Burnham Beeches - Disney's 'Sherwood Forest'

Above is a map of the beautiful Burnham Beeches. I have marked in red the areas that were used by Walt Disney’s film crew during the making of the Story of Robin Hood in 1951. Outlined is Mendelssohn’s Slope, where many scenes were filmed, including the death of Robin’s father. Also Middle Pond, where Robin (Richard Todd) and Marian (Joan Rice) took their romantic evening stroll, accompanied by Friar Tuck (James Hayter) and Allan a Dale (Elton Hayes) singing ‘Whistle My Love.’
Burnham Beeches was the location chosen to be ‘Sherwood Forest,’ not only because of its close proximity to Denham Studios (12 miles approx.), where two of the huge sound stages were used, but also because of its amazing ancient woodland that was ideal as a backdrop to this classic tale. I have noticed a number of film web sites state that Disney’s live-action movie was the only Robin Hood tale to be filmed in Sherwood Forest. This in incorrect, but shows what a good choice Burnham Beeches was.
My wife and I visited Burnham in April and were stunned by the breathtaking scenery, it is no wonder film and television crews have been queuing up to shoot scenes in various areas of the forest since 1946. I thoroughly recommend a visit, particularly to our band of Whistling Arrows. So if you do make the trip, please send in some photos from your visit and I will be pleased to post them on this site.

Ken Annakin (1914-2009)

I have just heard the very sad news that Ken Annakin has passed away in Beverly Hills aged 94. As my regular readers will know, it was Ken who directed Walt Disney's be-loved Story of Robin Hood and his Merrie Men. (1952).

Ken had previously been in good health and always talked about making more films, even though he had not directed since the early 1990s, his daughter Deborah Peters said. "He was absolutely fine, other than old age," she said. "He was walking and mobile, chatting and working, still trying to get films made. I don't think anybody like that ever really stops." His health had been failing since he had a heart attack and stroke within a day of each other in February. He passed away on Wednesday night.

I intend to look into the life of this Disney Legend in the future, but for now here is today's obituary from the New York Times:

"Starting as a cameraman in Britain on training films for the Royal Air Force in World War II, Mr. Annakin went on to direct more than 40 feature films for the British screen and Hollywood.
His 1965 comedy about the early days of aviation, the full title of which is Those Magnificent Men in Their Flying Machines or How I Flew From London to Paris in 25 Hours 11 Minutes, starred Stuart Whitman as an American flier racing for a prize awarded by a British newspaper. It intertwined romance, cheating and international conflicts with soaring flight scenes. It earned Mr. Annakin an Oscar nomination, with Jack Davis for best screenplay.

Comedies were Mr. Annakin’s specialty in his early directing days. One hit from those years was Miranda (1948), with Glynis Johns as a mermaid caught by a doctor on a fishing trip; her tail reappears whenever she gets wet. In 1948 and ’49 Mr. Annakin directed a series of films about a down-to-earth British family, the Huggetts.

One of the first live-action Disney movies was Mr. Annakin’s “Story of Robin Hood and His Merrie Men,” with Richard Todd as Robin Hood. Shot in England and released in the United States in 1952, it entered many more childhood memories when it was shown on television in 1955. Another Disney film directed by Mr. Annakin was the 1960 version of “Swiss Family Robinson,” with John Mills, Dorothy McGuire and James MacArthur.

Some of Mr. Annakin’s work was more serious. In 1957 he directed “Across the Bridge,” in which Rod Steiger played a Wall Street swindler hiding in Mexico using the identity of a man he had murdered. Mr. Annakin’s daughter said “Across the Bridge” was her father’s favorite film.
In 1962 Mr. Annakin was one of the four directors of “The Longest Day,” the sprawling World War II epic about the invasion of Normandy. He directed the scenes involving British and French troops.

In 1965 he was the sole director of “Battle of the Bulge,” with Henry Fonda.
Among Mr. Annakin’s other directing credits are “The Biggest Bundle of Them All” (1968), a comedy heist movie set in Italy; “The Call of the Wild” (1972), starring Charlton Heston; and “The Pirate Movie” (1982), an adaptation of “The Pirates of Penzance” starring Kristy McNichol and Christopher Atkins.

