A Fine and Private Place | |
---|---|
Directed by | Paul Watson |
Written by | Paul Watson |
Based on | stories by A.E. Coppard |
Produced by | W.A. Whittaker |
Starring | Edward Woodward Nanette Newman [1] |
Production company | |
Release date | 1971 (intended) |
Country | United Kingdom |
Language | English |
A Fine and Private Place was a proposed feature film from Paul Watson that was abandoned during filming, ostensibly due to poor weather. [2]
A love story set in the 1920s between a loner schoolmaster, Jones, and the married, privileged Judith Leeward.
Paul Watson was a documentary filmmaker who had written the script. Bryan Forbes, head of EMI Films, greenlit the film and announced it as part of his slate in August 1969. [3] It was one of several films Forbes financed from inexperienced directors (some of these out worked well, others badly). [4] He later wrote he felt Watson's "enthusiasm and approach merited the risk; the screenplay contained all the ingredients for a compelling film and I gave him the go-ahead." [5]
Production began in Cornwall in late April 1970, with plans to complete the film at Elstree Studios. [6] [7] Female lead Nanette Newman had just completed The Raging Moon written and directed by Forbes, who was her husband. [8] [9]
The film soon fell behind schedule, forcing Forbes to visit the set. He claims that after two weeks of filming a third of the budget had been spent for only ten minutes of screen time. Forbes also felt the footage would not cut together and was unimpressed with how Watson planned to film other scenes; he says when he raised his concerns with the director he was not reassured. Forbes shut down the production and fired Watson. [10] The delay was blamed at the time on the weather in Cornwall. [11] An EMI spokesman said "location work was stopped because it was going beyond its budget. If sites closer to Elstree cannot be found work on the film could be abandoned." [12]
Forbes later called it "the most agonising decision I ever had to take on a film. I felt sorry for everybody concerned and I knew that I would come in for heavy criticism. But everything is relative and this was my Heaven’s Gate. I did not have the luxury of increasing the budget and, even if I had, I had lost confidence in the ability of the director to deliver. It was a tragedy of good intentions, a blight on Nanette’s and Edward’s careers and a sad loss of income for the crew." [13]
Over the next two weeks Forbes attempted to resuscitate the project with director John Hough but he eventually decided not to proceed and the film was abandoned. [14] Filming ceased for good in mid-May 1970. [15] Forbes publicly blamed the cancellation on bad weather, which he said would make the film £70,000-£80,000 over budget, saying "this is too much to get back in the English market it was made for. One film today, just one, which runs into budget trouble and has to have endless money poured into it can bring a studio to its knees." Forbes added another factor was Woodward had to start rehearsals for a play at the National on June 30, saying the film "was built around its star Edward Woodward to take advantage of his popularity as Callan on TV and his prestige at the National Theatre." [16]
Watson subsequently went on to a highly successful career as a documentary filmmaker. [17]
Elstree Studios is a generic term which can refer to several current and demolished British film studios and television studios based in or around the town of Borehamwood and village of Elstree in Hertfordshire, England. Production studios have been located in the area since 1914 when film production began there.
The Tales of Beatrix Potter is a 1971 ballet film based on the children's stories of English author and illustrator Beatrix Potter. The film was directed by Reginald Mills, choreographed by Sir Frederick Ashton, and featured dancers from The Royal Ballet. The musical score was arranged by John Lanchbery from various sources, such as the operas of Michael Balfe and of Sir Arthur Sullivan, and performed by the Orchestra of the Royal Opera House conducted by Lanchbery. It was produced by Richard Goodwin with John Brabourne as executive producer. The stories were adapted by Goodwin and his wife designer Christine Edzard.
Edward Albert Arthur Woodward, OBE was an English actor and singer. After graduating from the Royal Academy of Dramatic Art, he began his career on stage. Throughout his career, he appeared in productions in both the West End of London and on Broadway in New York City. He came to wider attention from 1967 in the title role of the British television spy drama Callan, earning him the 1970 British Academy Television Award for Best Actor.
Bryan Forbes CBE was an English film director, screenwriter, film producer, actor and novelist described as a "Renaissance man" and "one of the most important figures in the British film industry".
EMI Films was a British film studio and distributor. A subsidiary of the EMI conglomerate, the corporate name was not used throughout the entire period of EMI's involvement in the film industry, from 1969 to 1986, but the company's brief connection with Metro-Goldwyn-Mayer and Anglo-EMI, the division under Nat Cohen, and the later company as part of the Thorn EMI conglomerate are outlined here.
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Associated British Picture Corporation (ABPC), originally British International Pictures (BIP), was a British film production, distribution and exhibition company active from 1927 until 1970 when it was absorbed into EMI. ABPC also owned approximately 500 cinemas in Britain by 1943, and in the 1950s and 60s owned a station on the ITV television network. The studio was partly owned by Warner Bros. from about 1940 until 1969; the American company also owned a stake in ABPC's distribution arm, Warner-Pathé, from 1958. It formed one half of a vertically integrated film industry duopoly in Britain with the Rank Organisation.
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Nat Cohen was a British film producer and executive. For over four decades he was one of the most significant figures in the British film industry, particularly in his capacity as head of Anglo-Amalgamated and EMI Films; he helped finance the first Carry On movies and early work of filmmakers such as Ken Loach, John Schlesinger, Alan Parker and David Puttnam. In the early 1970s while head of EMI Films he was called the most powerful man in the British film industry. He's been called "an unsung giant of British film who never got his due from the establishment in part because of anti-Semitism... the ability to be a successful studio head is very rare and most only last a few years. Cohen did it successfully at various companies for over two decades."
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