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"Someone who attended a private school in London or the South East is 24 times more likely to become a permanent secretary than someone educated at a state school in the North. For a seat in the House of Lords, the gap is 23-fold. That is not class inequality plus regional inequality. It is what happens when they multiply." Nick Harrison asks if No 10 North will change who runs Britain.

Janice Mak says American schools are increasingly questioning whether every student needs a laptop: "This distinction between passive consumption and purposeful use is increasingly shaping school policy. Updated policies also reflect an emerging emphasis on age-appropriate screen use, student well-being and ensuring that technology can support, rather than replace, direct instruction and student collaboration."

Adam Sherwin reports on the plans to turn off Freeview television and the threat that poses to Talking Pictures TV.

Scott Barry Kaufman argues that the role of luck in successful lives is far greater than we realise.

"Do not be lulled into complacency by the family-film aesthetics. When Mom the Sheepdog instructed Babe the Pig to dominate other animals by abusing them, demeaning them, and telling them what to do, and Babe refused because disrespecting another living creature would be wrong? That moment might have radicalised a generation." Roxana Hadadi discusses the politics of Babe (1995).

"From the end of the Victorian period, Broadstairs was strategically marketing its Dickensian connections through postcards, guide books and festivals. In 1897 Alfred Harmsworth (founder of the Daily Mail) was one of the organisers of a ‘Dickens Village’, which recreated scenes including Defarge’s wine shop, Peggotty’s boat, the Great White Hart at Ipswich and the Old Curiosity Shop. The festival was successful enough to be repeated the following year." Carolyn Oulton on the long history of Dickens tourism in Broadstairs.

Ian Christie on the pioneer British filmmaker Robert Paul

Here's another film lecture from Ian Christie. We've seen him on Gothic London, and here he talks about the forgotten London film pioneer Robert Paul.

Paul, who was born in Islington in 1869, vividly portrayed the variety of London at the end of the 19th century, conscious of its historic appeal but also emphasising the modernity of which he was a part.

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"Dartford Warblers skim across the heather before diving into the vegetation, defying all but the quickest observers. At dusk Nightjars churr from the isolated trees or fly overhead, the males clapping their wings in display flight." David Jobbins mourns what has been lost to the fire at Dunwich Heath.

Sam Power explains why Reform UK will find it hard to shake off questions about its donors: "An important thing to note is that the legal onus rests almost entirely on the donor. The party in receipt of the donation simply needs to show that it has conducted a permissibility check on them. In the case of Reform, some of its biggest donors (like Tice) are effectively woven into the party apparatus. This makes it much harder for the party to be seen to be one step removed from the money."

An increasingly narrow English curriculum, with its emphasis on phonics and 'teaching to the test', is squeezing reading for pleasure out of our primary schools, experts in the field tell Lydia Chantler-Hicks.

Rebecca Johns finds that British scientist James Lovelock warned executives of the risks of burning fossil fuels in the 1960s. Rather than share his reports with the public, claims an imminent legal case, Shell responded by funding the Global Climate Coalition – an industry group that pursued multimillion-dollar influence campaigns promoting climate denial and misinformation.

Leanne Tritton reports on the fate of Shrewsbury's Shirehall, the modernist former home of the Shropshire County Council.

"Dirk Bogarde came in for some stick from certain quarters for his portrayal of General Sir Frederick 'Boy' Browning, who was under considerable pressure from Monty to deliver Operation Market-Garden. Dubious about taking Arnhem, Browning stated that they’d be going 'a bridge too far.' He said this before the operation, but there is no scene with Montgomery in the film, instead Bogarde gets the line after the snafu, coming across like an aloof clever-dick 'told you so' type." Tim Pelan looks back to to 1977 and the making of A Bridge Too Far.

An Ian Christie lecture about Gothic London on film

This a terrific lecture by Ian Christie, whose writings did much to bring the films of Michael Powell and Emeric Pressburger back to prominence.

His Gothic London begins with early Dickens adaptations, made because there was a ready public for them. And Dickens, after all, was a cinematic novelist before cinema was invented.