Kenneth Cooper Annakin was born in Beverley, in Yorkshire, England, on Aug. 10, 1914. His daughter said he was an only child who left his parents as a teenager and never told her his parents’ names. Besides his daughter, he is survived by his wife of 49 years, the former Pauline Carter; two grandchildren; and two great-grandchildren.

After dropping out of school, Mr. Annakin traveled to Australia, New Zealand and the United States. He returned to England and sold insurance and cars, then joined the RAF.
In 2002 Queen Elizabeth named Mr. Annakin an officer of the Order of the British Empire."

Disney's nephew Roy described Ken Annakin as, "an important part of the Disney legacy [who] made several memorable films for my uncle Walt."

“Star Wars” creator George Lucas paid him an indirect compliment when he named the character Anakin Skywalker for him.

In addition to his daughter Deborah, Annakin is survived by his wife of 50 years, Pauline; grandchildren Alice and Matthew; and great grandchildren, Oliver and Zoe. A memorial service will be held at 3 p.m. on Monday at Westwood Presbyterian Church in Los Angeles.

In 4 days time Walt Disney's Story of Robin Hood DVD will go on general release across America. This film will be one of a number of wonderful lasting legacies of a man who insisted, that he only made films for audiences.

Thank you Ken.

Guy Green

Guy Green was Director of Photography on Walt Disney’s ‘Story of Robin Hood.’ As a co-founder of the British Society of Cinematographers, Green was to become a leading figure in Britain and the United States for over 40 years.

Green was born in Frome, Somerset on November 5th in 1913. His first love was always the cinema and much of his early childhood was spent watching his favorite westerns and the classic silent comedies on the silver screen at his local Picture House.

After leaving school he found work in the Commercial Maritime Service as a projectionist on the cruise liner ‘Majestic.’ This eventually led to his first early steps in the film business as a ‘clapperboy’ and camera assistant for Sound City advertising agency.

In London’s Soho, Guy Green opened his very own studio, where he worked as a portrait photographer. But still in his early twenties, he finally made his way into motion picture production, when he was hired as a camera assistant at Elstree Studios in 1933. He soon progressed to ‘focus puller’ and later as ‘director of photography.’

But it was at Denham Studios filming ‘One of Our Aircraft is Missing’ in 1942 that Green first met up with David Lean. Lean at that time was employed as film editor and the two of them soon struck up a firm friendship. When Lean became a director he brought in Guy Green as his camera operator, on Noel Coward’s ‘In Which We Serve’ (1942) and ‘This Happy Breed’ (1944).

Green soon began gaining a reputation for his stunning atmospheric cinematography and David Lean put that talent to brilliant effect when they teamed up on ‘Great Expectations' (1946). This classic of British cinema, which included Martitia Hunt as Miss Havisham, gained Guy Green an Academy Award-the first British director to do so.

Two years later the collaboration worked again with another masterpiece, ‘Oliver Twist’ (1948). It was on the set of this movie that Green first met his future wife, Josephine. They later had two children, Marilyn and Michael; both were later involved in the film industry.

After his success with ‘Great Expectations’ and ‘Oliver Twist’, Guy Green- together with Freddie Young and Jack Cardiff-founded the British Society of Cinematographers. His work continued with 'The Passionate Friends' (1949), 'Adam and Evelyn' (1949), 'Madelyn' (1950), 'Captain Horatio Hornblower R.N.' (1951) , 'Night Without Stars' (1951) and two for Walt Disney, 'The Story of Robin Hood and his Merrie Men' (1952) and 'Rob Roy, the Highland Rogue' (1953).

By the mid-fifties Guy Green, inspired by David Lean, gave up cinematography and started directing. His first major success came with 'The Angry Silence' (1960) starring Richard Attenborough and Michael Craig. This controversial film about a man’s experience of refusing to take part in an unofficial strike, was Britain’s first entry at the Berlin Film Festival. It went on to win the International Critic’s Award.

Green’s successful work as director, continued with ‘The Mark’ in 1961. With strong performances by Stuart Whitman, Maria Schell and Rod Steigar, this powerful drama about a 33 year old man re-building his life after being released from prison for intent to commit child molestation was nominated for many awards including the Palme d’Or at the Cannes Film Festival.

