The Time Machine

"I drew a breath, set my teeth, gripped the starting lever with both hands, and went off with a thud. The laboratory got hazy and went dark. Mrs. Watchett came in and walked, apparently without seeing me, towards the garden door. I suppose it took her a minute or so to traverse the place, but to me she seemed to shoot across the room like a rocket. I pressed the lever over to its extreme position. The night came like the turning out of a lamp, and in another moment came to-morrow. The laboratory grew faint and hazy, then fainter and ever fainter. To-morrow night came black, then day again, night again, day again, faster and faster still. An eddying murmur filled my ears, and a strange, dumb confusedness descended on my mind."


And so the Time Traveller begins his epic journey in the third chapter of H. G Wells’s (1866-1946) classic science-fiction novel ‘The Time Machine’. His ground-breaking work has been considered by many to be one of the greatest science fiction books of all time and has been adapted into at least two major films. My favourite is the George Pal 1960 version starring Rod Taylor and Yvette Mimeux. With a new year about to start and the old one passing into memory, the thought of Time Travel, particularly amongst historians as well as scientists, remains a fascinating and exciting concept.

So what has this to do with Robin Hood I hear you ask? Well, in 1995 the Royal Mail sponsored a survey on ‘time travel,’ for children between the ages of nine and fourteen, to celebrate the centenary of the first publication of Wells’s Time Machine. Later that same year a series of commemorative stamps were issued and on June 7th 1995 The Independent newspaper printed the results of the survey:

“The Prime Minister topped the poll for least popular travelling companion. Most popular choice of companion to see off aliens and dinosaurs was the Manchester United footballer Ryan Giggs. Seventy-one per cent wanted to visit the future, while 29 per cent wanted to visit past periods such as the prehistoric era, the Second World War and the Elizabethan age.

Those opting for the future wanted to know who their friends would be, whether the rain forests would survive and whether people would live in space. Almost 40 per cent believed there was life on other planets, and 14 per cent thought that aliens were already living among us.

The most alluring figures in history were Robin Hood (whom 22 per cent wished to meet), Elvis Presley (15 per cent) and Jesus (13 per cent). Somewhat surprisingly, 14 per cent of the girls surveyed wanted to meet Henry VIII.”

HAPPY NEW YEAR!

Little John's Grave

This wintry scene shows Little John’s Grave in St Michaels and All Angels Parish Church, School Lane, Hathersage in Derbyshire.

Apart from Little John’s exceptionally large grave-between two yew trees-the fourteenth century church also houses 15 brasses to the local Eyre family. Charlotte Bronte stayed at the vicarage nearby, with a friend in 1845 and it is believed that the village of Morton, in her novel Jane Eyre, is based on Hathersage. It is also very likely that Charlotte took her heroine's name from the prominent Eyre family.

MERRIE CHRISTMAS

This is an excerpt from the festal Christmas ballad 'Robin Hood's Birth Breeding and Valour':


The mother of Robin said to her husband,
"My honey, my love, and my dear,
Let Robin and I ride this morning to Gamwel,
To taste of my brothers good cheer."

And he said, "I grant thee thy boon, gentle Joan,
Take one of my horses, I pray;
The sun is a rising, and therefore make haste,
For tomorrow is Christmas-day."

When Robin had mounted his gelding so grey,
His father, without any trouble,
Set her up behind him, and bad her not fear,
For his gelding had oft carried double.

And when she was settled, they rode to their neighbours,
And drank and shook hands with them all,
And then Robin gallopt and never gave ore,
Til they lighted at Gamwell Hall.

And now you may think the right worshipful squire
Was joyful his sister to see,
For he kist her and kist her, and swore a great oath,
Thou art welcome, kind sister, to me.

To-morrow, when mass had been said in the chapel,
Six tables were coverd in the hall,
And in comes the squire and makes a short speech,
It was "Neighbours, you're welcome all."

"But not a man here shall taste my March beer,
Till a Christmas carrol be sung."
Then all clapt their hands, and they shouted and sung,
Till the hall and the parlour did ring.

Now mustards, braun, roast beef and plumb pies
Were set upon every table,
And noble George Gamwell said,
"Eat and be merry,And drink, too, as long as you're able."

When dinner was ended, his chaplain said grace,
And "Be merry, my friends," said the squire,
"It rains and it blows, but call for more ale,
And lay some more wood on the fire."

I would like to wish you all a Merrie Christmas and a safe and Happy New Year.

A Christmas Feast at Westminster Hall

In the year that William Langland made the first mention of ‘rymes of Robyn hode’ in English literature, (1377) the ten year old Richard II ascended the English throne. The grandest and most famous of young Richard’s commissions was the rebuilding of Westminster Hall. The 11th century original, built for William Rufus-son of William the Conqueror, had been the largest hall in Europe. With a floor size of about 1850 square yards the Hall was the traditional venue for coronation banquets. It had also been the scene of the trial of William Wallace and the historic assembly of Henry III’s barons and bishops in 1265 when England’s first parliament was called.

The mason/architect of the re-building, Henry Yevele, reused much of the original masonry and was responsible for the gable walls, with their vast windows which provided the only source of external light. But it was the royal carpenter, Hugh Herland’s fine timbered roof, unsupported by pillars, that became an architectural masterpiece. The early wooden one, like the roofs of other vast halls, had been supported by twin arcades of columns. Herland boldly dispensed with the supportive arcades and covered the vast span of the hall with the present magnificent, braced hammerbeam roof. This largest medieval unsupported timber roof can still be seen today.

An account survives of the first banquet at Westminster Hall held after the re-building work was finished:

“This hall being finished in the year 1399, the same King [Henry IV] kept a most royal Christmas there, with daily jousting, and runnings at tilt, whereunto resorted such a number of people that there was every day spent twenty-eight or twenty-six oxen, and three hundred sheep, besides fowl without number: he caused a gown for himself to be made of gold, garnished with pearl and precious stones, to the value of 3000 marks: he was guarded by Cheshire men, and had about him commonly thirteen bishops, besides barons, knights, squires and other more than needed: insomuch, that to the household came every day to meat 10,000 people, as appeareth by the messes told out from the Kitchen to 300 servitors.”

Stow’s Survey of London (ed. Kingsford), II, 116.

Frank Bellamy's Robin Hood

This image is taken from the work of the great British graphic artist, Frank Bellamy (1917-1976). Apart from producing strips for famous comics such as The Eagle, Look And Learn and TV 21, Bellamy also produced beautifully illustrated ‘Robin Hood’ episodes, for the Swift comic (20th March 1954-2nd March 1963).

His ‘Robin Hood and his Merrie Men’ and later ‘Robin Hood and Maid Marian’ appeared in Swift between 1956 and 1957. The Complete Frank Bellamy Robin Hood , which includes all those strips, will be published next year (2008).