Then we go though Jekyll and Hyde, Jack the Ripper and the London fog to reach the early Hitchcock. The exoticism of Limehouse, with its opium dens and Chinese population, also figures. 

Next we take in the Blitz and this blog's favourite topic of bombsites, before returning to Dickens in the shape of David Lean's peerless Great Expectations and Oliver Twist. Carol Reed's 1970 film of Lionel Bart's Oliver!, says Christie, was the first colour adaptation of a Dickens novel.

And we end with some modern Gothic takes of London, including Death Line and From Hell.

Alexander Mackendrick, Tony Hancock and Rhinoceros

Embed from Getty Images

One of the many unmade Alexander Mackendrick film projects detailed in Philip Kemp's biography Lethal Innocence is an adaptation of Eugène Ionesco's play Rhinoceros.

An international success, the play was set in a French provincial town where, one by one, the inhabitants were turning into rhinos. It was a political allegory, based on the Romanian writer's pre-war memories of the way his friends gradually joined the fascist Iron Guard.

And the person who Mackendrick wanted to play the hero Bérenger, the only character who doesn't become a rhino, was Tony Hancock.

According to Kemp, Mackendrick said: 

"He was so right. He had this hunted look of a person who knew that everybody was turning into a rhinoceros."

As David Cairns says on his Shadowplay blog, that's "a very precise trait, not easy to find".

But then Mackendrick had a weakness for actors who looked hunted. Remember his slightly worrying comment on the casting of Fergus McClelland to play the lead in Sammy Going South:

He was a lean, hard, little boy. Tough as old nails ... a really strong character. He had the hunted look of an abused child, which in some ways he was. He came from a disturbed home; his parents were getting divorced and there were problems. So he was the perfect casting.

Anyway, Tony Hancock eventually pulled out of the possible film, just as Peter Sellers did the second time it came close to being made.

But if Mackendrick was so keen to film a rhino, he could have shot this scene from W.H. Canaway's original novel Sammy Going South:

Sammy heard a whiffling of breath behind him, and turned to confront a rhinoceros, which had been waiting behind the thorns before returning to scatter its dung.

Up till that moment the thought of danger from animals had scarcely entered Sammy's mind; he had spent the previous night in his tree because of some atavistic instinct, and not because of any conscious desire to safeguard himself against predatory creatures. Now, he stared at the rhino with sick horror, giving a low moan of fear. He had never realized that a rhino was so big. This one was a huge shape of dirty grey, almost six feet tall at the shoulder and almost twelve feet long; its horn was five feet of polished murderous fibre. The rhino was downwind of Sammy, and had picked up his scent at once.

There were birds sitting on its back, Sammy noticed.

The rhino was perhaps a hundred feet away, at the far left-hand end of the thorns. It snorted again, shook its head once, and then lowered it, charging; the birds flapped on its body. It moved with surprising speed, picking up and setting down its feet with delicate precision, while Sammy turned and began to run, hopelessly.

I do like the placing of that adverb.

Whether Sammy Going South was ever a set text for the examination boards I don't know, but it would have made a change from Lord of the bloody Flies.

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Alice McCool investigates the web of culture-war connections – from the US Christian right to Viktor Orbán's influence network – that lay behind the first British CPAC (Conservative Political Action Conference) conference.

It's all well and good saying we should regulate social media. But social media is already regulated. So why is it failing? And what could we do in response? Chaminda Jayanetti has some ideas.

Keyana Sapp explains why American cookware is getting worse: "Once you understand the brand licensing structure, you see it everywhere, and the pattern is always the same: one company owns the name, a different company makes the product, and the factory that earned the name is liquidated."

"Around the time those tower blocks were going up, as John Pendlebury recounts, local preservationists and councillors in York teamed up to imaginatively restore and repopulate the historic precinct inside the city walls – an early example of a heritage-driven strategy that Newcastle and Liverpool would seize on a few decades later." Susan Pedersen reviews The Modern British City 1945-2000, edited by Simon Gunn, Peter Mandler and Otto Saumarez Smith.