In 1962 Guy Green moved to Hollywood and began filming, what he later described as his ‘proudest work,’ ‘A Patch of Blue.’ Written, directed and produced by Green, this interracial drama about a chance encounter between a blind girl (Elizabeth Hartman) and a black office worker (Sidney Poitier), was nominated for five Academy Awards. Green was nominated for a Writers Guild Award and Shelly Winters received an Academy Award as Best Supporting Actress for her role as the blind girl's prostitute mother.

He had success in 1973 with his re-direction of John Osborne’s ‘Luther’ for the American Film Theater. But over the next ten years his work failed to reach the high standards he had previously set. ‘The Magus’ (1968) received a critical mauling and ‘Jacqueline Susann’s Once Is Not Enough’ (1974) was described as ‘garishly budgeted and ponderously executed.’

Green turned in 1979 to directing American TV movies. His last production was Arthur Hailey’s ‘Strong Medicine’ (1986).

The British Academy of Film and Television Arts gave Green a Lifetime Achievement Award for his outstanding contribution to World Cinema in 2002 and in 2004 he was named as Officer of the Order of the British Empire for his lifetime contributions to British cinema.

After a long illness he passed away at his Beverly Hills home on September 15th 2005 aged 91.

© Clement of the Glen 2008

Muir Mathieson

“Mathieson’s credits as Music Director reads like a history of the British films from the 1930’s to the 1960’s.”

James Muir Mathieson, the son of the painter and etcher John George Mathieson, was born in Sterling Scotland on the 24th January 1911. His early years were spent studying the piano at Sterling High School, where at the tender age of 13 he became conductor of the Stirling Boys Orchestra. He won a scholarship and studied composition and conducting at the Royal Academy of Music under Arthur Benjamin and Malcolm Sergeant. His career soon took off, when Alexander Korda signed him as Musical Director for London Films at Denham Studios, Buchinghamshire, in 1931. He later became Head of the Music Department at Denham.

Although Mathieson had worked as assistant musical director on Korda’s very successful The Private Life of Henry VIII (1933) his first credited film score was The Private Life of Don Juan (1934) which was composed by the Russian Mischa Spoliansky and Catherine the Great (1934). A year later he was responsible for introducing one of his teachers from the RCM, Arthur Benjamin and they collaborated on the excellent score for Korda’s The Return of the Scarlet Pimpernel (1937).

His first cinematic triumph came when he persuaded Arthur Bliss to compose music for Korda’s celebrated production of the H.G. Wells film Things To Come (1936), which was later successfully released on a 78 rpm gramophone recording.

"The music is a part of the constructive scheme of the film."
(H.G.Wells)

In 1935 he deputised for Sir Malcolm Sergeant and conducted performances of Hiawatha at the Royal Albert Hall. It was there, amongst the massive cast, that he met his future wife, the ballerina Hermione Darnborough. They later lived in a beautiful old farm house, just a few miles away from Denham Studios and had four children.

He continued to direct the music scores for an incredible amount of major releases and was recording part of the soundtrack of The Four Feathers, when in March 1939 there was a royal visit by Queen Mary to the Denham Studios. It was there that she watched him conducting three choirs; while scenes from the film was projected over head. In five years Mathieson had put British film music firmly on the map, although he was said to have regarded American studio composers and musicians as technically more advanced.

His wartime service was spent busily working for Arthur Rank at Denham, the Film Centre, Crown Film Unit, the BBC and the Army, Navy and Air Force Film Units.

Although Mathieson was described as a ‘Music Director’ he also conducted many radio and theatre scores during this period, including the stage version of Tolstoy’ s War and Peace, the music for Alan Burgesses The Passing of Crab Village and the very first music film recital at the Stoll Theatre in 1943. In 1944 he conducted a full season at the Saddlers Wells Opera. But he mainly remembered as the most prolific conductor in British films. One of his single most important works was his music for the film Dangerous Moonlight (1941) which included Addinsell’s Warsaw Concerto which was played on the film soundtrack by pianist Louis Ketner with Mathieson conducting the London Symphony Orchestra. His work with the London Symphony Orchestra went on to include William Walton’s music for Laurence Olivier’s Henry V (1944), Hamlet (1948) and ‘Oliver Themes’ by Arnold Bax for David Lean’s Oliver Twist (1948). Mathieson also found time to direct Benjamin Britten’s film, Instruments of the Orchestra in 1946.