Nottingham's Unique Silver Penny

This unique old silver penny dating from the eleventh century (both sides are shown above) now belongs to Nottingham City Council. It was either struck at Shelford, near Radcliffe-On-Trent in Nottinghamshire, or on Bridlesmith Gate in Nottingham. Although the small 1.55mm diameter coin is very thin and fragile and not complete, you can still see the image of a newly crowned William the Conqueror (c.1028-1087) on one side, unusually facing forward carrying a sceptre patte and a sceptre botonne. The inscription partly missing reads : WILLIAM REX ANGLOR– William King of England.

On the reverse, there is a cross fleury with an annulet in the centre over saltire botonne with the legend, M[AN] ON SNOTINGI. ‘M’ could indicate that the coin was struck by the moneyer Manna and SNOTINGI ( Snotting) was the ancient name of Nottingham. It cost Nottingham Council £860 to bring this silver penny home.

Sherwood: The Living Legend

Unfortunately the bid for the Peoples Lottery Grant, to re-plant and improve facilities at Sherwood Forest- known as Sherwood: The Living Legend- was un-successful today. It was won by Conect2. Which has a UK wide project to improve local travel in 79 different communities, by creating walking and cycling routes.

Let's hope funding can be found soon, to protect Sherwood and its wildlife, so that future generations get the chance to run and play in the ancient forest.

Peter Finch

Peoples Millions Competition

Sherwood: The Living Legend will protect the fragile ecology of one of the world’s most famous forests so it can be enjoyed by future generations.

"Sherwood Forest is no longer the majestic expanse of woods and heathland that it once was. Industrialisation and the march of time have taken their toll on the ancient greenwood that Robin Hood called home. But that is set to change…
Sherwood: the Living Legend will more than double the core size of the ancient oak forest; provide environmentally friendly visitor facilities; create one of the biggest walking, cycling and horse riding networks in Europe and help local communities celebrate and share their connections to Sherwood’s nature, history and legends.
Most importantly, our project will protect the fragile ecology of one of the world’s most famous forests and its veteran oak trees, so it can be enjoyed by future generations.
A major makeover
We will recreate 300 hectares (or 400 football pitches) of new forest, restoring the beauty of the landscape and wildlife habitat. Amongst the ancient oaks live more than 200 types of fungi, many bats and birds and 1000 species of beetle and spider – some of which are very rare.
A 250-kilometre network of walking, horse riding and cycling routes will provide greater access to Sherwood. The routes will connect to the national cycle network and 20 railway stations, as well as local towns, villages and visitor attractions.
Improving facilities
A new visitor complex called ‘The Tree’ will be built using cutting-edge, sustainable technology and be linked to the ancient forest by a raised walkway. ‘The Tree’ will stand on the edge of Sherwood and will teach visitors all about the Forest and Robin Hood.
Sherwood: the Living Legend will celebrate the unique and distinct character of the people and places that surround the Forest. So whether it’s bows and arrows, birds and beetles, or simply taking a walk with the family in the great British countryside – the improved Sherwood Forest will have something for everyone. "

VOTE FOR SHERWOOD FOREST: 0870 24 24 603 *

Typetalk users should dial 18001 before the number they want to dial.

Lines open at 9am Friday 7 December 2007 and close at 12 midday Monday 10 December 2007.
If you experience any difficulties with phone voting please call 0844 881 4150.

Ink Illustration

This rare ink illustration, was used as a publicity picture for Walt Disney's live-action film, The Story of Robin Hood in 1952.

Elton Hayes

Daily Telegraph Obituary 29th September 2001


"ELTON HAYES, who has died aged 86, was well-known to radio and television audiences of the 1950s as "the man with the small guitar".
Hayes specialised in old English folk songs and ballads such as From Priggs that Snaffle the Prancers Strong and The Ratcatcher's Daughter. He sang to his own guitar accompaniments with an easy charm that came strongly over the microphone.

After making his radio debut on Children's Hour, Hayes occupied the guest star slot on every major radio variety show including In Town Tonight, Workers' Playtime, Variety Bandbox, Terry-Thomas's Top of the Town and Eric Barker's Just Fancy. He occasionally presented Housewives' Choice; and on Children's Hour, he sang Edward Lear's nonsense rhymes. Hayes's version of The Owl and the Pussy Cat was recorded by Parlophone and became a regular item on Children's Favourites.

In 1954 he was given his own series Elton Hayes - He Sings to a Small Guitar, a misquotation from The Owl and the Pussycat that became his catchphrase. This was followed by Close Your Eyes, a late night "bedtime" programme of light music, and Elton Hayes in a Tinker's Tales, in which Hayes, as an itinerant tinker, narrated a story which a cast of actors then dramatised as a musical play. Hayes also wrote the music and songs for the series.

On television he appeared in The Minstrel Show (forerunner of The Black and White Minstrel Show) and BBC Caravan Time, and sang and acted in several television plays.
Hayes was the obvious choice for the part of Alan-a-Dale in The Story of Robin Hood and his Merrie Men (1952), directed for Walt Disney by Perce Pearce. So well did Hayes fill the role that although it had started as a few lines, it grew into one of the film's biggest parts.

Elton Hayes was born at Bletchley, Buckinghamshire, on February 16 1915. Both his parents were actors and he made his first stage appearance aged nine in the prologue of a pantomime at the Canterbury Theatre, while also employed as a call boy and assistant stage manager at a salary of five shillings a week. For years he treasured a presentation watch engraved "To Elton Hayes, the youngest call boy and stage manager 1925/26 from Cheerful Charlie Grantly", the actor who had played Buttons.

As a child, Hayes learned the violin and, in his early teens, won a scholarship to the Fay Compton School of Dramatic Arts, run by the Compton family of actor-managers. There he received an extensive theatrical education "from Shakespeare to operetta and from tap dancing to ballet and the mechanics of theatre production".

His first job was as assistant stage manager with the Old Stagers' Company at the Canterbury Theatre. In his spare time he sang as "Eltonio" at local social clubs, obtained small parts in theatre and pantomime, and took a small part as a dancer in the film The First Mrs Fraser. He also joined a tap dancing troupe on the cine variety circuit, and became part of a four-man musical variety act called The Four Brownie Boys.

Hayes took up the guitar shortly before the war when he accepted one as security from a friend who had borrowed 30 shillings. At the outbreak of war, he was invited by ENSA to put together one of their first mobile units.
Eventually, though, Hayes volunteered for military service and, after being commissioned in the Royal West Kent Regiment, was posted to South East Asia Command. After the Japanese surrender, he hitch-hiked to Bombay where he was appointed OC ENSA North West Frontier Province, based in Rawalpindi.

A few days after arriving back in Britain, he visited Broadcasting House, still in uniform, to watch a Children's Hour broadcast and was immediately taken on to write and perform a slot in the programme based on Edward Lear's Nonsense Rhymes, and given a slot on In Town Tonight. From then on, he was seldom off the air.