"The gulf between the 'haves' and 'have-nots' in county cricket is wider than ever before, and is set to grow further still in the wake of last year's Hundred equity sale, according to a new report into the domestic game's finances." Cricinfo has some worrying but not unexpected news.

Peter Bradshaw watches Andrei Tarkovsky's film Nostalghia (1983).

Alexander Mackendrick and Sweet Smell of Success

At Ealing Studios, Alexander Mackendrick directed one masterpiece, The Ladykillers, and four more of the best films made there: Whisky Galore!, The Man in the White Suit, Mandy and The 'Maggie'.

When Ealing folded he went to Hollywood, where his first film was the noir Sweet Smell of Success. Though it failed in America on its release in 1957, it is now recognised as another masterpiece and is the subject of this superior video masterclass.

Mackendrick then suffered the indignity of being taken off two consecutive films and so did not complete another until 1963, when he made Sammy Going South for his old Ealing boss Michael Balcon.

Realising that he was no Hollywood hustler, Mackendrick turned, as you will see in the video, to academia. He became the founding dean of the film school at the California Institute of the Arts (now the CalArts School of Film/Video), giving up that position in 1978 to become a professor there.

A collection of his hand outs and lectures was published as On Film-Making: An Introduction to the Craft of the Director in 2005, with an introduction by Martin Scorsese.

When I mentioned another Ealing film, Hue and Cry, in a piece for Lion & Unicorn, I suggested that it "feels more Roberto Rosselini than Ealing." What I didn't know when I wrote that was that the wartime British official who gave Rosselini permission to shoot Rome, Open City was Alexander Mackendrick.

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 Vince Cable makes the case for building more council houses: "The most compelling argument for councils becoming developers is that the private developer model, however valid for most housebuilding most of the time, depends on a set of circumstances – the ability to earn a profit margin above rising land and property prices – which may not exist. Public sector developers can build through economic cycles and where market conditions are unattractive for private developers."

"Changes in public spaces (including increased provision of green parks, lakes and water fountains) enable easy public access to cooling. Everyday heat adaptation is not only about technological fixes, but about building or redesigning everyday infrastructures that enable a fair and equitable living environment for everybody, whatever the weather." Subina Shrestha and Claire Hoolohan on what Britain must do to prepare for future heatwaves.

Mark Braund looks at Andy Burnham's past support of a land value tax.

"Three Lions has started to to more harm than good. I think that 'thirty years of hurt' line has helped seed a sense of entitlement, a baked-in belief that anything other than outright victory legitimises a sense of hurt. It raises the stakes and ratchets up the pressure – a pressure that ultimately bears down on the very players you're counting on to try and deliver a result." Pete Paphides says it's time to say thank you and goodbye to the song Three Lions.

"The final prisoners left Crumlin Road Gaol in 1996 and, in 2012, it reopened as a visitor attraction and conference centre, sharing the grounds with McConnell’s whisky distillery. Although the prison experience is now dominated by atmospheric lighting, holographic presentations and short information videos, it is possible to see the history behind the modern technology." Angela Buckley experiences the Crumlin Road Gaol Experience.

Jeremy Rees celebrates the magnificent Queenie Watts.

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Sam Bright explains what is missing from the Covid Inquiry PPE report: "Long before the pandemic struck, the governing party had established a fundraising system that handed influence to those with the fattest chequebooks. The Conservatives, and Westminster as a whole, created the conditions for the PPE scandal long before even the first whiff of Covid in Wuhan."

Andrew Page shares his thoughts on the reaction to the death of Ann Widdecombe: "It has been deeply depressing to see some people going much further than this and celebrating her death online. Quite apart from the cruelty shown towards her family and friends, there is something profoundly corrosive about a society in which the death of another human being becomes an occasion for applause because we happened to dislike their opinions."

