I’m All Right Jack – Not the Musical

Posted on by Sloane Snodgrasse
Cinema, Popular Culture, Regional History, Social History

❛ Wherever you look, it’s a case of “Blow you, Jack, I’m all right”. ❜

(Stanley Windrush)

☬ ☬ ☬ ☬ ☬ ☬ ☬

The Boulting Brothers created some of postwar Britain’s most distinctive films across several genres, but it is their joyous 1959 comedy I’m All Right Jack that stands tallest in the film-making twin brothers’ oeuvre of cinematic comedy classics.

I’m All Right Jack takes up pretty much where it’s prequel, Private’s Progress, left off. The protagonist of both movies is the gullible and seemingly gormless Stanley Windrush (played to a tee by Ian Carmichael). Naive and good-natured, the persona of Stanley can be best summed up as epitomising the bungling, accident-prone, upper class twit.

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In Private’s Progress Windrush “pussyfoots” his way through his army war service, causing unintended mayhem and allowing himself inadvertently to be duped…then by mistake he precipitates a chain of events leading to the capture of a division of enemy German soldiers and ends up an accidental war hero of sorts!

In I’m All Right Jack the Boultings reprise several of the previous film’s characters and actors…as well as ‘Stanley’ there is his scheming, unscrupulous “Uncle Bertie”, Bertram Tracepurcel (played by the urbane Dennis Price) and his harassed personnel manager, “Major Hitchcock” (the gap-toothed “professional cad” Terry-Thomas). Richard Attenborough plays “Sydney Cox”, Tracepurcel’s co-conspirator in perfidy and supposedly Stanley’s old friend from the war – the smoothest of smooth con men!

Ian Carmichael (Stanley) ◬ with ‘IARJ’ co-star Liz Fraser

I’m All Right Jack satirises 1950s British society, still coming out of the straitjacket of postwar austerity, with sabre-like sharpness. The Boultings’ film fixes its microscope on industrial relations in a missiles production factory, exposing both the bosses and its blue collar workforce as unconscionable and utterly self-serving, solely out for what they can get for themselves! The Boulting brothers are “equal opportunity satirisers”, skewering management and labour alike to a commensurate degree. For both sides of the workplace divide, self-interest is unchallengingly the “drug of choice”, hence the film’s title⍟. The Boutlings also dish up a few  barbs aimed at the fact-loose world of advertising along the way.

◬ Stanley’s bubble-car at the gate of Missiles Ltd

The film portrays the plant workers as work-shy and devious in their tunnel-visioned pursuit of the singular goal of doing less work than they are required to do✥…Stanley unknowingly upsets the “apple-cart” by demonstrating to the company’s T & M man (the ever-dour John Le Mesurier – another Boulting recruit from Private’s Progress) just how much work can actually be done in a day if one makes a “fair dinkum” effort (and of course this results in him being ostracised by the factory’s union). The factory management show themselves to be equally duplicitous – engaged in enriching themselves through a corrupt, clandestine arms deal with a swarthy, shonky Middle Eastern intermediary.

I’m All Right Jack also takes a comical pot shot at other societal institutions of the day – government for its torpid ineptitude, the English class system, advertising and the tabloid media for their falseness and alarming capacity to sway public opinion – lampooning each of them in turn! The Boultings are showing a Britain that is corrupt at its core, one that unearthed a late 1950s generation of “angry young men” dissatisfied with the blandness of society of the status quo [‘I’m All Right Jack review – Philip French on the Boulting brothers’ biting state-of-the-nation satire’, The Guardian, 18-Jan-2015, www.guardian.com].

Peter Sellers as Fred Kite is the movie’s stand-out, producing a gem of a performance. Kite is the comedy’s pivotal character, the chief shop steward who orchestrates the factory floor’s “go-slow” work culture, zealously obstructing management at every opportunity. “Red Fred” is your archetypal ‘Bolshy’ minor trade union official (with a Hitlerian moustache), but a union ‘heavy’ more ridiculous than menacing…a “Stalinist Don Quixote, tilting with alarming predictability at the windmills constructed by his own class enemies” [Timeout, www.timeout.com]. Sellers’ ‘Kite’ is given to awkward, Gothic turns of phrase and a pompous, halting, almost robotic mode of speech…in his essence he is hilarious as a blinkered Sovietphile idealist: “Ahhh (he sighs wistfully), Russia. All them corn fields and ballet in the evening”❂ [‘ I’m All Right Jack and The Organizer: Bread and Roses and a Lot of Laughs’, Criterion, (Michael Stragow), 19-Jan-2018, www.criterion.com].

