Carry On Blogging Interview: Madeline Smith

 

Earlier today I had a fantastic conversation on the phone with the delightful Madeline Smith. Many of you will know Madeline from her successful acting career which has included appearances in Hammer Horror, James Bond and of course Carry On. So Carry On Reading to find out more about Madeline's life and career...

First of all, I'd love to hear more about how you became an actress in the first place...
It was never the plan. There were no connections to the acting profession in my family and it had never really occurred to me that it might be possible. I had always written little plays for friends to perform but that was all. When I was around 15 years old I discovered a youth theatre in Ealing called the Questor. At the time I was at a convent school - the same one Dusty Springfield had been at - and the nun who was responsible for us forbade me from attending the theatre group so that was that. She was very cruel and put me off pursuing acting for quite some time. 

Interestingly, later this year I am going to a special screening of one of the films I made in the 1970s - Frankenstein and the Monster From Hell. They are showing it at the Questor Theatre which is now run by the son of the man who was in charge when I wanted to join.

One of your early jobs was working for the legendary fashion store Biba, is that right?
Yes I took a temporary job there in 1967, first of all as an assistant in one of Barbara Hulanicki's shops. Barbara spotted me and I appeared as a model in her very first catalogue. That was how I got into modelling. London in the Sixties was a marvellous place to be - if you wanted to go out and do something you just did. I was cheeky and just asked to do things, more modelling and catalogue work followed and I loved it all.  

 

Tell me more about your first professional acting role?
In the 1960s in London you could get spotted in the street and offered modelling work or small parts in films. The very first film I appeared in was called Escalation and it starred among others the actress Claudia Auger. It was fun to do, just a few days, but most of the films I made back then were very slight, fun but nothing to them. Eventually my agent at the time asked if I was serious about acting or wanted to continue as a model. I decided that although I loved modelling, I wanted to concentrate on acting and hopefully get meatier parts.

I must ask about the filming of Carry On Matron. What was that like and what were Barbara Windsor and Hattie Jacques like to work with?
When I got the part in Matron I was about to give up acting. I had a place to train to become a nurse at St Bartholomew's Hospital. However my father was very proud of the bits of acting work I had been getting and when he found out about Carry On Matron, he insisted I did it. It was a joy to make the Carry On, I was only there for half a day and gone before lunchtime which was a shame. The atmosphere on set was delightful and that was mainly down to the genius of director Gerald Thomas. He was such a nice man, genial with a sunny personality and loved making films and everyone he was with. Hattie and Barbara were really kind and easy to work with and the lovely Joan Sims was there too doing reaction shots to what the three of us were filming. Jacki Piper was also on set although I didn't do anything with her there. She is an adorable person, really lovely and a great friend. Even though I didn't train to be a nurse I did eventually go to University to study English when I was about 30 - I really loved that experience.

 

Would you like to have appeared in more of the Carry Ons?
Peter Rogers wanted me to come back for more of the films and I would have loved to, Matron was such a good experience. However by the time the next Carry On was going into production I was contracted to do a theatre tour with Patrick Macnee as the star. The tour was awful, the play was bad and the reviews meant nobody came to see us. Dinah Sheridan was also in the play and we were both so miserable. I really regret doing that tour now as it stopped me taking on other lovely jobs like more Carry Ons. Once the tour was finished offers like that had stopped coming in, at least for a while. 

Of course they are talking about making another Carry On at the moment...
Yes every so often they come up with the idea to make another but I knew some of the people in the last of the original Carry Ons - Emmannuelle and Columbus - and they weren't fun to make or to watch because the innocence had gone. I have watched some of the comedy series they have remade recently on the BBC and I wish they had left things alone. They all had very talented actors in them but I wish they could do new things with the talent that is around today. 

I watched the re-make of Porridge and although it had the same writers it just didn't work for me...
No it didn't, it needed the genius of Ronnie Barker - he was such a lovely man to work with and so was dear Richard Beckinsale. He was lovely and shy and very talented. I worked with him on something before he got Porridge and he was just superb. I could tell then that there was something not right as he didn't seem that well for a young man. It was such a shame when he died. 

 

What are your memories of making the film of Up Pompeii?
It was another delightful experience. Bob Kellett was the director of that film and he was such a lovely man to work for. Bill Fraser was one of the stars of the film and he was an absolute joy - I had been a fan of Bill's for a long time and used to watch him in Bootsie and Snudge on television. Bill brought us champagne for the first day of filming and it certainly all went very well after that! 