In the early 1950’s Mathieson worked for Walt Disney on his British made live-action movies-often as Music Director and Conductor of The Royal Philharmonic Orchestra. He collaborated on many occasions with the composer Clifton Parker (whom he had discovered) and together they musically scored such classics as Treasure Island (1950), The Story of Robin Hood (1952) and Sword And The Rose (1953). Mathieson also worked on Walt Disney’s Rob Roy (1953), Swiss Family Robinson (1960) and also uncredited on Kidnapped (1960). He went on to compose music for movies such as Circus of Horrors (1960), Hide And Seek (1963) and Crooks Anonymous (1962).

As Musical Director, Mathieson was nominated for an Academy Award along with Larry Adler for the Genevieve (1953) score and in 1957 he was awarded an OBE.

In 1969 Muir Mathieson became conductor of the Oxford County Youth Orchestra originally founded by his brother John a year earlier. He held this position until his death in Oxford on 2nd August 1975.

Described as the ‘doyen of British film music,’ Mathieson’s importance can not be over-stated. He was the music director for over 600 films and about 400 shorts. He was responsible for introducing some of the most famous British composers such as Arthur Bliss, Vaughan Williams, Arnold Bax, William Walton and Malcolm Arnold, to the composition of orchestral scores for films.

"All that remains is for it to be unreservedly recognized that music, having a form of its own, has ways of doing its appointed task in films with distinction, judged purely as music, and with subtlety, judged as a part of a whole film. It must be accepted not as a decoration or a filler of gaps in the plaster, but as a part of the architecture."

Muir Mathieson (1911-1975)

Carmen Dillon 1908-2000

An art director collaborates closely with the film director and production team to visually tell a story on film. The construction of the sets, costume designs, locations, props and decor are all encompassed in this important role and in 1951 Walt Disney used one of the best art director’s in Europe during the making of his Story of Robin Hood-Carmen Dillon.

Born in Cricklewood, north west London on 25th October 1908, Carmen was the youngest of six children-two boys and four girls. Two of her sisters were also to become famous, Tess Dillon became head of the physics department at Queen Elizabeth College, London University and Una Dillon founded the first Dillons bookshop in London’s Tottenham Court Road in 1936.

After attending New Hall Convent in Chelmsford, Essex, Carmen went on to win an Architectural Association Scholarship.

I loved architecture not so much as a great classic thing, but I loved houses, whether ugly or not. I wanted to know how people lived, where they lived, what they did and how they decorated their homes. I particularly enjoyed the historical study of architecture.

But in her spare time she was becoming vey interested in the world of amateur dramatics and soon became involved both as a designer and actress in local productions. At that time, Carmen had been working in Dublin as an architects assistant, until she moved to London where she was eventually offered a job as an assistant art director and set designer at the Wembley Studios for Ralph Brinton making, ‘Quota Quickies’. She later described the B-film movies at Fox British as, rotten little old films, but very exciting and great fun .

Carmen recalls her early days at the film studios:

I just drifted in, I think, and for a long time I was the only female art director in the country. My mother was delighted, though, that I was going into films in some capacity. That was really quite progressive of her to be encouraging me to go into films in the 1930s.

During the early war years, Carmen moved to Denham Studios where she started her long association with Two Cities and Rank and became Britain's first and only female art director for more than forty years.

First I would read a rough outline of the story and try to imagine the kind of settings and do some rough sketches. You always had lots of talks with the director to be sure you both had the same ideas about the look and mood of the film. Then the draughtsman would make the working drawings and the sets would be based on these.

One of the landmarks in her early career was being hand picked by Laurence Olivier for his war time production of Shakespeare's Henry V (1944). With art director Paul Sheriff and costume designers Roger K and Margaret Furse (all brought in by Olivier), Carmen, as assistant art director, boldly moved away from attempting to recreate the usual ‘historical’ sets. Instead she set the movie’s first scene to start with the ‘Globe’ theatre, and all the hustle and bustle, vividness and splendour of an Elizabethan Theatre. From the wooden stage we are then transported into the fourteenth century, using all the colour, design and style of illuminated medieval manuscripts like Tres Riches Heures du Duc de Berry, with its false perspectives.