Sellers as Kite (centre) ◬

The success of I’m All Right Jack (it was the number one box office hit in the UK for 1959 and winner of a BAFTA award) triggered a number of British films focussing on the world of worker/management relations – including the diametrically different in tone The Angry Silence (1960) (also with Richard Attenborough).

The film climaxes with Stanley, having finally ‘twigged’ to the IR game he has unwittingly been a pawn in, exposing both sides for their greed and duplicity on national television. I’m All Right Jack ends with Stanley ‘retiring’ to a rural nudist colony…he is invited by a bevy of naked women, discretely obscured by a hedge (it was 1959 after all!) to a game of tennis. The characteristically nervous Stanley bolts at the suggestion and is last seen hareing full-tilt across a meadow frantically pursued by the bare damsels.

PostScript: A punchline for the nascent anti-Apartheid movement
The Boultings’ film resonated in unexpected circles. The New Zealand Rugby Union, unwilling to offend South Africa’s racist policy of non-contact between whites and non-whites in sport, declined to select any Māori players for the 1960 All Blacks tour of South Africa (the Nash Labour government was fully complicit in this gutless act of appeasement). The ensuing controversy provoked widespread protests within NZ (a call for “No Maoris, no tour”) and a most memorable placard inspired by the film: “I’m All White, Jack!”

(Photo: Marti Friedlander)
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✲ directed by John Boulting, produced by brother Roy, and written by John with Frank Harvey from a novel by Alan Hackney (the same creators of Private’s Progress)
⍟ “I’m All right Jack” (of naval origin) was a popular UK expression of the period, meant to signify a smug and complacent self-centredness
✥ a recurring Boulting theme…in both Private’s Progress and I’m All Right Jack Windrush enters a world of “gold-bricks”, people doggedly determined to go the last mile to evade work of any kind
❂ apparently BBC Television in 1979 canned a scheduled screening of I’m All Right Jack for fear that Sellers’ ‘Kite’ might prejudice viewers against the Labour Party in an upcoming election! [ibid.]

The ‘Aggie’, Apia’s Landmark Hotel and One Legendary Samoan Entrepreneurial Hotelier

Posted on by funambulator@live.com
Memorabilia, Popular Culture, Regional History, Social History, Travel

An essential part of a tour of Independent Samoa’s main island, Upolu, is a trip to Aggie Grey’s…Samoa’s historic hotel in Beach Road on the western bank of the Vaisigano River. The place is a South Pacific institution, as was its legendary eponymous founder.

Aggie Grey’s Hotel (#77) ⍗

96002492-5F6A-4A82-B47C-08CCB7E50815The ‘Aggie’ of Aggie Grey’s was born Agnes Genevieve Swann✲, the offspring of an English pharmacist from Lincolnshire and his Samoan wife, a local taupou (a ceremonial maiden). Business seemed to be in Miss Swann’s DNA – in her early twenties she opened her first club in Apia, the Cosmopolitan Club, and in 1933 started a Samoan private tourism company, Grey Investments (later called the Grey Investments Group).864D0B42-1B18-4F68-9DD0-62BDB0E91AB7

No luck with ‘Kiwi’ spouses

The early death of Aggie’s first New Zealand husband left her without support and with four children to care for…the addictive gambling of her second husband squandered what money they had. In addition Aggie now had three more children and desperately needed to find a way to revive and consolidate her precarious financial situation.

With the advent of the Pacific War and American involvement, the resourceful and inventive Aggie eventually found the solution in 1942. She had earlier borrowed US$180 to purchase a colonial home which previously had been the “British Club”. As New Zealand’s prohibition laws were in force in Western Samoa⊡, Aggie started ‘Aggie Grey’s’ as a snack bar selling hamburgers and coffee to US servicemen on their tours of duty [Lonely Planet Samoan Islands, (M Bennett, D Talbot & D Swaney) (4th Ed 2003)].