In 1949 the actor manager John Clements invited him to appear in The Beaux Stratagem, which ran for 18 months in the West End. It was his performance in this that caught the eye of Perce Pearce, who thought that he would make the perfect Alan-a-Dale in Robin Hood.
The success of the film led to a tour of America, where he made 113 television and radio appearances in eight weeks, including visits to Mexico and Canada. In 1952, he made a solo appearance in The Royal Film Performance and in 1956, appeared in The Sooty Show at the Adelphi Theatre.

Towards the end of the 1950s, however, Hayes found that he was becoming affected by nerves before his live performances. Believing that it would be stupid to continue, he decided to give up performing.
Hayes had already bought a small thatched cottage on the Essex-Hertfordshire borders and, after studying at a local agricultural college, he settled down to life as a farmer, breeding pedigree livestock.

In later life, he took up carriage driving and became a member of the British Driving Society. At the 1989 Lord Mayor's Show in London, he was to be seen dressed in a scarlet uniform, standing behind the team on a Post Office Mail coach blowing Clear the Road on a post horn.
After suffering a stroke in 1995, Hayes had to give up his farm and moved to live with friends, who cared for him until his death.
He married in 1942, Betty Inman, who died in 1982."

(To see all posts about Elton Hayes please click on the label marked Elton Hayes in the right-hand panel or below).

Sir Michael Hordern

Gay Hamilton as Marian Fitzwarren

The Scottish actress Gay Hamilton as Lady Marian Fitzwarren, in a publicity shot for the Hammer Studios 1967 film A Challenge for Robin Hood.

Martitia Hunt

"Hold! I am Eleanor, by the wrath of God, Queen of England. Down on your knees, you traitorous dogs!”

With these haughty lines, Martitia Hunt as Eleanor of Aquitaine, attempts to stop an attack, by the Sheriff’s soldiers, on the royal entourage in Walt Disney’s Story of Robin Hood. A regal role she played with her usual scene stealing ability.

In the Oxford Dictionary of National Biography, Donald Roy describes Martitia thus:

"With an arresting appearance and a dominant stage presence, she proved most effective as strong, tragic characters, her Gertrude in Hamlet being accounted by some critics the finest they had seen."

Martitia was born on a ranch in Buenos Aires, Argentina, to Alfred and Marta Hunt on 30th January 1900. When she was ten, the family returned to England, where Martitia attended Queenwood boarding-school in Eastbourne. She trained as an actress under Dame Genevieve Ward and Lady Benson. And by 1920 she had appeared in her first movie, an obscure 2 reel, silent film, produced by Walter West called The Rank Outsider.

After joining the Liverpool Repertory Theatre, Martitia moved, in September 1929, to London and later, on John Gielgud’s insistence, she joined Harcourt Williams’s Old Vic Company for a season. It was there that she established herself as a stage actress and went on to make notable performances, particularly in Shakespearian plays, such as, Gertrude in Hamlet, Lady Macbeth in Macbeth, the Queen in Richard II and Rosalind in As You Like It, alongside Gielgud.

Like many actors and actresses of her time, Martitia divided her career between stage and film production. In 1932 she made her first ‘talking’ picture debut as Aline, in Alexander Korda’s Service For Ladies. Many supporting, or cameo roles followed, including Aunt Esther in When Knights Were Bold (1936), Lady Francis Brandon Grey in Tudor Rose (1936) (alongside Cedric Hardwick and John Mills) and Lady Bogshott in Good Morning Boys (1937).

With middle age, Martitia finally achieved her greatest success. Firstly with her role as cousin Agatha in the 17th century costume drama, The Wicked Lady (1945) alongside Margaret Lockwood and James Mason. Then with a reprisal of a character she had performed in 1939.

David Lean had seen Martitia as Miss Havesham, along with Alec Guinness as Herbert Pocket, in a stage production of Dickens’s novel, after being taken to the Rudolf Steiner Hall by his wife Kay Walsh. This inspired him to film his later award winning classic, Great Expectations (1946) in which both Martitia and Alec Guinness recreated their roles. This masterpiece proved to be a benchmark in movie production and went on to win two Oscars. One for its art direction and also for Guy Green’s (later director of photography on Disney’s Robin Hood (1952)) black and white cinematography.

Martitia’s brilliant, unforgettable performance, as the mad recluse, Miss Havesham, in the atmospheric setting of ‘Statis House,’ brought her world wide recognition. Three years later she made her Broadway debut in The Madwoman of Chaillot and won a Tony Award for Best Actress (Dramatic) for her 'Countess Aurelia'.

But her success, firmly began to typecast her in roles, as an ‘eccentric grand dame’ or ‘evil aristocrat.’ Gradually she reduced her stage work and in May 1956, played in her last theatre production, as Angelique Boniface in Feydeau’s farce, Hotel Paradiso. This was at the Winter Gardens, with Irene Worth and Alec Guinness, whom she had given voice lessons, at the beginning of his acting career.

More regal roles followed in her film career, including Princess Betty Tversky in Anna Karenina (1948) and the Duchess of Berwick in The Fan (1949).

The tall, stately, velvet voiced, Martitia Hunt, was of course, the perfect choice to play the part of Queen Eleanor of Aquitaine in Walt Disney’s Story of Robin Hood (1952). As the mother of the crusading King Richard I and his scheming brother Prince John, she found herself the linchpin of a divided kingdom, a part, the elegant Martitia, was made for.

Her later, notable films, included Anastasia (1956) as Baroness Elena von Livenbaum with Ingrid Bergman, The Admirable Crichton (1957) as Lady Brocklehurst and as Anna Richter, the story teller, in The Wonderful World of the Brothers Grimm (1962).

In the final years of her career, Martitia once again found herself with regal roles like the Empress Matilda in Beckett(1964) and the Grand Duchess Lupavinova in The Unsinkable Molly Brown, (1964). Her last two films were the mystery thriller, Bunny Lake is Missing (1965) in which she played the part of Ada Ford and the sex comedy, The Best House in London (1969) as the headmistress.

Martitia Hunt died of bronchial asthma at 7 Primrose Hill Studios, Fitzroy Road, Hampstead, London, on 13th June 1969. She was 69.

Robin and his Men.

Malmsey Wine

'Come sing low, come sing high;
Come change thy name to mine
And you shall eat my Capon pie
And drink my Malmsey wine.’

I have used this film and its contents as a springboard to finding out many things associated with the Robin Hood legend. So I have often wondered what was the “Malmsey Wine” that Friar Tuck merrily sings about?

The Greek author Didorus Siculus, living during the 4th century BC., described it (Malvasia delle Lipari ) as ‘the nectar of the gods!’ And it is the high yielding ‘Malvasia’ grape, cultivated in those days of Ancient Greece that makes the popular fabulously rich, sweet, wine, that is seeped in history. It was produced by twisting the bunches of the late– ripening grapes, by their stalks and leaving them to shrivel on the well drained soil, before pressing.

