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Friday, 1 December 1972
News article: Western Daily Press, 1 December 1972
Friday, 1 December 1972 09:00 amThis article by Jean Blackmore appeared on page 6 of the Western Daily Press.
Don’t look now, but that guerilla leader is King Arthur
AS A YOUNG and lively television company, HTV has revealed an enthusiasm for re-interpreting the colourful history of the region it serves.
HTV West’s starkly unromantic version of the legend of King Arthur due to burst upon the small screen next week as Arthur of the Britons, may make sentimentalists thankful that its territory does not include Sherwood Forest.
Otherwise, Robin Hood and his merry men might be transformed into a gang of medieval muggers. [HTV was responsible for a series, “Robin of Sherwood” in 1984 – 6.]
It is perhaps inevitable that every age re-creates popular myths and legends in its own image.
FREEDOM
That is why Sir Thomas Malory surrounded Arthur with his courtly knights and their deeds of chivalry.
That is why Alfred Lord Tennyson made them all glow with Victorian virtue
That is why Patrick Dromgoole, HTV West’s programme controller, who masterminded this ambitious new series, has transformed Arthur into a typical guerilla leader, clearly identifiable with 20th century freedom fighters.
This was done deliberately in the interests of historical accuracy – that is, in deference to contemporary expert opinion of what is historical accuracy where Arthur is concerned.
It would be a calumny to suggest that HTV must have found it cheaper to dispense with castles and other elaborate trappings of the popular legend, and settle for hutted encampments with Arthur and his tough followers living rough.
In fact, HTV has spent more than £500,000 on the production, and has gone to infinite pains on research to ensure that the costumes, weapons, tools, and manners of the actors are an authentic reproduction of what would have been found in Celtic Britain just after the departure of the Romans.
LOCATION
While archaeologists and historians still argue about the exact location of Arthur’s Camelot, HTV West built its own Camelot in a steeply wooded valley near Stroud by courtesy of the Forestry Commission.
The choice of location may puzzle strategists, and contradict ample historical evidence that the Britons of old had the sense to build their stronghold on hilltops.
But HTV West, coming on the scene nearly 1,000 years later, had to dodge pylons and other 20th century intrusions into the authentic Arthurian landscape.
A cast of nearly 2,000 including some of the local inhabitants living in the locations throughout the West Country, which were visited by HTV West’s production unit during its own strenuous six months campaigning, help to man the stockades and accompany Arthur on his far-ranging cavalry forays.
For apparently it is as an outstanding cavalry leader that Arthur won his immortality. He was fighting a rearguard action in defence of the fragmented British kingdoms which were coming under increasing pressure from the invading Saxons – who, of course, won in the end, and became the English.
Stripped of his knights, his magician Merlin and even his queen Guinevere, Arthur emerges as the youthfully athletic Oliver Tobias who is everything a pop-age hero should be. He even played the lead in the London production of Hair.
He has been given two sidekicks, who so far have been unknown to legend.
[This is incorrect; both Llud and Kai were based on legendary characters. Llud is loosely based on Lludd Llaw Eraint, a hero from Welsh mythology, and Kai is modeled on the Sir Kay of Arthurian myth, “King Arthur's foster brother and later seneschal, as well as one of the first Knights of the Round Table.”]
They are a ragged veteran named Llud, played with sombre vigour by Jack Watson, and a younger, fiery warrior named Kai, who is played with plenty of dash and energy by Michael Gothard.
MERITS
To enjoy this series, which will be screened in 12 self-contained episodes, it is essential to forget all about the Arthurian legend and its romantic trimmings, and be prepared to judge HTV West’s latest enterprise on its own merits, as a colourful costume piece which has made its own highspots with the help of a team of leading contemporary scriptwriters.
The series is being screened on the national network and is being distributed in America.
Don’t look now, but that guerilla leader is King Arthur
AS A YOUNG and lively television company, HTV has revealed an enthusiasm for re-interpreting the colourful history of the region it serves.
HTV West’s starkly unromantic version of the legend of King Arthur due to burst upon the small screen next week as Arthur of the Britons, may make sentimentalists thankful that its territory does not include Sherwood Forest.
Otherwise, Robin Hood and his merry men might be transformed into a gang of medieval muggers. [HTV was responsible for a series, “Robin of Sherwood” in 1984 – 6.]
It is perhaps inevitable that every age re-creates popular myths and legends in its own image.
FREEDOM
That is why Sir Thomas Malory surrounded Arthur with his courtly knights and their deeds of chivalry.
That is why Alfred Lord Tennyson made them all glow with Victorian virtue
That is why Patrick Dromgoole, HTV West’s programme controller, who masterminded this ambitious new series, has transformed Arthur into a typical guerilla leader, clearly identifiable with 20th century freedom fighters.
This was done deliberately in the interests of historical accuracy – that is, in deference to contemporary expert opinion of what is historical accuracy where Arthur is concerned.
It would be a calumny to suggest that HTV must have found it cheaper to dispense with castles and other elaborate trappings of the popular legend, and settle for hutted encampments with Arthur and his tough followers living rough.