The Hotel, 2006 ⍐

The American GIs in the South Pacific had plenty of money to splash around on their R & R activities, but the prohibition on liquor was a hand-brake on Aggie’s capacity to grow her business. Aggie found a inventive method of circumventing the ban…although serving alcohol was illegal, Aggie got round it by dispensing “medical permit doses” of booze to the American servicemen [‘Aggie Grey: West Point Hotelier, Legend – Apia, Upolu, Samoa’, in The Samoans: A Global Family, Frederic Koehler Sutter, (1989)].

⍗ Aggie Grey: on the maiden Pan Am flight from Pago Pago (American Samoa) to Sydney International Airport, 1962   (photo: John Mulligan)F8AD4C1A-48B6-4D10-9A75-A6D9E3936E97

From a backwater-town bar to a tourist hub

Beyond the war, over the following years, Mrs Grey turned the Apia hotel from a modest “drinking club” to a 200-room international hotel (arguably vying with Suva’s Grand Pacific Hotel for the mantle of the South Pacific’s premier international hotel) [‘Memories of the incomparable Aggie Grey’, Samoa Observer, (Terry Dunleavy), 26-Apr-2016, www.samoaobserver.com].

An ‘aiga welcome

The key to this success can be found largely in Aggie’s management style – her warm interpersonal skills, authentic, convivial personality, and her innate “understanding of the human condition”.  Through her personal example of showing hospitality she imbued “Aggie Grey’s” with an atmosphere of “laid back Samoan friendly fa’aaloalo” (‘respect), conveying to each guest a sense that they were ‘aiga (‘family’) [Dunleavy].

In the formative days the hotel thrived as a result of Aggie’s ability to network… forging business links with the world outside Samoa – with the management and crews of TEAL (forerunner of Air New Zealand), and in encouraging celebrity A-listers (especially from the US) to make Samoa and Abbie Grey’s a regular stopover on route to film assignments in French Polynesia [ibid.]. Accordingly, the likes of Hollywood stars Marlon Brando, Dorothy Lamour, William Holden and Gary Cooper✥ et al would be regular AG guests. Aggie sought to capitalise on the celebrity aura by naming each of the hotel’s fales (rooms) and bungalows after visiting movie celebs.

The Marlon Brando fale (№ 93) at AGs ⍗2524870C-9E00-4B23-B52E-2902F0576EAC

The hotel’s postwar success rested on a number of contributing factors. The arrival of trans-Pacific airlines (TEAL/Air NZ, Pan Am, QANTAS, then later Virgin’s Polynesian Blue) brought increasing numbers of tourists to replace the WWII servicemen. Aggie also had the right people behind her…a son with a good head for business, and a irreplaceable and devoted handiman, a “Mr Fixit” by the name of Fred Fairman, who Aggie could always rely on to keep the ‘wheels’ of the hotel running smoothly [ibid.; Sutter, loc.cit.].

Aggie Grey’s made it’s owner very wealthy…Aggie, a stalwart of the Samoan hospitality industry, continued at the hotel’s helm into her old age. In 1988 she died age 91, having long been one of the most respected members of the Apia business community.A4D39039-C9AF-4652-950C-20E6EC898B91

Footnote: In December 2012 Cyclone Evan severely damaged Aggie Grey’s, closing it down for over three years. In August of the following year, management of the hotel complex, still under repairs, passed to the Sheraton’s hotel chain. Aggie Grey’s reopened in 2016, now operating under the name Sheraton Samoa Aggie Grey’s Hotel & Bungalows. A second Aggie Grey’s complex in Upolu, Aggie Grey’s Lagoon Resort, was opened in 2005 off a coral reef in the west of the island (a joint venture between the Grey family, the governments of Samoa and New Zealand and Virgin Samoa). 🇼🇸 

 

PostScript: Prototype for Bloody Mary?

One of the US servicemen who frequented Aggie Grey’s during the War was travel adventure author James A Michener. Michener’s Tales of the South Pacific was later adapted into the hit Broadway musical South Pacific. One of it’s main characters, the loud and formidably forceful “Bloody Mary”, was widely thought to have been modelled on Aggie Grey, a comparison that didn’t endear itself to the Apia hotelier! [‘Lonely Planet’, op.cit.].