"It was my idea to do it that way," Carmen later said.

The backdrops dissolve when we reach the gritty Battle of Agincourt, then we are gradually brought back to the theatre for the final act. With a limited budget and restrictions this Technicolor film significantly proved a massive hit and morale booster in war torn Britain. Carmen was nominated alongside Paul Sheriff for an Oscar in 1947 for Best Art Direction-Interior Direction in Colour.

Her Oscar finally came for Best Art Direction and Set Direction in Laurence Olivier’s second film as director, the 1948 version of Hamlet, which she shared with Roger K Furse. This production was filmed by Olivier in high contrast black and white and is strikingly different to the extremely colourful Henry V. The mood is sombre and claustrophobic, with much use by cinematographer Desmond Dickinson’s deep focus. The camera creeps through the long dark atmospheric settings, along the bare ancient walls and up the long shadowy, winding staircases, past the huge pillars and repeating arches. Using Olivier’s metaphor that, ‘Hamlet is more like an engraving than a painting,’ Carmen and Roger Furse manage to frame the characters in a geometric minimalistic and detached way.

Hamlet became not just the first British film but the first non-American film to win the Oscar for Best Picture along with Best Actor (Olivier) Best Art Direction and Best Costume Design.

Olivier’s conception of "Hamlet" as an engraving has been beautifully executed by Roger Furse and Carmen Dillon. Sets have been planned as abstractions and so serve to point the timelessness of the period. The story takes place anytime in the remote past. This conception has dominated the lighting and camera work and has made the deep-focus photography an outstanding feature of the film.
(Variety May 12 1948)

After working as Art Director on many notable films, including The Browning Version (1951). Carmen Dillon’s extensive research and beautifully constructed historical sets continued to be in demand by producers in particular for The Importance of Being Earnest (1952) (which was nominated for a BAFTA and the Venice Festival prize ) and of course Walt Disney’s The Story of Robin Hood and his Merrie Men (1952).

Ken Annakin remembers the start of filming at Denham Studios:

Two of the stages were over two hundred feet long, and I gathered from Carmen Dillon, the art director assigned to Robin Hood, that both stages would be completely filled. One with Robin Hood’s camp in Sherwood Forest, and the other with Nottingham Castle, complete with moat.

Carmen was one of the great art directors on the European scene. Not only was she an accomplished painter, but she was able to supervise big set construction and set-dressing, down to the last nail. So much so, that sometimes when I was lining up a shot, I found her a bit of a pain in the ass because she would insist that her designs and her visual conception of a scene must be adhered to, whereas I regarded the sets only as a background for the actors.

She continued working for Walt Disney on other historical live-action movies including The Sword and the Rose (1953) Rob Roy, the Highland Rogue (1953) and Kidnapped (1960) But:

They were very keen on having a storyboard and that was very trying. You had to pin down every shot for every scene; it was good for you as a discipline, but it wasn't the way I enjoyed working.


During her distinguished career, Carmen was to work on many of the finest British films and was continually favoured for her set design by Laurence Olivier, Anthony Asquith, David Lean and Joseph Losey. Including:

Richard III (1955)
The Iron Petticoat (1956) Checkpoint (1956)
The Prince and the Showgirl (1957)
A Tale of Two Cities (1958)
Accident (1967)
The Go-Between (1971)
Lady Caroline Lamb (1973)
Julia (1977)

During the making of the Prince and the Showgirl the unit assistant, Colin Clark described in his book what it was like working with Carmen:

The art director is a small, intense lady with short grey hair, cut like a man's. She is Carmen Dillon who works with a set dresser called Dario Simoni. Together with Roger Furse, they are responsible for the "look" of the whole film. They are all completely professional and only think about the scenery, and the props and the costumes. They didn't even glance at Marilyn Monroe when she walked in to look at the set for a moment last week, even though MM was quite excited by the whole thing.

Looking back at her career as a woman in a male dominated movie industry, she said:
When I was young and trying to get into films they were very against having women in films at all.”

Carmen didn’t enjoy making A Tale of Two Cities (1958) and later described it as a ‘rotten film, very poor, I’m ashamed of it.’ But she did confess to having a great deal of fun making the ‘Carry On’ films.