In fact, HTV has spent more than £500,000 on the production, and has gone to infinite pains on research to ensure that the costumes, weapons, tools, and manners of the actors are an authentic reproduction of what would have been found in Celtic Britain just after the departure of the Romans.
LOCATION
While archaeologists and historians still argue about the exact location of Arthur’s Camelot, HTV West built its own Camelot in a steeply wooded valley near Stroud by courtesy of the Forestry Commission.
The choice of location may puzzle strategists, and contradict ample historical evidence that the Britons of old had the sense to build their stronghold on hilltops.
But HTV West, coming on the scene nearly 1,000 years later, had to dodge pylons and other 20th century intrusions into the authentic Arthurian landscape.
A cast of nearly 2,000 including some of the local inhabitants living in the locations throughout the West Country, which were visited by HTV West’s production unit during its own strenuous six months campaigning, help to man the stockades and accompany Arthur on his far-ranging cavalry forays.
For apparently it is as an outstanding cavalry leader that Arthur won his immortality. He was fighting a rearguard action in defence of the fragmented British kingdoms which were coming under increasing pressure from the invading Saxons – who, of course, won in the end, and became the English.
Stripped of his knights, his magician Merlin and even his queen Guinevere, Arthur emerges as the youthfully athletic Oliver Tobias who is everything a pop-age hero should be. He even played the lead in the London production of Hair.
He has been given two sidekicks, who so far have been unknown to legend.
[This is incorrect; both Llud and Kai were based on legendary characters. Llud is loosely based on Lludd Llaw Eraint, a hero from Welsh mythology, and Kai is modeled on the Sir Kay of Arthurian myth, “King Arthur's foster brother and later seneschal, as well as one of the first Knights of the Round Table.”]
They are a ragged veteran named Llud, played with sombre vigour by Jack Watson, and a younger, fiery warrior named Kai, who is played with plenty of dash and energy by Michael Gothard.
MERITS
To enjoy this series, which will be screened in 12 self-contained episodes, it is essential to forget all about the Arthurian legend and its romantic trimmings, and be prepared to judge HTV West’s latest enterprise on its own merits, as a colourful costume piece which has made its own highspots with the help of a team of leading contemporary scriptwriters.
The series is being screened on the national network and is being distributed in America.
Credit where credit's due!
Friday, 1 December 1972 08:00 amOpening credits
Some of the footage used in the credit sequence for "Arthur of the Britons" was filmed quite late in November, so the credits were put together not long before the first episode was broadcast, early in December 1972.
The sequence begins with a shot of Oliver Tobias as Arthur, riding Bernie into battle.
This footage is from "The Penitent Invader", filmed in August. It featured in one of the later scenes, where Arthur and his men ride to the rescue of Rolf from some Picts.
When used for the credits, the film was the right way round - showing Arthur with his sword in his right hand and his shield on his left arm. However, in "The Penitent Invader" this shot was reversed, left to right, with the result that Arthur briefly appeared to be left-handed.
The second piece of film, showing Michael Gothard as Kai, riding Blackstar, is taken from the final scene in "Arthur is Dead", when Kai is winning a race with Arthur, but turns back to see whether Arthur has fallen from his horse. This scene was filmed in November.
The clip featuring Jack Watson as Llud, riding Brownie, is in very poor condition.
Llud is wearing the same clothes, riding the same horse, as in "Six Measures of Silver", and in very similar terrain, so this clip was probably filmed at the same time, towards the end of October.
The next sequence is taken from the race scene at the beginning of "Arthur is Dead", filmed late November.
Arthur and Kai's horses leap up the muddy bank which Arthur and Kai rolled down in "The Challenge", then gallop on, as the series title appears.
The names of guest stars, and the more important members of the production staff appear over more footage of the race, but taken from earlier in the sequence.
The name of the Director appears along with footage from very near the end of "Arthur is Dead", where Arthur and Kai re-run their race. In fact, there are a few frames at the beginning of this section of the credits which do not appear in the actual episode.
Finally, we see the episode title, as Arthur starts to pull ahead of Kai.
The credit sequence looks noticeably darker on the first episode (left) than in subsequent ones (right).
Of course, the sequence was accompanied by Paul Lewis' orchestration of Elmer Bernstein's theme music. Of the Bernstein theme, Paul said, “it was rousing but totally unsuitable. After I recorded my incidental music I was put to work again to write some tracks based on Elmer’s theme. In the first, “Apotheosis”, I attempted to take the theme as far from its origins as its opening phrase would allow, hoping that this would become the opening title music, but as you know it didn’t!
Actually … what I really wanted was for the opening section of track 8, now called “Kai the Saxon”, to be the theme tune, and not use Elmer’s at all! Should this sound like sour grapes, I should reiterate that I appreciate all the qualities of EB’s tune – except its cowboyishness!!!
This is what the opening credits might have been like if "Kai the Saxon" had been used.
The clip below was salvaged from a reel of 16 mm film found at a car boot sale in the North London area. It appears to be a rough draft of the credit sequence, presumably put together some time before the final version.