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⍐ ‘Return to Paradise’ – Samoan film set & resources of ‘Aggie Grey’s’  🇼🇸 (see below)

– — – — – — – — – — – — – — – — – — –

✲ ‘Grey’ was the surname of Aggie’s second husband from New Zealand

⊡ New Zealand administered Western Samoa as it was called at this time, under a League of Nations mandate

✥ Cooper in fact made a movie in Samoa, Return to Paradise in 1953 (pretty stock standard South Seas adventure stuff), and of course Aggie came on board to contribute to the production …Aggie Grey’s hotel providing logistical support and a base for the project’s accommodation, and the indefatigable hotelier personally supervised the catering unit for the film [Dunleavy]

“Explorers’ Corner”: Where the Great Western Road Meets the Great Southern Road – Then and Now

Posted on by funambulator@live.com
Local history, Social History

F2D867BB-5874-4DC1-99F1-2B1CBA6ECE68Most motorists who regularly drive within a 10-15km radius of the centre of Sydney have found themselves at some time at the intersection of Parramatta and Liverpool Roads – not uncommonly in heavily banked-up peak traffic. In the pioneering days of the New South Wales colony, the routes of the two major roads played a seminal role in the exploration and discovery of new areas to the west, south and north of Sydney.

The first rough tracks crudely carved out of the wilderness by the colonists in 1788 pretty much follow the routes of Parramatta and Liverpool roads as they were later constructed✲. For many of the early explorers of NSW this intersection of the Great Western Road (to Parramatta, the Blue Mountains and beyond that the Central West and the continent’s vast interior) and the Great Southern Road (to Liverpool and the Southern Tablelands), was the jumping-off point for many exploratory treks into the colony’s hinterland.

The intersection at the junction of three inner west Sydney suburbs, Ashfield, Summer Hill and Haberfield, is thus the ideal place to commemorate those early heroic efforts of exploration, endurance and hardship, and in 1988 as part of Australia’s Bicentennary of European settlement, this is precisely what happened.

0CFABE7F-054D-423D-A79F-43DFC41BE229If you turn from Parramatta Road into Liverpool Road, immediately on your right, between a fast food chicken outlet and the corner, you will see a small, narrow tree-lined park (about 85-90m x 35m). The most intriguing association of the park is its name – Explorers Park✪.

34F5F4C5-B761-48D4-953A-548098B524F4The park comprises as its centrepiece a long arched trellis covered with the thick, verdant vines of a climbing plant, forming a tunnel effect. On the paved floor, along the length of the trellis, are plaques which celebrate those early 19th century Australian explorers. Starting with Blaxland, Wentworth and Lawson, who with the inestimable help of local aboriginal trackers from various clans and tribes, made the breakthrough discovery of a viable route across the Great Dividing Range, there are plaques with brief summaries of the achievements of all those who followed – the likes of Oxley, Mitchell, Sturt, the tragic Kennedy, Hume and Hovell (one half of which gave his name to the iconic Hume Highway that has its genesis at the intersection).2A0851A7-9629-45B3-A4B0-F7DF5C786512

D5081C99-709E-4156-9BDA-66B67C2031D3At the north end of the park, there’s a dome-shaped trellis which backs on to Parramatta Road. The trellis contains a white wall with a stencil pattern depicting images of the participants who made the pioneering achievements of exploration possible – the explorers themselves, their mode of transport (the camels) and their invaluable indigenous guides.

2FF3157E-5482-4203-82E6-EBB85B00AA79Long before the advent of the Bicenntenary triggered the construction of Explorers Park, the location was a busy thoroughfare for mounted travellers, horse and carts and livestock, especially after Liverpool Road was opened in 1821. One hundred years later exactly, with the age of the automobile established as the dominant and future mode of transport, this exact block of land was purchased by a motor engineer Frank Dale. Two years later in 1923, he built a motor service station (Dales Garage) on the site. Over the following decades ownership of the garage regularly changed hands (Major Motors, Western Service Station, etc.). Eventually the land was acquired by the DMR (Department of Main Roads) and the garage demolished to allow for the widening of the high-traffic intersection [‘Sydney’s fork in the road’, Inner West Courier, 19-Feb-2019 (Ann O’Connell, Ashfield Historical Society)].