"Whilst working in public libraries, I experienced several attempts to censor library stock including a parent wishing me to withdraw art books from the library’s shelves, because they featured paintings or sculptures of nudes. Books featuring Black people of note were the subject of complaints as well as those about political figures of the time. I had parents complaining about Judy Blume’s books, which were aimed at a teenage audience, because they featured girls going through puberty and parents who were divorced." Meg Gain on Reform-led Warwickshire County Council's proposal to censor what children read.

"Residential family assessment centres have become a major part of England's child protection and family justice system, yet surprisingly little is known about whether they improve outcomes for children and families." King's College London reports research by Mary Baginsky and Rick Hood.

Tim Adams says Jude Bellingham is channelling the spirit of Duncan Edwards, his 1950s Black Country counterpart.

"In 1951 he helmed an adaptation of Josephine Tey’s bestselling The Franchise Affair. In it, a teenage girl accuses two respectable women living in a remote country house of having kidnapped, beaten and starved her in an attempt to force her to become their servant. The movie starts on a remote highway with a wild thunderstorm, and the young girl (Ann Stephens) pops up in the middle of the road in a startling close-up." Self-Styled Siren praises the neglected British director Lawrence Huntington.

Why stage plays need a character that screenplays don't

Alexander Mackendrick didn't just direct The Man in the White Suit: he wrote the first draft of the screenplay.

In his book Lethal Innocence: The Cinema of Alexander Mackendrick, Philip Kemp quotes Mackendrick on the genesis of that screenplay. It began life as an unperformed theatre play by his cousin Roger MacDougall:

"I did something really wicked: I took Roger's hero and gave him a minor role, and pivoted the whole story around a secondary character, the one played in the film by Alec Guinness, to make a new story entirely. And Balcon liked it, and approved it. When I showed it to Roger he got very indignant, and said, 'My God, you might as well have cut the hero out altogether!', and I said, 'Yes, well, I did actually think of doing that.'"

Having got over his initial pique, MacDougall went along with the further disruption of his play, and with the total elimination of his hero. "Something I discovered then," he recalls, "is that there's a character you need in a play, but you don't need in a film, because the camera takes over from him. It's Enobarbus in Antony and Cleopatra, it's Horatio in Hamlet. The camera becomes that character who holds it all together – the viewpoint character, if you like. You don't need a person to do it for you."

Next time I watch an old British film that's too obviously been adapted from a stage play, I shall try to work out which character should have been left out.

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"The world-renowned academic institution has nothing to say in response to a six-month investigation by Byline Times raising serious concerns about the safeguarding of students and foreign influence at Cambridge University." Nafeez Ahmed, Peter Jukes and Hardeep Matharu ask why.

"Over the last ten years the question of Irish unity has moved to the centre of the Irish political stage. This surprisingly rapid change has been driven by demographic and economic trends, to the advantage of Irish nationalists both north and south of the border." Patrick Cockburn reviews For and Against a United Ireland by Fintan O’Toole and Sam McBride.

Kate Moore says we need more trees: "The sooner we plant trees – ideally in groups, as solitary trees are more vulnerable – and nurture them through the early years, the cooler we'll feel.  So, whether your garden is small or large, it’s time to plant trees to give you your own shaded, and naturally air-conditioned space."

Brett DeJager finds that school teachers are "worried about academic dishonesty but also about assessment, student reliance, critical thinking, misinformation and privacy. Those concerns point to a practical challenge schools now face: how to preserve meaningful evidence of learning when AI can produce polished academic work."

From psychiatric wonder drug, to CIA mind warfare to teenage menace. Grant McPhee looks at LSD use through its evolving coverage in British newspapers.

Jospehine Botting watches 21 Days, a film made just before Vivien Leigh took the role of Scarlett O’Hara in Gone with the Wind and as her affair with Laurence Olivier was blooming. It captures the pair falling in love and on the cusp of stardom, but its producer Alexander Korda thought it was not good enough to release.

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Toby Buckle argues that it's time for liberals to throw John Rawls under the bus. In his philosophy he guided the creed toward neutrality, but we can no longer afford that in the age of Trump .