You worked with Frankie Howerd a great deal I believe. What was he like to work with?
I got on very well with Frankie and worked with him often, quite a bit of it on television. I was part of the furniture, didn't offer opinions or try to steal scenes because he was the star. He was such a talented man and there were never any problems. He was very kind to the women on set and those who worked with him. I don't know why they no longer show his work on television today - he did so many things for both the BBC and ITV and it's such a shame he's not shown, apart from the odd documentary. 

 

You also appeared in the film Theatre of Blood in 1973. What are your memories of that production?
I remember that the part I was originally offered was much bigger than what I played but I really just wanted to be in the film to be with that cast! There were so many revered actors in that film that it was just great to be there with him all around me. It turned out to be a good film and I think it's now a bit of a classic. It was made on a tiny budget, all out on location in the freezing cold with no studio work. It was quite uncomfortable but just great to be with all those wonderful people.


I also must ask about the Bond film Live and Let Die - what was that like to film and what was Roger Moore like to work with?
Roger was absolutely adorable. I had previously worked with him on an episode of The Persuaders. He had slimmed down a bit since then, had shorter hair for the part of Bond was just as professional and lovely to be with. I may be wrong but I think Roger actually suggested me for the part in Live and Let Die. I was only there for three days I think but it was great. They had created Bond's very 1970s flat in a corner of one of the big studios at Pinewood and it felt like a real flat - the attention to detail was superb. It was great to work with the lovely Bernard Lee (M) and Lois Maxwell (Miss Moneypenny) too - she was such a nice lady and there was no fuss with any of them. I knew Michael Caine for a while around that time and the set of the flat always reminded me of his flat at the time.

 

Did you enjoy working at Pinewood Studios?
Oh yes! I worked at the beautiful Pinewood many times - it was a very comfortable place to work and you were always very well looked after there. The dining room at Pinewood is beautiful too. Very happy times.

I set up my blog as a tribute to Joan Sims, my favourite actress of the day. Why do you think actors like Joan are still so popular?
Because they were just brilliant at what they did. Joan was a superb actress, extremely talented and wonderful comic timing. I agree she could have been a great straight actress too but I understand she was quite insecure about her life and her career which is a great shame.I worked with Joan and Richard Briers in an episode of Ooh La La! a French farce on television in 1973. She was brilliant in that and kept myself and Richard laughing during rehearsals but even then you could see she lacked confidence in herself. 

Even though she didn't do much straight acting, I think she was still an actor rather than a comedienne?
Yes you are completely correct - they were most definitely all actors who could do comedy first and foremost.


If you could choose between film, television and the stage, which medium would you prefer to work in?
This might surprise you but I prefer television. It's quick to do, you don't have to get up at the crack of dawn so you're not tired all the time and I like being in a studio, particularly with a live audience. I did a lot of satire and children's television later my career and I think those were my favourites. 

What do you think are the main differences with the acting profession now compared to when you were in the business in the 1970s?
I think actors are expected to go a lot further with certain things now - particularly in terms of love scenes and nudity - it always seems to push things further than they need to go and if it was my time now I don't think I'd be completely comfortable with it. Having said that, there is a lot of great stuff being produced these days and I'd certainly say the quality of the drama we see on television now is definitely much better. 


I had an absolute ball chatting with Madeline, she couldn't have been nicer to interview. It was fun, lively and thoroughly enjoyable. A bit thank you to Madeline for giving up her Sunday afternoon to talk to me. I hope you've all enjoyed the interview!

 

You can follow me on Twitter @CarryOnJoan and also on Facebook

Carry On, Bond!

 

There are probably only two film franchises that truly capitalise on what it means to be British. Both involved recurring actors and similar themes. Both were filmed at Pinewood Studios. And there the similarities tend to end. The Carry Ons and the James Bond films are so far apart in terms of style, content and budget that it is hard to believe they were produced in the same studios at the same time. Both franchises were highly successful though and mainly during a time when the British film industry was in crisis. The two series also occasionally used the same actors or crew. Here is a quick run down of when James Bond carried on (and no I don't mean the innuendo-encrusted Roger Moore era).

Probably the most famous link to the Carry Ons is Shirley Eaton. The original Carry On girl, who starred in early hits Carry On Sergeant and Carry On Nurse (as well as a cameo in Constable), played Jill Masterson in the 1964 epic Goldfinger. Appearing in the early part of the film, Shirley shared several scenes with the hero of the piece, Sean Connery, before meeting her untimely end after crossing Goldfinger himself. The iconic image of Eaton covered in gold paint lives long in the memory.

 

Shirley was not the only Carry On actress to be painted gold for that film. Model turned actress Margaret Nolan appeared in the stylish title sequence for the film, also sprayed gold. Margaret also grabbed an early acting role as Dink, again opposite Sean Connery in the same film. This was the year before her Carry On debut as Miss Jones in Carry On Cowboy. Nolan would go on to make five further Carry Ons - Henry, Convenience, Matron, Girls and Dick.