Dales Garage (photo: Inner West Courier) ∇6189EB07-B7E1-4595-A4EE-3DE0608E7468

Footnote: An early landmark pub for travellers
Opposite the Explorers Park site, across Parramatta Road (in what is today Haberfield), there used to be another building at this important intersection…this was a hotel called Speed the Plough Inn (often abbreviated to ‘The Plough Inn’), one of Sydney’s iconic travellers’ pubs of the early colonial era. The Inn was built by a pioneering settler of Haberfield, David Ramsey in the late 1820s [‘The Dobroyde Estate’, (Ramsey Family History), http://belindacohen.tripod.com/ramsayfamilyhistory/dobroydestate.html]. ▲ An early drawing of the hotel by George W Roberts (c.1845) (State Library of NSW)

Long gone, but in it’s day the Plough Inn went far beyond merely providing food, drink and shelter…boasting extensive stabling for livery and coach horses, as well as ample enclosures and water for livestock (the yard and adjoining paddocks were used for sheep and cattle sales) [Harvest of the Years – The Story of Burwood, 1794-1974, Eric Dunlop (1974 Burwood Municipal Council)]. The Plough Inn closed down in 1911 with the land becoming part of the Haberfield subdivision.

Speed the Plough Inn, Parramatta Road ∇3F2C88A6-844C-462F-B080-7F42512CEF3B

—————————————————————–
✲ as illustrated in Captain (later Governor) John Hunter’s An Historical Journal of Events at Sydney and at Sea at the time

✪ Explorers Park is only metres from the larger Ashfield Park which features a statue of the popular children’s literature character Mary Poppins, commemorating the fact that the author of the Mary Poppins books, PL Travers, once lived in the suburb  

 

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Bungan’s ‘Baronial’ Castle: 100 Years on the Headland

Posted on by funambulator@live.com
Built Environment, Geography, Memorabilia, Racial politics, Regional History, Social History, Visual Arts

The northern coastline of suburban Sydney, with its abundance of picturesque beaches, is a magnet in summer for many visitors from far and near. One of the less frequented of the Northern Beaches, owing to its relative inaccessibility and lack of a rock pool✲, is Bungan Beach.

E44AD00D-D062-4E62-B81E-89476E557AE5What drew me to Bungan this summer was not however the pristine waters of its uncrowded beach, but one particular unusual building standing out high up on Bungan Head…Bungan Castle, which this year celebrates 100 years since it was constructed.

Situated as one later observer noted “on a bold headland of the coast, about eighteen miles from Sydney” [1] (Newport, NSW), Bungan’s castle was built at the very pinnacle of a cliff-top by Gustav Adolph Wilhelm Albers, a German-born Australian artists’ agent. Today it is hemmed in and surrounded by a raft of modern, multi-million dollar mansions which share its unparalleled breathtaking views. But when Albers built “Bungan Castle” on what is now Bungan Head Road, the imposing high dwelling was surrounded only by bush and cleared scrub and completely neighbourless!✪

6C5B62A4-DD45-4EA9-9D07-C9536B4DE418∆ [photo (ca.1928): National Library of Australia]

Albers in 1919 was considered something of a doyen of the Australian art community, he represented local artists like Sidney Long and JJ Hilder, and the castle (his abode at weekends and holidays❇) acted as a kind of 1920s arts  hub, an unofficial Sydney artists’ colony. The leather-bound visitors’ book (still surviving) records the names of numerous artistic personalities of the early 20th century including the formidable and influential Norman Lindsay.

2B697DC8-1B4F-40BE-A765-E7742D8A6C5C∆ [photo: NSW Archives & Records]

Aside from creating a skyline haven for practitioners of the art community, the eccentricity of Albers’ personal taste in decor is worthy of elaboration: he furnished Bungan Castle with an idiosyncratic and vast array of collectibles, a number of which the art connoisseur acquired on his regular jaunts overseas✤. The castle interior was inundated with a phenomenal “hotch-potch” of antiquated weaponry – including Medieval armour, Saracen helmets, Viking shields, sword and daggers including a Malay kris, battle-axes, muskets, flint-lock guns, Zulu rifles; convicts’ leg-irons and Aboriginal breast-plates.

