Sparrows Can't Sing (1963)
She was able to display some competent acting skills in the early career such as in the film Sparrows Can't Sing , which earned her a BAFTA nomination, so even the industry recognised her abilities as an actress.
This film's been on my radar for many a year, so I'm delighted to be able to say I've now watched it... and in glorious high definition.
What a fascinating film. It captures a moment in time like very few films do with any success. The use of genuine East End characters as extras and secondary characters. The location work on an area that was evidently still recovering from the after effects of war, but which has now largely been redeveloped and gentrified, make this one of those wonderful social documents of along with the likes of Ealings such as
Hue & Cry or
Went The Day Well. Very much in common with
Till Death Us Do Part, its backdrop shows us the practical realities of working class families being moved from condemned two up/two downs to brand new high rises, considered at the time to be the height of modernity, offering new hope with luxurious assets such as indoor toilets and lifts.
Multiculturalism is celebrated in the most low-key way, being presented as part of the city's cosmopolitan vibrance. There's a terrific scene where James Booth nips up and down the stairs of a block, opening the door to different living spaces, each appearing as a welcoming exotic window to a different culture.
There's a darker edge to the film but, for better or worse, the hopeful ebullience makes it palatable. There are undercurrents of violence, with Booth's character returning from sea having left Babs with serious injuries from a beating (in the original play he was returning from serving prison time for that very act), but it's told so matter of factly that it's accepted as the reality with which these characters live (which I find far more potent than had it been presented as an "issue"). I'm sure oversensitive younger viewers might be triggered by Babs receiving wolf whistles as she walks along the street, but she simply soaks it all up and then sticks out her tongue, thumb to the tip of her nose while waggling her fingers in front in a "nyaaa nyaaah" gesture. It's endearing, and serves as a grounded precursor to the similar treatment she'd receive on a regular basis in the
Carry Ons. More fascination comes from scenes filmed in the Krays' nightclub (they were friends of Barbara's and, as is relayed in the bonus features, also paid visits to the set and even arranged security for cast and crew).
Stephen Lewis wrote Sparrows Can't Sing (which I've never seen but have read good things about. My fascination with British films of this era means it's on my viewing bucket list).
The very young Stephen appears as well, as does his future sparring partner and co-scriptwriter Bob Grant. There are a host of familiar character actors, many of whom would later become household names through sitcoms: Brian Murphy is here, with best friend Roy Kinnear and Yootha Joyce. There's Victor Spinetti. Harry H. Corbett. Fanny Carby. Arthur Mullard and Queenie Watts.
It's a proper who's who of British light entertainment, and I would think that any "six degrees of separation" of actors from this era can be made significantly shorter by visiting this film.
It's gorgeous (and I've just seen that it's on iTunes).
In the bonus features, Barbara says that Joan Littlewood showed Lionel Bart (another East Ender) a cut she'd made of the film (after using certain connections to pinch it from the studio to stop The Powers That Be taking the heart out of it). Afterwards, Lionel told Barbara "I'll write you a song" then went away and came up with this.
Actually, the bonus material is fascinating. I haven't watched it all yet, but the "then and now" locations featurette is great, and the BFI Q&A with Babs and Murray Melvin is fantastic. They tell of Joan's dislike of actors who were too professional. She liked them to have a certain rawness and sacked a technician for trying to polish Barbara's performance.
They also tell a great story of Joan's aversion to awards ceremonies. When she received a lifetime achievement BAFTA, it was insisted that she attend, and her acceptance speech was "I know why you've given me this. It's because I stayed away". Apparently she immediately dumped the award in a Sainsbury's carrier bag and told someone to "take the f*cking thing to Stratford. It'll do as a doorstop".
I hadn't realised this was also the first English language talkie to receive English subtitles in American screenings.
There's a charming moment where Barbara invites June Brown to say something from the audience, prompting June to admit that she hasn't been able to hear a word they've said.
Long live streaming!