Monemvasia or Malvasia, as it was called by the Franks, was a small rocky island fortress and important Greek commercial port. From here the popularity of the wine rapidly spread all around the Mediterranean and was soon produced in almost every vine growing district; Candia, Chios, Lesbos, Tendos, Tyre, Italy, Spain and the Canary Islands, an important destination on the European trade route. The name ‘Malvasia’ was corrupted in Medieval Latin into Malmasia, by the traders, whence the anglicised ‘Malmsey’ originated. The names Malvasia, Malvazia and Malmsey became interchangeably linked.

Vines had been grown in England since the Roman times, but gradually the climate was cooling and by the 14th Century the practice had died out. So expensive wine (costing twelve times more than ale) was imported from France, Germany and the Mediterranean. The best in the world were considered to be produced by the vineyards in the Canary Islands, where the white, robust, fortified ‘Malmsey’ wine was said to travel well. In 1519 trade relations were established between Bristol and the Canaries and soon after, ‘Malmsey wine,’ was found in the cellars of rich households and royal courts across Britain and Europe.

In England, Malmsey or ‘Canary’ wine, as it was often called, became particularly popular, where it was said to ‘cheer the senses and perfume the blood.’ A ‘barrel of Malmsey wine’ was part of William Shakespeare's annual salary and the great poet and playwright makes numerous references to ‘Canary’ through his various characters.

In ‘Twelfth Knight’ Sir Tobias asks Sir Andrew Aguecheek , “ Oh! Knight, thou lackest a cup of Canary.”

The Bard has Mistress Quickly say to Doll Tearsheet at the Boars Head Tavern in Henry IV Part II Act 2:

“I’faith, sweetheart, methinks now you are in an excellent temperality: your pulsidge beats as extraordinarily as heart would desire; and your colour, I warrant you, is as red as any rose, in good truth, la! But , i’faith, you have drunk too much cannaries and that’s a marvellous searching wine, and it perfumes the blood ere one can say ‘What’s this?’ How do you know?’

It was also William Shakespeare who dramatised the legend of the bizarre execution, in a barrel of Malmsey wine, of George Plantagenet, the Duke of Clarence, at the Tower of London in his ‘Tragedy of Richard III’ Act I Scene IV.

First Murderer: Take him over the costard with the hilts of thy sword, and then we will chop him in the Malmsey butt.

Second Murderer: O excellent devise! Make a sop of him.

First Murderer: Hark! He stirs: shall I strike?

Second Murderer: No, first lets reason with him.

Clarence: Where art thou, keeper? Give me a cup of wine.

Second Murderer: You shall have wine enough, my lord, anon.

The word ‘butt’ is derived from two sources, the Anglo-Saxon ‘bytt’ a wine skin made form ox’s hide and the Danish ‘butt’, a wooden tub or container. Both of these would have held approximately 115 imperial gallons.

The expense books of the great households, during the fourteenth and fifteenth centuries, detail the outlay for huge varieties of different wines. In the sixteenth century fifty-six sorts of ‘small wines’ were recorded, besides thirty kinds of Italian, Grecian, Spanish and Canary. Lady Anne of Cleves did not live extravagantly, yet in 1556 her accounts show that her household had:

'Gascon wine at 18s. the tun, to the value of £6. In the cellar, three hogsheads of Gascon wine at £3 the tun; of malmsey, ten gallons at twenty pence the gallon; and of muscadel eleven gallons at 2s. 2d. the gallon.'

At the feast for the enthronement of William Warham as Archbishop of Canterbury in 1504, the records show that wine, ale and beer were provided in incredibly vast quantities:

‘Six pipes of red wine, four of claret, one of choice wine, one of white wine for the kitchen, one butt of Malmsey, one pipe of wine of Osey, two tierces of Rhenish wine, four tuns of London ale, six of Kentish ale, and twenty of English beer.’

I’m sure a merry time was had by all!

© Clement of the Glen 2006-2007

Bill Owen

More the Merrier

Some critics of Walt Disney’s Story of Robin Hood were surprised by the casting of Richard Todd as the outlaw. They said it flaunted a Hollywood tradition by making Robin Hood a sturdy medium-sized man. In place they said, of the long-legged athlete, head and shoulders above all his rivals mentally and physically.

It had been the legendry cartoon producer himself, who had decided on the Dublin born actor. Todd was invited to Burbank in November 1950 and was given a personal tour by Walt Disney of the acres of sound stages and rows of drawing offices, where the animators were busy sketching.

He seemed to know every single one of the workforce, Todd remembers, every where he went he was greeted with ‘Hi Walt’, and he replied, ‘Hi! Jack-or Fred-or Art-or Lou!’

Eventually, Richard Todd continued in his autobiography 'Caught In The Act', we arrived in his office, a large panelled comfy room with a bar at one end. Before we settled down to talk, Walt proudly showed me how, at the touch of a button, the bar became a soda-fountain for youngsters. He adored children, and delighted in surprising them.

Walt Disney introduced his senior live-action producer, Perce Pearce to Richard Todd and outlined his ideas for the planned film. But Todd was doubtful:

With images of Douglas Fairbanks and Errol Flynn in my mind, I simply could not see it as a vehicle for me. I was not physically built to play a larger-than-life swashbuckler, and I could not see myself swinging from the same Sherwood family tree as the mighty Flynn.

Above all, I considered myself an ‘actor’; not for me the Lincoln Green equivalent of Tarzan.

But Walt Disney was very persuasive and explained that his Robin would be as a quick-thinking welter-weight, not a ponderous heavyweight. But Todd remained unsure.

There was a series of ‘agonised phone calls’ from Todd’s agent in California, Milton Pickman. He told the British actor that it would firstly, be a big international movie and secondly that it would pull in a huge world-wide audience of youngsters, probably seeing their first screen programme, to whom Robin Hood would be a hero for ever. Richard Todd remained unsure and to give himself time he promised to read the new script as soon as it was ready.

After Christmas 1950, Todd had read the latest version of the Robin Hood script and liked it. I was beginning to enjoy the thought of larking about in the forest with a band of merrie outlaws-subject to one proviso: that I should not be doubled by a stunt-man in any of the action scenes. I felt that if I could do the stunts myself, however clumsily, then they would be much more believable. Besides, although perhaps not a very practical attitude for a professional actor, it was a small matter of pride-what would my ex-Airborne friends think if they knew that I had been standing around watching somebody else do the dirty work!

In mid January 1951 Walt Disney’s producer, Perce Pearce arrived back in London. Now that I had finally made up my mind, Todd said, I was thrilled at the prospect of working for the great Disney organisation.