647EE043-FEF2-48AB-848B-5854D9EF30DC

∆ [photo: Fairfax Archives]

In addition to the assortment of objects of a martial nature, there were numerous other oddities and curios, such as a big bell previously located at Wisemans Ferry and used to signal the carrying out of convict executions in colonial times; a human skull mounted above the hall door (washed up on Bungan Beach below the castle); a sea chest;  a variety of ships’ lanterns; “tom-toms” (drums) and various items of taxidermy [2].

BEE5D80B-7C91-4CE7-B2DE-2B9D1A769051

This home is a castle – a “Half-Monty” of a castle 

From the road below, staring up at the tree-lined Bungan Castle, it does bear the countenance of something from a pre-modern time and not out of place in a rural British landscape. Constructed of rough-hewn stone (quarried from local (Pittwater) sandstone), it contains many of the castellated features associated with such a historic piece of architecture – towers and turrets, a donjon (keep), battlements, vaults, a great hall, a coat-of-arms, etc.

This said, Bungan Castle lacks other standard features – a drawbridge with a portcullis and a barbican ; visible gargoyles; and a moat (although Edinburgh Castle also lacks a moat, being built up high on bedrock it doesn’t require one for defensive purposes); and it is also bereft of a dungeon! And of course, most telling, parts of the southern and eastern facades are clearly more ‘home’ than castle! One could easily dismiss any claim to it being thought of as an authentic facsimile of the “real thing” (some early observers described it, erroneously, as a ‘Norman’ castle), but with a bit of licence we can reasonably ascribe the descriptor (small) ‘castle’ to Bungan, much as New Zealand tourism promotes the lauded Lanarch ‘Castle’ on the Otago Peninsula (also without many of those classic features).

A family concern

GAW Albers’ prominence in the Northern Beaches area and the talking point uniqueness of Bungan Castle led many locals to dub the Sydney art dealer “the Baron of Bungan Castle”. Albers died in 1959 but the ‘baronial’ castle has remained firmly in family hands. The current owners are Albers’ nephew John Webeck and his wife Pauline. John maintains the family’s artistic bent as well, having like Uncle William had a career as an art dealer.

D486C569-5F33-4535-BE90-7665EBE8F0A3Artists’ Mecca? museum? both?

Webeck has signalled that he would like to reprise the castle’s former mantle as an artists’ Mecca, but I can’t help feeling that with such a wealth of out-of-the-ordinary artifacts within its walls, that its future might be most apt as an historical museum. Such suggestions have been made in the past – the Avalon Beach Historical Society referred to Bungan Castle having been an “unofficial repository for many articles, (sufficient to deem it) Pittwater’s first museum”[3].

—⇴—⇴—⇴—⇴—⇴—⇹—⇹—-⇹—⇹—⇹—⇸—⇸—⇸—⇸—

✲ the close proximity of larger beaches with on-site car parks (absent from Bungan) – Newport, The Basin and Mona Vale – make them a more popular choice for beach-goers

✪ at the time there was only three other homes on the entire headland

❇ Albers’ principal family home was in Gordon, not far way on the North Shore of Sydney

✤ although the bulk of the castle’s collection were donated to Albers by others who thought it an appropriate home 

[1] WEM Abbott, ‘Castle on a Cliff Edge’, The Scone Advocate, 25-Mar-1949, http://nla.gov.au.news-article162719685

[2] ‘Castle Turrets on Sydney’s Skyline’ (Nobody Wants them…Our Baronial Halls), The Sun (Sydney), 08-May-1927, http://nla.gov.au.news-article223623550. The author of this article goes on to lament the fact that Sydney’s castle homes had fallen out of fashion for the well-heeled “princes of commerce” in search of a suitable ancestoral mansion…in 1927 their preference was apparently for modern Californian villas with all the latest conveniences.

[3] ‘A Visit To Bungan Castle By ABHS’, Pittwater Online News, 14-20 Oct 2018, Issue 379, www.pittwatetonlinenew.com