 

Another well-known Carry On face has made appearances in two James Bond films - one officially part of the series and one, a little more controversially, produced away from the traditional base at Pinewood. Valerie Leon made her Bond debut in the classic Roger Moore film The Spy Who Loved Me in 1977 with a few short scenes as a rather glamorous hotel receptionist. Six years later she appeared as the Lady in the Bahamas in the film Never Say Never Again, this time opposite Sean Connery, reprising his role as Bond after a twelve year absence. Valerie had by then appeared in six Carry Ons - Khyber, Camping, Again Doctor, Jungle, Matron and Girls. Leon also holds the rare distinction of appearing in all three cult British film series, with roles in not just the Carry Ons and Bond but also the Hammer Horror films.

This honour is shared with another actress from the same era, the very glamorous Madeline Smith. Smith had a cameo role as Mrs Pullitt in the last medical Carry On, Carry On Matron, made in 1971. So successful was Madeline in the role that the Carry On producers asked her back for a bigger part in the next film, Abroad. Sadly Madeline was busy and the role went to Sally Geeson. Madeline went on to appear as Miss Caruso, a young lady who appears in the opening scenes of Roger Moore's first outing as James Bond, Live and Let Die, in 1973.

 

Another major link with the Carry Ons actually took place behind the camera. Legendary cinematographer Alan Hume worked on countless Carry On pictures during his long career in the film industry. Although he was in great demand for many big budget films, he always made time for six weeks of constant giggling with Sid, Joan and the gang at Pinewood. Alan went on to work as Director of Photography on three 1980s Bond films, all starring Roger Moore. Alan worked on For Your Eyes Only in 1981, Octopussy in 1983 and finally A View To A Kill in 1985.

Another behind the scenes presence was the actress Nikki Van der Zyl. Nikki had the small role of the messenger in the 1966 Carry On classic, Don't Lose Your Head. She is the actress who runs up to the guillotine and drops the message in the basket for Charles Hawtrey to read later...Nikki spent most of her career as a voice over artist. Her vocal talents can be heard in nine of the James Bond films, beginning with Dr No in 1962 and ending with Moonraker in 1979. Apparently Van der Zyl also worked as a vocal coach to German actor Gert Frobe, who famously played Goldfinger in 1964. 

 

One final behind the scenes Carry On link, although technically he was seen on screen. Stunt man Nick Hobbs, still active in the profession, made several appearances in the Bond franchise, beginning with 1977's The Spy Who Loved Me and ending with Tomorrow Never Dies in 1997. Early on in his career as a stunt man, Hobbs appeared in Carry On Girls, believe it or not, as stunt rider for Barbara Windsor in her role as Hope Springs! Although Barbara is seen riding the motorcycle (rather nervously) with Sid in the closing credits, the scene when Hope rides away from the pier was actually done using Nick Hobbs. Now there's a claim to fame!

Keep your eyes peeled for three other blink and you'll miss 'em Carry On Bond cameos. In 1963, Francis de Wolff played Vavra in the gypsy fight scenes in one of my all time favourite Bond films, From Russia with Love. The following year he filmed a cameo role as Agrippa in the wonderful Carry On Cleo. And in 1983, two small part Carry On players turned up rather unexpectedly in the Roger Moore Bond film Octopussy. Brenda Cowling and Gertan Klauber played two rather talkative Germans who give James Bond a lift! Brenda of course played Matron in the maternity hospital sequence in Carry On Girls, returning for an uncredited appearance in the audience of Professor Crump's lecture in Carry On Behind. Gertan Klauber meanwhile popped up in several Carry Ons - Spying, Cleo, Follow That Camel, Doctor, Henry, Abroad and Emmannuelle. He would return to James Bond with an uncredited role as a fairground cafe owner in 1987's The Living Daylights. He was also married to fellow Carry On actor Gwendolyn Watts.

 

Does the name Eva Reuber-Staier mean anything to you?The Austrian born model and actress played Rublevitch in three Rorger Moore James Bond films - The Spy Who Loved Me, For Your Eyes Only and Octopussy. Nearly a decade before her last Bond appearance, Eva had played one of the Birds of Paradise in Joan Sims' troupe who entertained the punters at the Old Cock Inn in Carry On Dick!