A meeting was arranged at his suite at the Dorchester Hotel with Richard Todd and Maud Spector, the leading British Independent casting director. In the afternoon Todd agreed to play Robin Hood and they spent a couple of hours going through lists of candidates for parts in the film. My only contribution, Todd says, was to suggest James Robertson Justice as Little John and this turned out to be a good idea.

Filming was due to start on 30th April 1951. A gymnasium was set up at Pinewood Studios and under the tutelage of top British stunt man, Paddy Ryan, Todd worked out almost every day:

I practised back flips and tumbles that I hadn’t tried since my early army days. Rupert Evans, a former Champion at Arms of the British Army, coached me in sword-play and he and Paddy worked with me throughout the picture. In addition, I had hours of tuition in archery and practice on horseback, with and without bows and arrows. I may not have been the greatest celluloid Robin Hood, but I was certainly going to be the fittest!

Ken Annakin, Disney’s director on ‘Robin Hood,’ described Richard Todd as a .......popular British stage actor, who was no acrobatic movie idol like Errol Flynn or John Barrymore. He was, in fact short like Alan Ladd, and often had to be stood on an apple box, or walk on a plank beside Maid Marion, so that one didn’t notice the discrepancy in height. But Richard was a good trouper.

Nearly sixty years later, we seem to have come full circle! The BBC’s new television series of Robin Hood has had similar mutterings from critics about the hero being a bit on the puny side! One newspaper reporter wrote that the actor playing the outlaw needs to get down the gym and eat some pies!

These harsh words must have affected Jonas Armstrong who plays the leader of the merry men. He admits that when he saw a picture of himself during the launch of the first series, “I looked a bit thin. So I got a personal trainer and I’ve put on a stone and a half in muscle. I now train four times a week and I feel a lot fitter. The stunt guys have been telling me: ‘You look much more confident in your body!’”

Clement McCallin and Joan Rice

Working for Walt Disney

When asked recently how often Walt Disney visited the 'Robin Hood' set at Denham Studios, Ken Annakin replied that the great man didn’t stay very long. It was no more than half a dozen times, sometimes in fact, less than two or three hours, while they were shooting a scene.

It was Perce Pearce, Walt Disney’s chosen producer, who interviewed Ken Annakin at Denham, for the job of director, on the movie. Annakin finally met Disney when shooting had begun. He had already, according to Annakin, set the overall key of what he wanted. Disney was never looking over his shoulder, but the whole movie was sketched out by artists, the way he wanted, and approved by him. Something Ken Annakin had never experienced before.

Disney trusted Perce Pearce as the producer, Annakin said, he came to trust me as the director. He had a great, great trust in Carmen Dillon, Annakin continued, Disney was, dead right in choosing her, his reliance was one hundred percent.

Carmen Dillon was given the responsibility of designing and checking the historical accuracy of everything from props and costumes to the huge historical sets. She would stand quietly and have her say, only, if a prop was used wrongly. I had the final say as director, Annakin said, but one couldn’t have done it without her. Carmen Dillon went on to work for Disney and Annakin a year later, on ‘Sword and the Rose’.


Annakin was also asked if he was concerned about previous films about Robin Hood. We didn’t have Errol Flynn he replied, but no, he wasn’t. All the things we had in the picture were very British and very true. They went up to Sherwood Forest and Nottingham, he said and the script was written, as accurately as possible from all the records. After all, Annakin continued, Walt was making his picture, his version. I think we came up, with Walt’s insistence on truth and realism, probably as near (to the real story) as makes any matter.

At the end of shooting the film was taken back to America, where the whole of the post sync work and post production work was done. As director, Annakin said, he was not called in to help with that. It wasn’t in fact, until he made his fourth picture for Walt Disney, ‘Swiss Family Robinson’ that he was allowed to do anything with the editing or say anything about the music, or anything! Once you had shot it, that was your job as director!

Holiday Postcard

I could not resist showing this traditional British holiday postcard after returning to the shores of England after a weeks vacation.

One Year of the Story

This is the tale of Robin Hood
And of his merry men........

And with Alan a Dale’s opening song from Walt Disney’s ‘Story of Robin Hood’ I began my first posting a year ago. I would like to thank all those that have left their kind words of encouragement in my message book or on the site over this period. There are two people in particular who have added links to this site from their web pages who I would like to thank. Anna Fraser on the ‘Robin Hood Appreciation Society’ site and ‘Robin Hood’ on his ‘Robin Hood 2007.’ Both of these sites are incredibly informative and well worth regular visits (links to their sites can be found in the right-hand column).

During the past 123 postings we have had a look at Denham Studios, some of the lives of the stars of the movie, including James Robertson Justice, Bill Owen, Joan Rice, Peter Finch and others. Also featured was the genius behind the movie, Walt Disney, and the amazing talents of Carmen Dillon, Ken Annakin and Peter Ellenshaw.

Other topics in the years postings, have included the release of the Story of Robin Hood on 8mm Disney Home Movies and the film’s showing on the luxurious cruise ship Caronia.

But this blog is also about the fascinating legend of Robin Hood. So we have examined a couple of the early ballads about the outlaw, the original size of Sherwood Forest, the ruthless rules of medieval forest law and its penalties, Friar Tuck, archery, the quarter-staff and the mystery surrounding the legends of Will Scarlet’s and Little John’s graves. All these posts are labelled in the right hand column where they can be easily accessed.

I am taking a short break, but will be back soon. In the meantime it would be great to hear from some of you. Your comments are always very welcome and encouraging, so please, if you are a first time visitor, or one of my regulars, please drop a line! When did you first hear the story of Robin Hood? Why do you think an English medieval outlaw with a wooden bow and arrow is still popular all over the world in the twenty-first century? Have you seen the new BBC series of Robin Hood and how does it compare to past productions?

See you in about a week!

A Gest of Robyn Hode

Above is one of the earliest images of Robin Hood. It comes from the first page of the Gest of Robyn Hode (c.1508) by Scotland’s pioneer printers Walter Chepman and Androw Myller. This Chepman & Myllar print of the Gest is in the National Library, Edinburgh. But this woodcut image of Robin Hood had also been used before, by one of the first printers of English books, Richard Pynson (1448-1529) as an illustration of the knight’s yeoman, in his edition of Geoffrey Chaucer’s Canterbury Tales (1491) shown below.

Joan Rice

Robin Hood and the Monk

We have recently looked at the extremely complex Lytell Geste of Robyn Hode which was appearing in print by about 1510. But the earliest surviving Robin Hood ballad is the ‘talking of the munke and Robyn Hode’, or as it is more commonly known, Robin Hood and the Monk, which is dated at some time after 1450.

Dobson and Taylor in their ‘Rymes of Robyn Hood’ (1989) describe Robin Hood and the Monk as the 'supreme example in medieval English literature of the genre of yeoman minstrelsy.' And the great American collector of ballads, Professor Francis James Child (1825-1896) said, ‘too much could not be said in praise of this ballad, but nothing need be said.’