"After huge reductions in first-time entrants and custodial sentences in the youth justice system in recent years, a smaller, more complex cohort of children remains. Their offending behaviours mask deep vulnerabilities including earlier childhood abuse and trauma, poor mental health, school exclusion and poverty. This cohort need stability and care to rehabilitate and change. Yet the custodial estate has seen an alarming deterioration in conditions in recent years, with two secure training centres, a young offender institution and the country's first secure school all closing on safety and quality grounds." Ann Graham on the need for reform in the treatment of children in custody.

Ekaterina Balabanova and Gemma Horton report research that finds the British press has undermined the European Convention on Human Rights over many years: "Arguably, the government’s current approach reflects some of this coverage: conceding ground on specific criticisms of the ECHR in order to salvage its overall legitimacy. But looking at the long history of press coverage, we suggest that this strategy will continue to erode legitimacy, rather than bolster it."

"On one level, perhaps, that is down to a regionally specific reluctance to seem overly expansive on certain topics ('No mysticism please, we’re British'). But I spend quite a lot of my time in a church context where talking about spiritual matters is normal, even encouraged – and, remarkably, even there very few are willing to open up; mundane matters swiftly return as the main subject of conversation whenever a spiritual matter comes up." Francis Young asks why we find it so difficult talk about numinous experiences.

"The football games we obsess over are the ones that tell a story." Natasha Chahal says this World Cup has been full of them.

Maysa Monção watches Martin Scorsese's Taxi Driver: "More than the cab driver, the taxi is a character. It is the car that sees underground New York. It is the car that chases the scum of the earth: the pimps and hookers. From inside the taxi, there is a perspective of New York that must be eliminated. The marginalised inhabitants of New York don’t fit in Travis’s reactionary idea of a 'clean city'." 

Jonathan Coe on Kenneth Williams, sex and the Sixties

The novelist Jonathan Coe reviewed The Kenneth Williams Diaries for the London Review of Books when they were first published:

Williams found the perfect expression for his personality in the Carry On films – despite their superficially heterosexual orientation – and became such a cherished emblem of sexual insecurity for gay and straight audiences alike. 

For above all this series represents (and celebrates) a peculiarly English sexuality, one in which an addictive, almost obsessional interest in sex is combined with horror and gaucherie at the prospect of actually performing it. 

In this respect they preserve a far more accurate record of the sexual atmosphere of the Sixties than films of ‘swinging London’ like Blow Up or Darling, which offer adolescent fantasies of sexual freedom when the reality for most punters must have been closer to Carry On Camping, with Bernard Bresslaw and Sid James making a pathetic pilgrimage to a nudist camp in order to gaze longingly at the ‘birds’ – pop-eyed, helpless and fundamentally out of the running. 

What Williams and the leering, pickle-nosed James had in common, then, was their status as sexual spectators, mesmerised but fearful.

I remember being taken to see Carry On Camping at the cinema, when I must have been nine. 

But then I was taken to see Danny La Rue's Christmas show when I was eight. I was one of the children who came up on stage halfway through the show. For some reason, there weren't many children there.

Paddington Bear: Slapstick, boosting Jeremy Clarkson's career and becoming our grim reaper

Paddington Bear is a couple of years older than me, so I had one of the books about him when I was a little boy. 

I quite liked the Paddington stories and certainly liked his friendship with Mr Gruber, who treated what was essentially a furry child as though he were an equal. Children really appreciate characters like that.

But you didn't have to grow that old before you started to find all the slapstick a bit babyish. And then there was the weak characterisation. The son of the Brown household was called Jonathan, and he added little to the action beyond saying "Crikey!" now and then. I was bound to notice that.

But the television and film adaptations have made the meh bear a huge cultural figure. Not only has he become the 21st century's grim reaper, conducting the dead to the underworld- more of that in a moment - he was also partly responsible for Jeremy Clarkson's television career.

Here's part of a post I wrote a couple of years ago:

Clarkson and the BBC go back a long way. All the way back to 1973, when as a 13-year-old, be played Atkinson in BBC Radio 4 serialisations of the Jennings books.

