by Lisa Soverall, Heritage Officer
London’s Screen Archives has been an indispensable resource for Southwark Local History Library and Archive. It is a fantastic network of organisations including museums, galleries, charities, community groups and public sector bodies who hold heritage film and whose aim is to ‘preserve and share London’s history on film’. They started digitising our film and video holdings in 2011 and now host them on their website and YouTube site for streaming. Over the years they have offered us training and advice on how to catalogue and license our holdings and have welcomed us as a Steering Group partner. This has enabled us to keep on top of developments in this ever changing sector. We are very grateful to them, so it was naturally to LSA that I turned when a can of film was discovered in our archive store by my colleague, Lisa Moss, in 2014.
Some lessons from the Brandon Estate Cine Club collection
Previous to this discovery, the last time I had had the opportunity to look at film held in the archive was in 2009. I bought an 8mm viewer on eBay and tentatively began looking through what was to become the Brandon Estate Cine Club film collection. With no accession paperwork, tracing the provenance of that collection of around 22 films was the first step in a journey that turned out to be one with a few twists and turns.
I knew that there were two film makers as they credited themselves in intertitles made of what looked like magnetic alphabet.
I established via a telephone call with his sister, Dorothy that Richard (‘Dickie’) Morgan was alive but I was unable to get any more information about Brian Waterman. Suffice to say that despite my best efforts, which included holding the first ever screening of the films in one of the estate’s community centres, (which I thought might elicit some memories about the film makers), contacting local tenants’ associations (a member of whom knew Brian but did not know if he was alive), contacting local newspapers, writing letters and making other general enquiries, I had assumed Brian’s demise. So, obviously I was shocked when a few weeks after the film show, I received an email from Brian himself informing me that he was ‘very much alive’! I am well aware of the moral to that story.
So, when my colleague found another can of film in the archive I knew there were two things I needed to do immediately; get the film viewed and assessed and research the provenance thoroughly and that’s exactly what I did.
How I assessed the condition of the film
The can of film was in a flat archival box. There was little information on the outside other than the words ‘film can’ and no accession documentation to be found so we had no idea who deposited the film or under what agreement.
On opening the can, I got a slight whiff of something chemical and I wondered whether the film had vinegar syndrome, (safety film, introduced by Kodak in 1923 is made of cellulose acetate plastic and can degrade if not kept in the right conditions giving off a vinegary smell).
I couldn’t see any warping or buckling of the film however, which is a clear sign of film degradation.
I also wasn’t sure if there was any mould deeper into the reel. Perhaps the smell was just the release of chemicals built up over the years. This is where the possession of AD strips would have been useful. They can detect the severity of acetate deterioration and can therefore also be used on 35mm stills film.
The gauge of the film was 16mm, so I wondered who made it, as this was a format commonly used by municipal organisations, professional businesses and broadcasters between the 1930s and 1970s, though it was still popular with amateur film makers despite the introduction of the smaller Standard 8mm. The Bermondsey Borough Council films for example, were mostly shot on 16mm.
The problem with this film was that there was no leader (a piece of film at the head and tail that helps to thread or ‘lead’ the film into the projector). The head end could sometimes contain written information about the film such as title or filmmaker.
As I carefully unravelled a few inches of film away from its roll I wondered if we had stumbled across a local amateur film. Without a 16mm viewer I couldn’t be certain of the source or content and if the film was not relevant to Southwark, we would have to consider transferring it to another relevant archive. For now, I needed to keep the film as cold (but dry) as possible to prevent further degradation.
Some expert help from the Cinema Museum
As luck would have it the Cinema Museum were having one of their fantastic open days in October 2014 where anyone could bring along their film and have it viewed and assessed by a professional film archivist for free! It was important to view the film before sending it to a professional organisation like LSA or British Film Institute first, since the volume of material they receive (or did at that time) would mean I would be waiting a long time before I received any information about it and I may not have been allowed to view it while they worked on it. So, Home Movie Day was next on my list of things to do.
Volunteer film archivist, Sally, made the following observations
- The film was approximately 600ft in length (that’s approximately 25 minutes duration).
- It contained mixed film stock from Ilford dated 1965 and Kodak dated 1966. (The date a film was manufactured can be worked out from the symbols on the edge of the film – here’s a handy guide that you can download).
- Part of the film was shot at 24 frames per second and part at 18 frames per second. (It was cheaper to shoot at 18fps as fewer frames per second means you could save on film stock.)