‘Robin Hood and the Monk’ can be found in a Cambridge University manuscript Ff.5.48. together with The Turnament of Tottenham, The Clerk and the Nightingale and various devotional pieces. The section containing the ballad of Robin Hood has been damaged by damp, but the main problem according to Dobson and Taylor, is the carelessness of the scribe when copying the text into the manuscript, leaving a quite lengthy passage missing, between stanzas 30-31. Although the late fifteenth century handwriting of the anonymous scribe, is described as ‘very clear’ and ‘cursive’ .

There are two important points to note. This tale would have actually been heard by audiences of the late fifteenth century before the ballads were transferred to print. Also, Robin Hood and the Monk is the only surviving early ballad that has no reference to the outlaw's Yorkshire haunts. It is set in mery Scherwode, where Little John knows every path.

The ballad begins:

In somer, when the shawes be sheyne,
And leves be large and long,
Hit is full mery in feyre foreste
To here the foulys song.


To se the dere draw to the dale,
And leve the hills hee,
And shadow hem in the leves grene,
Under the grene wode tre.

Hit befell on Whitsontide,
Erly in a May mornyng,
The sun up feyre can shyne,
And the briddis mery can syng.

It has been a fortnight since Robin has heard Mass, so he decides to make amends and take Little John with him to Nottingham.

Than spake Moche, the mylner sun,
Ever more wel hym betyde!
‘Take twelve of thi wyght yemen,
Well weppynd, be this side.
Such on wolde thi selfe slon,
That twelve dar not abyde.’

But Robin will take none but Little John to ‘beyre my bow’. On the way they quarrel over a game of ‘shooting a penny.’ Robin strikes Little John with his hand and his loyal companion draws his sword.

‘Were thou not my maister,’ seid Litull John,
‘Thou shuldis by hit ful sore;
Get the a man wher thou wilt,
For thou getis me no more.’

They both go off in a temper.

While Robin is praying in the church of St. Mary’s in Nottingham, he is recognised by a ‘gret-hedid munke’ who runs off to inform the sheriff. On the way the monk orders all the town gates to be closed.

‘Rise up,’ he seid, ‘thou prowde schereff,
Buske the and make the bowne;
I have spyed the kynggis felon,
Ffor soothe he is in this town.’

The monk continues:

‘This traytur name is Robyn Hode,
Under the grene wode lynde;
He robbyt me onys of a hundred pound,
Hit shalle never out of my mynde.’

When the sheriff and his men arrive at St. Mary’s Church, Robin begins to wish he had not quarrelled with Little John. He manages to kill twelve with his two-handed sword, but becomes over powered when his sword breaks on the sheriff’s head.

Due to damage and a section missing from the manuscript we are suddenly in Sherwood Forest, where the outlaws fall swooning at the news of their leaders capture. But Little John tells them to pluck up their hearts :

‘He has servyd Oure Lady many a day,
And yet wil, securly;
Therfor I trust in Hir specialy;
No wyckud deth shal he dye.’

The monk and his page are then told to travel with a letter telling the news of the capture of Robin Hood to the king. But they eventually meet up with Little John and Much, who have spent the night at the house of Much's uncle. 'The hye way was full nere.'

John asks the monk of news about a ‘false outlaw’ who robbed Much and himself of 20 marks. The monk replies that Robin Hood once stole one hundred pounds from him and they may thank him for laying hands on the outlaw first.

The two yeoman then suggest that they should accompany the monk, as many outlaws are lurking about. So Little John leads the monk’s horse, whilst Much leads that of the page.

Suddenly Little John pulled the monk off his horse by the hood and let him fall to the ground.

‘He was my maister,’ seid Litull John,
‘That thou hase browght in bale;
Shalle you never cum at our kyng,
Ffor to telle hym tale.’

John smote of the munkis hed,
No longer wolde he dwell;
So did Moch the litull page,
Ffor ferd lest he wold tell.

John and Much then bury the monk and his page and set off with the letters to the king.

‘God yow save, my lege king!’
To speke John was full bolde;
He gaf hym the letters in his hond,
The kyng did hit unfold.

The kyng red the letters anon,
And seid, ‘So mot I the,
Ther was never yoman in mery Ingland
I longut so sore to se.’

They explain to the king that the monk had died on his way to London, so the monarch gives John and Much £20 and makes them yeoman of the Crown. The king then gave Little John a seal with instructions to the sheriff to let Little John and Much escort Robin Hood to London.

Little John and Much return to Nottingham, but find all the town gates locked. When Little John asks the porter why, he replies that it is through fear that Robin will be rescued by his men.


Litull John spyrred after the schereff,
And sone he hym fonde;
He oppyned the kingus prive seell,
And gaf hym in his honde.

The sheriff asks what has happened to the monk, Little John replies that the king has made him abbot of Westminster ‘a lorde of that abbay’.

The scheref made John gode chere,
And gaf hym wyne of the best;
At nyght thei went to her bedde,
And every man to his rest.

When the scheref was on slepe,
Dronken of wyne and ale,
Litul John and Moch for soothe
Toke the way unto the jale.

Little John calls the gaoler and tells him that ‘Robyn Hode had brokyn prison’.

The porter rose anon sertan,
As sone as he herd John calle;
Litul John was redy with a swerd,
And bare hym to the walle.

Robin is unbound and given a sword. Once outside the outlaws then make for the lowest point of the wall and jump to freedom.

Be that the cok began to crow,
The day began to spryng;
The scheref fond the jaylier ded,
The comyn bell made he ryng.

The sheriff causes the town (comyn) bell to be rung and makes it known that whoever can bring Robin Hood to him, ‘wheder he be yoman or knave’, shall have his reward.


The scheref made to seke Notyngham,
Both be street and stye,
And Robyn was in mery Scherwode,
As light as lef on lynde.

Once in the forest Little John explains that he has done his master a good turn for an evil one and it is time for him to leave. But Robin will not let him go and offers him leadership of the outlaw band. Little John declines, but says, ‘lat me be a fellow.’ Robin’s men then celebrate their leaders safe return.

They filled in wyne and made hem glad,
Under the levys smale,
And yete pastes of venison,
That gode was with ale.

Meanwhile the king hears how Robin Hood had escaped and the sheriff dared not come to see him.

Then bespake oure cumly kyng,
In an angur hye:
‘Little John hase begyled the schereff,
In faith so hase he me.’

The king explains that the sheriff might have died for his negligence had he not been tricked as well.

I made hem yemen of the crowne,
And gaf hem fee with my hond;
I gaf hem grith, seid oure kyng
Thorowout all mery Inglond.

Such yeoman as these, the king says, ‘in all Inglond ar not thre.’

‘He is trew to his maister,’ seid our kyng,
‘I sey, be swete Seynt John,
He lovys better Robyn Hode
Then he dose us ychon.