Then he went to public school, his fees paid from his mother's business making Paddington Bear toys. And the BBC was Paddington-friendly even before the animations with Michael Hordern's voice, because Michael Bond was a cameraman with them. So you got exclusive Paddington stories in your Blue Peter annual.

And, then, of course, the BBC's Top Gear made Clarkson a millionaire. A little gratitude wouldn't come amiss.

Personally, I'd have taken Paddington's marmalade sandwiches off him for that.

And his new role as our angel of death? Here's the abstract for Jennifer Riley and Matthew Hilborn's paper (Br)Exit pursued by a bear: Paddington's polysemic political power as the `new Grim Reaper':

Though hailing from distant “darkest Peru”, Paddington Bear has become a bastion of British identity. His critically-acclaimed films (2014, 2017, 2024), starring icons of British cinema, trade on nostalgic national tropes. This symbolic imbrication peaked in 2022, starring alongside Queen Elizabeth II in her Platinum Jubilee celebrations – and later becoming a symbol of collective mourning, materially and digitally, after her death. Paddington – endangered and repeatedly imperilled onscreen – thus became the Establishment’s new mor(t)al totem, what Douglas Davies would call a ‘paradigmatic’ figure ‘good to think’ in life, and in death. 

His incongruously cuddly ‘Grim Reaper’ became a globally recognisable meme. Yet, since symbols are malleable, and film-based memes subversive and satirical, Paddington has proved a provocative meme(nto mori). Analysing social media posts (X, Instagram) and the films, this article explores Paddington Bear the Grim Reaper as politically polysemic. 

If, following Robert Hertz, society grieves those ‘in whom it incarnates itself, and with whom it identifies itself’, Paddington’s mortal multivocality forces a reckoning. Whose lives – and deaths – are grievable? And which version of Britishness should Paddington embody: the polite, Establishment-aligned “Good Immigrant”, or the racialised, once-incarcerated refugee?

 I thought such wordp(l)ay had gone out of fashion in academia in the early Nineties: I do hope it's not making a comeback. Anyway, if you really want to, you can read the whole article online.

And if you didn't believe me about Jeremy Clarkson being in Jennings, here's a cutting to put your doubts to rest. 

"Ahaarrrr!" A voiceover session from hell

One of my favourite podcasts is the Chelsea Fancast, which has kept me informed and entertained through my club's recent travails. Its two regular presenters are Stamford Chidge and JK.

Stamford Chidge, I worked out eventually after putting the clues together, is David Chidgey. He's a former television producer, a psychotherapist and the son of the late David Chidgey, who was Liberal Democrat MP for Eastleigh from 1994 to 2005, and the pilot of the Liberal Democrat spacecraft Bird of Liberty in the early years of Lord Bonkers' Diary.

JK is not such a mystery. He is Jonathan Kydd, son of the once-ubiquitous British film actor Sam Kydd and an actor, writer and voiceover artist in his own right.

In this short film, which has won many festival awards, he plays both the actor and the director in a voiceover session from hell.

And to prove that all rabbit holes join up eventually, he writes on his website that, when he was a boy, Alexander Mackendrick saw him several times for the title role in Sammy Going South.

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"The plunder of children’s services by business is one of the big scandals of our time. Children’s homes, special schools and foster care services are increasingly run for profit. Almost every time a child is removed from their family, somebody, somewhere cashes a cheque." Martin Barrow looks at one company that received £500m from local councils last year for the care and support of children and young people.

Rory Jones finds that "England is beginning to develop a cooling divide, one in which access to protection from extreme heat increasingly depends on where people live, how much they earn and the type of home they occupy."

Does becoming a parent lead politicians to focus more on the future? Research by Chris Hanretty and Sarah Childs questions the assumption that it does: "There is no single effect of parenthood upon future focus: rather, parenthood affects men and women differently. Fatherhood causes a small increase in future focus sustained across a range of topics. ... Motherhood, by contrast, causes a decline in future focus.