The footage at the beginning is a previously unseen head-on shot of Arthur's battle group, attacking the Saxons in "The Duel"; this was filmed mid-September.
The second section is from "The Challenge", and shows Arthur and Kai setting off in pursuit of the errant Garet and Gawain.
The last clip looks very much like the scene from the end of "Enemies and Lovers", when Arthur and Kai meet up after dealing with King Athel and Goda. However, there are subtle differences between this sequence and the one used in the episode. In this clip, Arthur and Kai's horses are further apart, and they have been filmed from a different angle, so this, too, is previously unseen footage.
Closing credits
Except in "The Prize", the closing credits are shown over some footage of Arthur, riding Bernie. The scene looks like the one from "The Challenge" where Arthur sets off in pursuit of Garet, and was probably filmed around the same time.
Arthur is wearing the same costume, and rides away along the same stretch of grass, as in "The Challenge." However, in the sequence used in the credits, Arthur is riding Bernie.
In the footage used in "The Challenge", Arthur was riding the whiter horse, Skyline. They may have used Bernie to re-shoot the sequence, because according to Oliver, Skyline became alarmed by the rattling of the spears, and careered away with him!
Some of the footage used in the credit sequence for "Arthur of the Britons" was filmed quite late in November, so the credits were put together not long before the first episode was broadcast, early in December 1972.
The sequence begins with a shot of Oliver Tobias as Arthur, riding Bernie into battle.
This footage is from "The Penitent Invader", filmed in August. It featured in one of the later scenes, where Arthur and his men ride to the rescue of Rolf from some Picts.
When used for the credits, the film was the right way round - showing Arthur with his sword in his right hand and his shield on his left arm. However, in "The Penitent Invader" this shot was reversed, left to right, with the result that Arthur briefly appeared to be left-handed.
The second piece of film, showing Michael Gothard as Kai, riding Blackstar, is taken from the final scene in "Arthur is Dead", when Kai is winning a race with Arthur, but turns back to see whether Arthur has fallen from his horse. This scene was filmed in November.
The clip featuring Jack Watson as Llud, riding Brownie, is in very poor condition.
Llud is wearing the same clothes, riding the same horse, as in "Six Measures of Silver", and in very similar terrain, so this clip was probably filmed at the same time, towards the end of October.
The next sequence is taken from the race scene at the beginning of "Arthur is Dead", filmed late November.
Arthur and Kai's horses leap up the muddy bank which Arthur and Kai rolled down in "The Challenge", then gallop on, as the series title appears.
The names of guest stars, and the more important members of the production staff appear over more footage of the race, but taken from earlier in the sequence.
The name of the Director appears along with footage from very near the end of "Arthur is Dead", where Arthur and Kai re-run their race. In fact, there are a few frames at the beginning of this section of the credits which do not appear in the actual episode.
Finally, we see the episode title, as Arthur starts to pull ahead of Kai.
The credit sequence looks noticeably darker on the first episode (left) than in subsequent ones (right).
Of course, the sequence was accompanied by Paul Lewis' orchestration of Elmer Bernstein's theme music. Of the Bernstein theme, Paul said, “it was rousing but totally unsuitable. After I recorded my incidental music I was put to work again to write some tracks based on Elmer’s theme. In the first, “Apotheosis”, I attempted to take the theme as far from its origins as its opening phrase would allow, hoping that this would become the opening title music, but as you know it didn’t!
Actually … what I really wanted was for the opening section of track 8, now called “Kai the Saxon”, to be the theme tune, and not use Elmer’s at all! Should this sound like sour grapes, I should reiterate that I appreciate all the qualities of EB’s tune – except its cowboyishness!!!
This is what the opening credits might have been like if "Kai the Saxon" had been used.
The clip below was salvaged from a reel of 16 mm film found at a car boot sale in the North London area. It appears to be a rough draft of the credit sequence, presumably put together some time before the final version.
The footage at the beginning is a previously unseen head-on shot of Arthur's battle group, attacking the Saxons in "The Duel"; this was filmed mid-September.
The second section is from "The Challenge", and shows Arthur and Kai setting off in pursuit of the errant Garet and Gawain.
The last clip looks very much like the scene from the end of "Enemies and Lovers", when Arthur and Kai meet up after dealing with King Athel and Goda. However, there are subtle differences between this sequence and the one used in the episode. In this clip, Arthur and Kai's horses are further apart, and they have been filmed from a different angle, so this, too, is previously unseen footage.
Closing credits
Except in "The Prize", the closing credits are shown over some footage of Arthur, riding Bernie. The scene looks like the one from "The Challenge" where Arthur sets off in pursuit of Garet, and was probably filmed around the same time.
Arthur is wearing the same costume, and rides away along the same stretch of grass, as in "The Challenge." However, in the sequence used in the credits, Arthur is riding Bernie.
In the footage used in "The Challenge", Arthur was riding the whiter horse, Skyline. They may have used Bernie to re-shoot the sequence, because according to Oliver, Skyline became alarmed by the rattling of the spears, and careered away with him!