‘Robyn Hode is ever bond to hym,
Bothe in street and stalle;
Speke no more of this matter,’ seid oure kyng,
‘But John has begyled us alle.’

Thus endys the talking of the munke
And Robyn Hode I wysse;
God, that is ever a crowned kyng,
Bryng us all to his blisse!

Amen.

Martitia Hunt and Richard Todd

Robin et Marion

The association between Robin Hood and Maid Marian, is believed by most scholars, to have arisen through the many rustic spring and summer festivals. One remarkably early link between these two names is in the French pastourelle play, Le Jeu de Robin et Marion, created at the Court of Naples for Charles of Anjou about 1283 by Adam de la Halle (1235?-1288?) one of the last French trouveres.

The trouveres were troubadours from northern France, between the 11th to the 14th century, whose beautiful poetry and songs celebrating love or ‘fine amour’ were composed in the northern dialects of France. The first trouveres appeared in the court of Marie de Champagne, sister of Richard the Lionheart, in about 1170. Some 2130 poems and songs have survived by these entertainers, including work by King Richard’s faithful legendry trouvere, Blondel de Nesle (c.1155-1202).

De la Halle, Adam of the Market, Adam the Uneven One, or Hunchback of Arras as he was also known, was a trouvere poet and musician from Arras, in the centre of the Artois region of France. He is credited with over sixty musical combinations and is often described as the innovator of the earliest French secular theatre. His combination of music and drama led to the beginning of Opera Comique.

The exact date of his birth is not known but it is considered to have been sometime between 1235-1240. Adam is believed to have been the son of a ‘Master Henry the Uneven One who is employed in Arras’. He studied grammar, theology and music at the Cistercian Abbey of Vaucelles near Cambric and went on to the Notre Dame School in Paris. He later married Marie who is often the subject of many of his chansons.

As a member of the Brotherhood of Jugglers and the Middle Class men of Arras, Adam de la Halle moved in courtly circles, and in 1271 he became one of the train of Robert II Count of Artois (1250-1302). His use of the name Robin, may be a droll reference to his patron.

The date of de la Halle’s death is controversial, but it is generally agreed to have been in Naples, about 1288.

Robin et Marion survives in various manuscript sources and is probably the first play with music, on a secular subject by a single composer. The play, based on a popular widespread refrain, Robins m’aime, Robins m’a: Robins m’a demandee : si m’ara , became popular all over Europe. A performance was recorded in a letter of remission for the first time at Angers in the Loire Valley in 1392:

Jehan le Begue and five or six other students, his companions, went round the town of Angers, masked, to perform a play called ‘Of Robin and Marion’ as in customarily done each year during the Whitsuntide fair by local people, whether students, burghers’ sons or other groups.

It must be stressed that Robin, the country boy- the lover of Marian the shepherdess- is not an outlaw. But this theatrical adaption of the pastourrelle, the story of Marion’s near seduction by a knight had a very large influence on the English May Games. The English poet, John Gower (c.1330– 1408) in his Speculum Mediantis (Mirroir de l’Omme), a work of 30,000 lines written between 1376-78 describes Robin and Marion’s role in the village festivals and goes on to condemn monks that revel and follow the rule of Robin, rather than Saint Augustine.

De la Halle’s play was originally accompanied by lively dancing, singing and folk music, including instruments such as cornets, bagpipes and a drum. His compositions can still be seen today.

Below are translated excerpts from the first scene of his play :

Marion:
Robin loves me, Robin is mine,
Robin wants me, he shall have me.
Robin has bought for me a fine scarlet dress, a petticoat and belt,
A leur i va !
Robin loves me, Robin is mine,
Robin wants me, he shall have me.

Knight:
I am returning from tournament
And I find Marion alone
The girl with the gorgeous body.

Marion:
Oh! Robin, if you love me,
Save me, for love’s sake!

Knight:
God give you good day,
Shepherdess !

Marion:
God keep you, sir!
————————————————————————————
Marion:
Robin’s not like his sort,
He’s much more merry:
He stirs up our whole town
When he plays his bagpipes.

Knight:
Now tell me, sweet shepherdess,
Could you love a nobleman ?


Marion:
Back off, fine sir.
I don't know any nobleman;
Of all the men in the world,
I only love Robin.
It’s his custom to seek me out here
Every day, evening and morning;
To bring me some of his cheese.
(I’ve got some of it left in my bodice
As well as a big hunk of bread)
Which he brought me at dinner time.

Knight:
Well now, tell me pretty shepherdess,
How would you like to come with me
On this lovely palfrey
And play games
Down by that thicket
In the valley ?

Marion:
Oh dear! Sir, back off your horse
It nearly kicked me,
Robin’s horse doesn’t lash out
When I walk behind the plough.

Knight:
Shepherdess, be my love
Please grant my request.

Marion:
Sir, keep away from me:
It’s not seemly for you to be here.
I was very nearly kicked by your horse
What is your name?

Knight:
Aubert.


Marion:
You are wasting your time, Sir
Aubert,
I shall never love anyone except Robin.



© Clement of the Glen 2006-2007

Elton Hayes

The Shrouded Green Mask

The Shrouded Green Mask

In a dark dense forest, centuries past, a green mask was hammered into a tree, held fast by an ornamental nail. Shrouded in the swirling mists of countless seasons, and framed by its bare, slate grey branches, the face on the mask contorted to the dreams of each icy evolution of man.

Meanwhile, cocooned inside their humming, neon lit, corridors of scholarship, the crusty investigators continuously scour their patterned parchment, in an attempt to lever the golden nail from its gnarled bark.

The all gleaming eyes, behind the mask, smile in defiance though and give forth an infallible sparkle, as the warming golden orb begins, once again to remove the glistening shroud of winter. Soon a flourishing cascade of leaves will encompass the mask, as yet another generation will skip amongst the flowing ferns and fire their dreams from a twisted yew, into the cloudless blue heavens.

The hidden man will smile his merry smile and blow his ghostly horn, whispering amongst the bristling branches and echoing about the hazy glades. The exquisite nail holding the ancient green mask, will forever be transfixed into the entangled roots of the rich tapestry of the summer greenwood.

Clement of the Glen

The Size of Sherwood Forest

Above is a map of the Royal Forest of Sherwood in the 13th Century. Many fiction writers and enthusiasts of Robin Hood, often give wildly exaggerated descriptions of its extent. But by the time of the death of King John in 1216, the great forests of the North and Midlands, including Sherwood had been considerably reduced.