"The exhibition showcased Freud’s lifelong fascination with human faces and figures, covering several different types of drawings – from pencil, pen, and ink portraits to charcoal works and etchings. In addition, several paintings were also included in the exhibition to illustrate the relationship between Freud’s works on paper and those on canvas." JacquiWine went to the Lucian Freud exhibition at the National Portrait Gallery.

Sean Burns on Alexander Mackendrick's 1957 film Sweet Smell of Success, which bombed at the box office on release but is now recognised as a classic: "I was struck by how relevant Sweet Smell of Success seems today, when we’re seeing people who know better grovel and prostrate themselves for proximity to power on a daily basis, submitting to humiliation rituals live on cable news the way Sidney dutifully jumps to light Hunsecker's cigarettes."

Quentin Shaw on the miracle of glow worms and the threat to them from artificial light at night: "It is something of a mystery that glow worms came to be so widespread. Surveyors have noticed that the places where the beetles survive today are often sites of ancient human habitation. Perhaps people deliberately introduced them, to brighten their lives and to chase away the dark."

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"Former MI6, counterterror, and police officials expressed disbelief at the refusal by the British authorities to countenance a full murder investigation into Perepilichnyy's death. 'It's so obvious that it’s an assassination,' said Chris Phillips, the former head of Britain’s National Counter Terrorism Security Office. 'There’s no way it wasn’t a hit. It’s ridiculous.'" In 2017, Heidi Blake and her BuzzFeed investigations team published a seven-part investigation of suspected assassinations on British soil by the Russians government.

Richard Kemp reposts a Byline Times article that condemns SLAPPs – strategic litigation against public participation – as a shocking abuse of the legal system where the rich try to bully the weak and poor into submission.

Guy Shrubsole argues that Andy Burnham's Manchesterism is ultimately a politics of land: "Burnham’s keen interest in regaining public control of housing and key utilities leads very quickly to questions of who owns land, and how the public sector might reverse decades of asset sales begun under Margaret Thatcher’s governments."

"For much of the 18th century, even though Number 10 (actually Number 5 for much of its early existence) remained the official residence of the First Lord of the Treasury, it was by no means always occupied by the Prime Minister." Robin Eagles finds that prime ministers once preferred to live in their own houses.

Adam Scovell goes to look for the London locations used in A Hard Day's Night, the first film featuring those lovable mop-tops The Beatles.

"Her national standing was confirmed with a damehood in 2000, an honour which she prized, though it didn’t make her decorous. She was shortlisted for the Booker five times without ever winning (no one forgets this). She remains a figure who is hard to place – widely appreciated, but not a member of any acknowledged group of writers, and without much discernible influence on those who came after." Dinah Birch on the work of the novelist Beryl Bainbridge.

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"I am speaking out today because many more asylum-seeking children are at risk due to plans to withdraw support and forcibly remove children whose families have failed asylum claims." The children’s commissioner Rachel de Souza says no child should be made destitute to enforce harmful immigration rules.

Zoe Grunewald finds that Brexit has made worse the very problems it was promised it would solve: "What comes in the next decade depends entirely on whether Britain’s mainstream politicians can finally do what it has spent the previous decade refusing to: tell the truth about what Brexit did, who bears the cost, and why the man promising to fix it helped cause it all in the first place."

"That Tory share was its lowest in all 17 sets of full London borough council elections ever held. It was also smaller than every vote share won by the Conservatives in the Greater London administrative area – formally created in April 1965 – in the 16 general elections held since that year." Barnaby Towns finds that the Conservatives are still going backwards in London.

Susanna Crossman sets out to learn more about the beliefs and practices of the folk healers called 'fire-tamers' who operate an "alternative, unofficial and ancient grassroots system of care" across France.

"He swiped, slogged and occasionally savaged, under the guise of scoring 'easier' runs against the new ball given how this pitch is playing. Instead, his 30 off 20 balls created a febrile storm that swept up Jacob Bethell, Harry Brook and Ben Duckett." Vithushan Ehantharajah watches Ben Stokes' last Sunday as England's captain.

Moreau Vazh finds that Witchfinder General, despite its place in the folk horror canon, most closely resembles a Sam Peckinpah Western.

