Monday, January 14, 2008
Old Father Thames on Film
I haven’t been listening to my audiobook of Peter Ackroyd’s ‘Thames’. It was sitting down to watch the ‘Fantastic 4’ (2007) with my kids that prompted me to think our glorious river. There is an incredible (or should that be ‘fantastic’) scene where the Silver Surfer drains the Thames dry. One of the finest apocalyptic visions of London I’ve seen on film and actually one of the finest visions of London.
The Thames is a key image for establishing London as the setting of a film so pretty much any London-set movie will have its ‘Thames shot’.
I started to have a quick rummage amongst my dvds for other key images of the river that gave us the city, shots that show us a how its representation has evolved.
This scene from the Lavender Hill Mob (1951) really struck me when I first saw it (along with Blitzed views from Holborn Viaduct) just for how accessible the working river of the 1950’s was. I’m guessing that this scene was shot somewhere between Waterloo and Blackfriars Bridges, judging from the city spires in the background, now a moribund stretch of managed footpath.
The Sandwich Man (1966) surely has one of the best sequences ever shot on the Thames starting with lead actor Michael Bentine joining a queue for the river taxi (somewhere up west past Westminster) and then witnessing as a fashionable party set out on a punt which is set into a vortex by a careering water-skier sending them into the path of a practising rowing team coxed by Eric Idle who are then sunk, which causes the team’s coach to fling himself off a bridge with a life-belt around his waist resulting on the water-skier being splayed across the front of a pleasure cruiser. It is rounded off by Bentine cadging a lift in a car that converts to a boat and carries him home along the river to a pre-yuppified docklands.
The stills from The Flipside of Dominick Hide (1980) are not so much in for the distinctiveness but the fact that they are the views from a time-travelling flying saucer – the only such scenario I can think of involving an aerial view of the Thames.
And Keiller’s opening image of Tower Bridge from London (1994) with Paul Schofield’s dryly camp narration is one of the river’s definitive cinematic appearances.
That was as far as I got as I then got drawn into re-watching ‘The Flipside of Dominick Hide’.