In 1218 Sherwood’s boundaries were defined for the first time by King John’s son, Henry III (1216-1272). Henry instructed a group of knights and freemen to set out on a journey and record its size. Their route around Sherwood Forest is described thus:

“........leaving by Stoney Street in Nottingham they road through Whiston [then a hamlet on the Nottingham to Mansfield road] to Blackstone Haugh [by the Dover Beck] to Rufford and following the way to the village of Wellow on to the King’s ford. They then headed west across the north boundary following the water [River Meden] to Perlethorpe and Pleasley. Thence by Newboundhill to Windhill [now travelling south] -and thence by the hedges between the roads of Sutton and Kirkby to the middle of the pond at Newstead Priory, and so by the river Leen to the Trent.

During the reign of strong and powerful kings like Henry II (1154-1189) forests were extended, but with weaker monarchs, the reverse was the case. Sherwood was roughly triangular with slight changes occasionally. In 1232 the area south from Oxton to Lowdham and the Trent was included. But for most of the early Middle Ages, Sherwood Forest's boundaries, as defined in 1218 remained constant.

Royal Sherwood: Nottinghamshire County Council
The Quest For Robin Hood: Jim Lees
The Sherwood Forest Book: H.E. Boulton (ed.)

James Robertson Justice

James Hayter

James Hayter was personally chosen for the part of Friar Tuck by the director of Disney’s Story of Robin Hood, Ken Annakin. Hayter had just played the role of a verger in Annakin’s last production, Trio (1950) based on three stories by Somerset Maugham. During the early days of filming in March 1951, Annakin began screen testing Hayter for the part of the merry priest, exploring the character’s various possibilities. But as they fooled around and generally went ‘over the top’, Annakin was stunned to turn around and see Walt Disney and the producer of the film, Perce Pearce standing behind him.

Disney was not impressed and took Annakin to one side.
“You seem to have a very-laid back relationship with your actor, Annakin", he said.
The embarrassed director tried to explain that they had just finished a film together and were exploring how much joviality they could get away with, in the role of Friar Tuck.
“He can be played in several ways ,” Disney interrupted, “I’ve always seen him quite clearly in one way. I’d like to see the stuff you have shot.”

As they turned to walk away, he said, “I hope your not going to be cynical about these fine old English characters Annakin, they’re classics, you know and I don’t want them spoofed. I see the character something like this.......”

Then Walt Disney sat on a ‘prop rock’ by the river and began to sing Friar Tuck’s song from the film, Come Sing Hi , including a conversation with an imaginary Robin Hood. He knew all the lines by heart and earned himself a round of applause from the film crew. James Hayter went on, of course, to become for many the archetype, Friar Tuck.

‘Jimmy’ Hayter was born in Lonuvla, India on 23rd April 1907, the son of a police superintendant. He began his education in Scotland and it was his school headmaster who spotted his obvious talent and encouraged him into becoming an actor. Hayter later graduated to the Royal Academy of Dramatic Arts (RADA).

He made his stage debut in My Fair Lady as Alfred Dolittle in 1925, a part he played for five years in the West End and later on tour. Jimmy also went on to tread the boards in London in notable productions such as 1066 And All That and French Without Tears. After managing theatre companies in Perth and Dundee and appearing in various repertory theatre productions, his first film appearance came as the character Jock, in the mediocre Brian Desmond version of the play Sensation, in 1936. Hayter then went on to make five more movies before the outbreak of war.

After serving in the Royal Armoured Corps during the dark days of World War II, Jimmy made television history, when he was chosen to play the part of Mr Pinwright, the owner of a small multiple-store, in the BBC’s first recognised half-hour situation comedy series, Pinwright’s Progress in 1947.

His cherubic comedy style soon established him with a whole host of regular film parts and James Hayter became one of the busiest character actors in British film history. Notable early roles include, Nicholas Nickleby (1947) in which he played the twins Ned and Charles Cheeryble, The Blue Lagoon (1949) as Dr Murdoch, Morning Departure (1950) Tom Brown’s Schooldays (1951) as Old Thomas, The Story of Robin Hood and his Merrie Men, (1952) and The Crimson Pirate (1952) as Professor Prudence.

Apart from his memorable portrayal of Friar Tuck in 1952 (a part he would re-create in the 1967 Challenge For Robin Hood) James Hayter is probably best remembered, in that very same year, for his ‘perfect’ role as Samuel Pickwick in the adaption of the classic Charles Dickens novel, The Pickwick Papers. The success of the movie prompted a BAFTA nomination for him as Best British Actor in 1953. Alexander Gauge, who played Friar Tuck in 89 episodes of the hugely successful TV series The Adventures of Robin Hood, also appeared in the film, as Tupman.

Hayter later joined Alexander Gauge and the rest of the television crew of The Adventures of Robin Hood, when he played the part of Tom the Miller in 2 episodes of that classic series.

Jimmy remained just as busy in the television studio as on the film set and appeared in a whole host of early productions. Including, Douglas Fairbanks Jr. Presents, Fair Game, The Moonstone, The Avengers, Man From Interpol, The Flaxton Boys, Wicked Women and Dr Finlay's Casebook.

With seven children to support, James Hayter continued to work phenomenally hard in the film industry and went on to appear in over 90 movies, some classics such as: Calling Bulldog Drummond (1951), The Big Money (1958), I Was Monty’s Double (1958), The 39 Steps (1959) and Oliver (1968).

It was in 1970 that Jimmy re-joined Geoffrey Lumsden and Joan Rice; colleagues from Disney’s Story of Robin Hood, in The Horror of Frankenstein. This was the fifth in the series of Frankenstein films made by Hammer, but it is best described as a dreary and disappointing movie. Hayter’s television career was, on the other hand, far from dull, with continuing work in many popular productions of the time, including Doctor at Large, Hunter’s Walk and The Onedin Line.

Towards the end of his long and illustrious acting career, Hayter was chosen by comedy writer and producer, David Croft, to appear as a new assistant in his successful TV series Are You Being Served. Croft said:

"James Hayter had not worked for me before, but he was a well known featured player in movies over here,” Croft remembers, “ and as far as I was concerned was the only candidate providing he was available and willing to play the part."

So as the mischievous Percival Tibbs, Hayter appeared in 6 episodes of Are You Being Served. Unfortunately for many years, Mr Kipling Cakes had used his distinctly fruity voice, for their advertisements on British television and the company did not like the character he now portrayed in this series.

They thought the personality of the character he portrayed was unpleasant and had an air of indignity that might put the viewing public off buying their “exceedingly good cakes”!

Hayter at first argued that he was free-lance and could chose to play any character he desired, but when Mr Kipling Cakes finally offered him three times his BBC salary for the next series, not to do it and terminate his contract, he accepted.

The cast of Are You Being Served were very disappointed to see such a successful comedy talent leave, but he confessed, “if they are prepared to pay me three times as much not to it, then I wont do it– at my time of life, I have no more ambition.”

James Hayter died in Spain aged 75 on 27th March 1985.

© Clement of the Glen 2006-2007

(To see all posts about James Hayter please click on the label 'James Hayter' marked in the right-hand panel or below).