- The film was spliced in several places. (An edit of two separate films, so they can be shown continuously.)
- It was perforated on both sides of the film. (Otherwise known as ‘double perf’ and therefore the film was silent with no separate sound track.)
- There is evidence of ‘slight mould’ on the edge of the film in places although it is inactive with ‘slight shrinkage in places.’ (This was perhaps the most important point, and meant that regardless of its overall good condition, film conservation was going to be an important step in this film’s journey.)
Sally’s recommendations were to get the film professionally assessed and digitised.
Once the assessment was completed, I was invited to look at the film via a film projector in another part of the main hall. As the viewing started I immediately realised that I was looking at footage from Clubland.
Clubland: Walworth’s pioneering youth club
Clubland was founded by Reverend Jimmy Butterworth in 1922 and was based in the Walworth Methodist Church on the corner of Camberwell Road and Grosvenor Terrace for over 50 years. It was a Christian youth club which pioneered a new approach to youth work and became one of the most successful in the UK, with royalty and celebrities among its fan base.
The film began in quite grainy black and white, showing the exterior of the Clubland building and went on to show young people from Clubland cleaning a property, presumably for the purposes of club activities. Rev. Butterworth is clearly seen managing the youth with his trademark pipe in mouth. As the film went on, I was aware of more and more people in the hall joining the viewing and would occasionally hear the utterings from film enthusiasts about details of the filming.
The film went from black and white to colour, indicating a different film and showing footage of the club’s outings including one to Wissant in France and sports day in Burgess Park, Camberwell. All of it was in remarkable condition and the local history details were fantastic! Shops no longer on Camberwell Road were revealed, the old factories that lined the perimeter of Burgess Park, and of course the Rev. Butterworth who featured regularly.
I was keen to know who the film maker was but there was no doubting the significance of the film to the borough. But did the film exist in another format elsewhere?
Since the subject matter of the films meant there was significance to the borough of Southwark, I decided that the next steps would be to research the film’s origins.
A few days after the Cinema Museum’s Open Day, I called Mary, daughter of the late Rev. Butterworth. I had spoken to Mary on numerous occasions, the family have close ties to the archive as it holds the majority of Clubland’s records. I told her about the film. Did she know anything about it? Mary said it was filmed by her mother, who she said did most of the filming of the club’s activities and was probably part of a larger donation of items by the family over 20 years previously. Mary and her brother, John were happy to transfer the rights in the film to Southwark Local History Library and Archive, particularly as it had stored it for so long. Documentation would later be drawn up between the archive and the Butterworth family but for now, we had the permission to pursue the film’s preservation and digitisation with London’s Screen Archives.
Digitising the film
Timing is everything and as luck would have it (again) in the late Autumn of 2014 London’s Screen Archives were checking archives with moving image across London to see whether they had any film material they would like to put forward for their Unlocking Film Heritage programme in association with the British Film Institute. I recommended the Clubland film and it would be a couple of months of back and forth emails before I would receive confirmation that it would be accepted into the UFH programme. Hurrah!
It was not until the following year in March 2015 that I finally handed the film over to the LSA in person at their then offices in the Tea Building in Shoreditch. I met with film archivist, Louise Pankhurst, who began the official assessment process. Of course the film had no name and so one was assigned to it – ‘Clubland Activities of the 1950s and 60s‘ since that’s what the film showed (or so I thought).
That was the last time I saw that can of film which is now safely stored courtesy of the LSA.
It would be another 9 months from the handing over the film before I would get a DVD copy of Clubland Activities of the 1950s and 60s. Such was the success of Unlocking Film Heritage that thousands of films were being assessed, preserved and made available to the public. However, it was worth waiting for and our archive is grateful for the opportunity to have our films digitised for free and made available for the public to enjoy. The film is available on both LSA’s website and the BFI Player for free forever. The BFI assigned their own title: Rev. Jimmy Butterworth and the activities of Clubland (1966).
If you have old film, significant to the borough of Southwark, and would like help to get it digitised or would like to deposit a film of any format with the archive, do get in contact with us by email at email@example.com.
With thanks to David Whorlow, Volunteer and Archives Co-ordinator and Jack Reichhold, Information and Media Officer at London’s Screen Archives.
Check out the recently published book The Temple of Youth: Jimmy Butterworth and Clubland by John Butterworth and Jenny Waine (J B Club Press, 2019).