at sixes and sevens. Once again it was our Flag Lieutenant Peter Lupino to the rescue. Having kept his ear and nose to the ground, he had picked up the whiff of something: a scent, he assured me, that would be worth following. It led me to a Norwegian ship, the Samuel Bakke, berthed in the Manchester Ship Canal. Her Master was Captain Olsen. His ship also carried some passengers in peacetime. Peter had already sent him a signal that the C. in C. would consider it a great favour if he could give any help to the Crown Film Unit in the making of their official film on the Battle of the Atlantic. Would it be convenient if the director came and discussed the matter? Captain Olsen replied in the affirmative, and after a call from Peter, I left for Manchester.
The following morning a taxi deposited me alongside the Samuel Bakke. She was a magnificent white ship. An ideal heroine; the swan of the Atlantic, risking her life as she sails to rescue the men in the lifeboat. What could be better? Perfect casting and her white hull, what an advantage when seen through the periscope of the threatening U-Boat. What a find. Would she let us aboard?’
I climbed the gangplank. The last one was up to the President where I'd found Griff, and what a find he was. Now, would history repeat itself? At the top I was greeted by the Chief Officer. Six feet four, must be, and a mouthful of gold teeth. He spoke not a word of English but he knew the sound of his Captain's name in any language. He showed me into a most handsome saloon, lavishly panelled.
- Type
- Chapter
- Information
- A Retake PleaseFilming Western Approaches, pp. 237 - 245Publisher: Liverpool University PressPrint publication year: 1999