Page 5 - FILM STUDIOS CROPPED

every one a box-office smash which caused gales of laughter even behind the Iron Curtain. Over the next two decades world renowned directors and producers such as Hitchcock (who made Young And Innocent in 1957 and wasn’t to return to its stages until Frenzy some thirty four years later), Chaplin, Disney, Truffaut and Billy Wilder all brought their various projects into Pinewood alongside clas- sics such as Genevieve (with the elegant Kay Kendall in her element on the trumpet) and the riotous Doctor In the House. Yet to come were con- temporary spy thrillers such as The Ipcress File and The Quiller Memorandum, the extravagant musicals Chitty Chitty Bang Bang and Fiddler On The Roof, along with the arrival of Robert Redford, Mia Farrow and Bruce Dern for The Great Gatsby (inspiration for the Gatsby Room which forms an important addition to the studio today.) The all-star- ring, WW2 epic Battle Of Britain and Khartoum, star- ring Charlton Heston and Laurence Olivier, added to Pinewood’s prestige. Bob Hope & Katharine Hepburn arrived for The Iron Petticoat, with Hope later teaming up with Anita Ekberg in the African comedy, Call me Bwana.
Leading directors J. Lee Thompson, Lewis Gilbert, Brian Desmond Hurst, Jo Losey, John Paddy Carstairs,George Pollack, Roy Baker and Ken Annakin, thrived in the Pinewood envi- ronment, let alone in the well appointed bar and infamous commissary - formerly the grand ballroom of Heatherden Hall - here they could rely on swapping anecdotes with their
producers, George H. Brown (whose talented daughter, Tina, currently edits the New Yorker across the Atlantic), Hugh Stewart, Sydney Box, Bill McQuitty, Raymond Stross, Joseph Janni, Maurice Cowan and Julian Wintle.
Heading the studio’s own PR department over the years were various film characters such as the late, great Theo Cowan, (the doyen of film pub- licists along with the leg- endary Fred Hift), John Behr, De r e k C o y t e a n d N o r m an Martlew.
Equally memorable, in some instances, were the Pinewood bosses who hosted the fortunes of the studio. In the early days, an ebullient showman and unique entre- preneurial American, Ear l Sheffield St. John held sway over the production depart- ment to great effect. Kip Herren, in his inimitable style steered Pinewood through the golden period of British cine- ma. Cyril Howard took over and tried, during difficult times, to maintain a profitable and busy studio. Currently, Steve Jaggs endeavours to keep Pinewood in the forefront of moviemaking excellence against mounting odds from special effects digital technol- ogy. At the peak of its power, Rank had over 100 stars under contract at Pinewood. Heading the roster were Dirk Bogarde (a knighted and respected author today), Peter Finch, Stanley Baker, Stephen Boyd, Michael Craig, Keith Michell and the ever dependable Mr.Tony Wright. Among the ladies were Anne Heywood, Joan Rice, Belinda Lee, Joan Collins, Barbara Murray, Jill Ireland, Maureen Swanson and Mar y Ure. As the years pro- gressed, many big Hollywood
stars came over to boost the international box office appeal of the studio. One of the greats during this period was Gregor y Peck (The Million Pound Note, Arabesque and The Purple Plain). Hot on his heels were Rod Steiger (Across the Bridge) Howard Keel (Floods Of Fear), Anthony Q u i n n ( S av ag e I n n o c e n t s ) , stylish Lauren Bacall (Northwest Frontier), Yul Br ynner (The Long Duel), Curt Jurgens, Orson Welles (Ferry To Hong Kong).
No tribute to the studio would be complete without mention of that stalwart pro- ducing and directing team of Ralph Thomas and Betty E. Box. They introduced a young Brigitte Bardot to Great Britain (Doctor At Sea), along with Italian stunner Claudia Cardinale and another sexy import from across the chan- nel, Mylene Demongeot (both in Upstairs Downstairs). From former Yugoslavia came Sylva Koscina (Hot Enough For June), Germany’s beauty Elke Sommer (Percy), Sweden’s Camilla Sparv and Israel’s Dahlia Lavi starring in Nobody Runs Forever.
As regards comedy, Pinewood held the candle up to all comers. The legendary Carry On team made over thirty of their great films at Pinewood, and became not only the studio’s most wel- come tenants but also the longest-running comedy series under the team guidance of producer Peter Rogers and his director pal Gerald Thomas.
Pinewood has always enjoyed its reputation as the friendly studio and none more so than old Tom Humphries, who was always ready with a smile from behind the commis- sioner’s desk. Old Pinewood
NOSTALGIA