Finally, two very small but worthwhile Bond / Carry On links. The actor Michael Medwin, still going strong at nearly 93, played a doctor in the unofficial Bond picture Never Say Never Again in 1983. Over twenty years before this, Medwin had the cameo role as Ginger opposite Kenneth Connor and Norman Rossington in the second Carry On film, Nurse, released in 1959. And before I go, I must mention the wonderful Janet Brown. The famed Mrs Thatcher impressionist played the Iron Lady in the comic scenes at the end of the 1981 film For Your Eyes Only. Janet was of course married to the Carry On legend Peter Butterworth.

So there are a fair few Carry On connections in the world of James Bond. Have I missed any out? Do get in touch if you can think of any others!

You can follow me on Twitter @CarryOnJoan and also on Facebook

Remembering Alan Hume

I've stumbled across a really lovely interview online and I thought I should share it here on the blog. I was looking into Alan Hume's career for a blog I've got planned for another time and came across an interview his wife has recently given to a local website in Buckinghamshire.

Sheila Hume, now 89, spoke to the Get Bucks website about her late husband's long and impressive career as a cinematographer and reminisced about all the famous people she counts as friends. It's the first time I've heard about Alan's wife and family and it is a lovely read. It's also great to hear Sheila still makes regular trips to Pinewood Studios and hears from people Alan worked with, such as Sir Roger Moore and Dame Shirley Bassey.

Alan Hume was a wonderful presence behind the camera on so many of the Carry On films, not to mention big budget pictures like the James Bond films and the original Star Wars franchise. I love that despite his terrific success working on international films and with big name stars, he always came back to Pinewood for regular six week shoots with Sid, Kenneth and Joan. What a legend.

You can read the article by following this link.

You can follow me on Twitter @CarryOnJoan 

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Valerie Leon: Seventies Icon

Valerie Leon represents complete and utter glamour to a certain generation of the British public. During the 1960s and 1970s she was always cast in a certain kind of role. She captured the spirit of the era and played the part exceptionally well.

Valerie had the stature, the figure and the looks. Yet she also had a memorable career, spanning theatre, television and most importantly, film. While her assets were often first and foremost in the viewing public's mind, she has an impressive body of work (if you excuse the pun) to her name. Thankfully Valerie is still very much around today and has a loyal fan base. I would say this is mainly due to her rather unique position in having starring roles in not just one famous British film franchise but three.

As well as popping up in six Carry On films, Valerie appeared in two Bond films - opposite Roger Moore in 1977's The Spy Who Loved Me and then six years later opposite Sean Connery in the unofficial series entry Never Say Never Again. She also played a lead role in a classic Hammer Horror film, Blood From The Mummy's Tomb, released in 1971.  These films have given her an immense cult following. I believe the only other actor to have achieved this is Madeline Smith who worked for Hammer films, played Miss Caruso in Live and Let Die with Roger Moore and featured in a cameo in Carry On Matron.

Here at Carry On Blogging, we love Valerie Leon for adding glamour to the proceedings in six Carry Ons. She started off with an uncredited role as one of the girls in Carry On Up The Khyber. She returned later in 1968 to film a scene in the camping shop opposite Bernard Bresslaw and Sid James in Carry On Camping. This bigger, credited role led to two further appearances the following year. The first, as Deirdre with Jim Dale's Dr Nookey in Again Doctor and then, one of her best roles in the series as Leda in Carry On Up The Jungle.

It would then be a couple of years before Valerie would appear in another Carry On at Pinewood. As Jane Darling in Carry On Matron, Valerie plays a famous film star who gives birth to triplets with a little help from Kenneth Cope in drag as a nurse! Valerie would make her last Carry On appearance in 1973, playing Bernard Bresslaw's wife Paula in Carry On Girls. This is probably her most sizeable role in the series and involves an impressive dual role. Valerie also made an appearance in the 1972 Carry On Christmas special, Carry On Stuffing, as a serving wench.

Away from Pinewood, Valerie Leon turned up in a myriad of productions back in the day. She is still remembered as the Hai Karate girl from those adverts for that infamous aftershave. On film, she made cameo appearances in several classics - The Italian Job, No Sex Please We're British, Revenge of the Pink Panther - as well as several less well remembered entries - Zeta One or The Ups and Downs of A Handyman anybody?

On television, Valerie appeared in many of the classic shows of the day. Those included The Goodies, The Avengers, The Saint, Up Pompeii and a particularly memorable turn in an episode of The Persuaders opposite Tony Curtis and Roger Moore. 

Valerie was married to the BBC comedy producer Michael Mills from 1974 until his death in 1988. Together they had two children, Leon born in 1975 and Merope two years later. Merope is now a journalist working for the Guardian newspaper. Valerie continues to make guest appearances at fan conventions and in documentaries about the famous films she was involved in. She is quite rightly a legend of British film and television and long may that continue!

You can visit Valerie's website here

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