Don't mention the Isle of Wight Separatists' 1950s terror campaign

If it weren't for Lord Bonkers, I should have taken this as a charming portrait of an English backwater 70 years ago.

In reality, 1956 saw the height of the Isle of Wight Separatists' terror campaign and the film was made in an attempt to assure potential visitors that all was well there despite the headlines.

Nowhere in this film do we see the internment camps for suspected Separatist sympathisers, the occupying British Army or the desperate poverty caused by the collapse of the island's major industry of producing tourist souvenirs that incorporate several different colours of sand.

Yet is was not the British government that saw off the Separatists, but their own error in attempting to raise money for arms by muscling in on some of Violent Bonham Carter's legitimate business interests in the East End of London. It was Violent's manor and the were out of order – indeed getting lairy – as they were soon shown.

Fergus McClelland was the last illegal major British child actor

Before Section 37 of the Children and Young Persons Act 1963 was enacted it was illegal for a child under 13 to appear in a film made in Britain. As I pointed out in an earlier post, this law was widely ignored. 

And I could have added Mandy Miller to the examples given there. She was six when she made a brief appearance in The Man in the White Suit and seven when she played the title role in Mandy.

The director of both those Ealing films was Alexander Mackendrick, and he was still breaking the law when he shot Sammy Going South, because his young lead Fergus McClelland was only 11.

Though you'd think that a completed feature film would make pretty good evidence in court, producers generally avoided legal trouble by keeping their use of such a young actor secret until the film was released.

So a short article about the boy in the Daily Herald (10 January 1963) says that his three-month absence from school while he was filming on location in Africa was explained by telling his classmates that he was on an educational tour.

The article concludes by saying:

The company who made the film, Bryanston Seven Arts, could be prosecuted for employing anyone as young as Fergus in a film studio. But the maximum penalty would be only a £5 fine. And the film cost £500,000 to make.

Richard Farmer has written about this illegal employment of child actors, and he shows that companies could be fined rather more than that:

In 1949, 12-year-old Bobby Driscoll, who had already appeared in films such as Song of the South (1946) and The Window (1949), arrived in Britain to make Treasure Island for Disney at Denham. Disney did not seek to obtain the necessary employment permit for Driscoll, in large part because of his age meant that he could not legally be allowed to work in Britain.

Driscoll, his father, and Disney were each fined £100. Treasure Island’s producers reworked their schedule, at a reported cost of $84,000, to allow the young star to complete shooting as quickly as possible, claiming to have "too much money involved" in the film to replace Driscoll and concerned that he might at some point be prohibited from returning to the studio.

Farmer says the Disney company felt it was being singled out for special treatment, and you can see why. The year before, David Lean's Oliver Twist, complete with nine-year-old John Howard Davies in the title role, had been chosen for the Royal Film Performance – Davies later described being presented to Queen Mary as most terrifying experience of his life. Sammy Going South received the same accolade in 1963.

The 1963 Act allowed the employment of actors under 13, but made local authorities responsible for ensuring their welfare. This regularised what had often been happening in practice:

Some local authorities found it easier to ensure child safety in studios by coming to extra-statutory agreements with producers that permitted filmmakers to employ children on the understanding that council officers were able to ensure that a child’s welfare and education was being appropriately attended to.

And if you were working for Alexander Mackendrick, you needed protection. Fergus McClelland remembered in his 2020 interview with Matthew Sweet:

There was one point when I worked solid for 17 days from six in the morning till nine at night, and I was 11 and a half. The unit doctor said to Sandy Mackendrick, who was a fantastic director but very driven: "Look, you can either have a dead star or a live little boy. Which do you want?"

What was his answer?

What can we do to make him healthy and get him filming more?

McClelland survived the experience, acting for another 10 years before disappearing from view. He re-emerged later in life as a trainer in public speaking and business presentation, in which guise you can find him all over YouTube.

Other child stars were not so lucky. Bobby Driscoll died from drug addiction at 30 and was buried anonymously burial in a pauper's grave.