In 1977 Carmen worked with Gene Callahan and Wily Holt on production design for Fred Zinneman’s Julia starring Jane Fonda and Vanessa Redgrave. Their art direction was nominated for a BAFTA and the movie itself was nominated for 11 Oscars and won 3. With simple clean lines, Carmen’s versatility in design, captures the whole spectrum of emotions in this very powerful movie and received much critical acclaim.

The period environment, brilliantly recreated in production design, costuming and color processing, complements the topflight performances and direction.
(Variety)

Carmen retired from the world of film making in 1979 and died in Hove, Sussex on 12th April 2000.

With a film one has to live with your draughtsmen much more, living with the work, the craftsmen and everybody all the way through. Whereas on the stage, however much one pours oneself into it, it is "Goodnight dear, see you some time". When one is working on a film one is influenced by the cutting, music - everything. It is much more alive. So, I suppose in a very selfish way I wanted to be "in on it".

(Carmen Dillon)

© Clement of the Glen 2006-2007

Behind The Camera

First Unit

Director:- Ken Annakin

Unit Manager:- Frank Sherwin Green

Director of Photography:- Guy Green

Camera Operative:- Dave Harcourt

Technicolor Technician:- Ian Craig

Asst. Technicolor Technician:- John Tiley

Clappers:- Derrick Whitehurst

1st. Assistant Director:- Peter Bolton

2nd. Assistant Director:- Peter Manley

3rd Assistant Director:- Kip Gowan

Continuity:- Joan Davis

Sound Mixer:- C.C. Stevens

Boom Operator:- Fred Ryan

Sound Camera:- K Rawkins

Floor Props:- Jim Herald

Floor Electrician:- Maurice Gillet

Floor Stills:- Frank Bellingham

Production Secretary:- Teresa Bolland

Second Unit

Director:- Alex Bryce

Unit Manager:- Anthony Nelson-Keys

Cinematographer:- Geoffrey Unsworth

Camera Operator:- Bob Walker

Technicolor Technician:- Robert Kindred

Asst. Technicolor Technician:- Michael Brandt

1st. Asst. Director:- Basil Keys

2nd. Asst. Director:- Len Lee

3rd Asst. Director:- Chris Sutton

Boom Operator:- George Paternoster

Continuity:- Connie Newton

Clapper Loader:- Ken Nicholson

Asst. Wardrobe:- Fred Gayton

Hairdresser:- A Baber

Floor Props:- Ernie Quick

Floor Stills:- George Ward

Production Secretary:- Kathleen Hosgood

Screenplay:- Lawrence Edward Watkin

Producer:- Perce Pearce

Executive Producer:- Walt Disney

Editor:- Gordon Pilkington

Asst. Editor:- Ann Coates

2nd Asst. Editor:- Deveril Goodman

2nd Asst. Editor:- Leslie Hodgson

2nd Asst. Editor:- Terry Poulton

Casting Director:-Maude Spector

Casting Asst.:- John Owen

Art Director:- Carmen Dillon

Asst. Art Director:- Arthur Lawson

Asst. Art Director:- Jack Stevens

Costume Design:- Michael Whittaker

Wardrobe Supervisor:- Yvonne Caffin

Wardrobe Master:- Goff Price

Wardrobe Mistress:- Mrs Gilbert

Wardrobe Assistant:- Betty Simms

Wardrobe Assistant:- Roy Lemon

Period Advisor:- Charles R. Beard

Makeup Supervisor:- Geoffrey Rodway

Makeup Artist:- Trevor Crole-Rees

Makeup Artist:- Stuart Freeborn

Makeup Artist:- Eddie Knight

Makeup Artist:- A. L. Lawrence

Makeup Artist:- Robert Alexander

Makeup Artist:- Molly Schneiderman

Production Manager:- Douglas Peirce

Chief Draughtsman:- Ernest Archer

Sketch Artist:- Ivor Beddos

Sketch Artist:- Stephen Grimes

Asst. Draughtsman:- John Box

Asst. Draughtsman:- Roy Dorman

Asst. Draughtsman:- Don Picton

Junior Draughtsman:- Peter Lamont

Junior Draughtsman:- Richard Frigg

Sound Editor:- Wyn Ryder

Dubbing Mixer:- Peter Davies

Boom Operator:- Basil Fenton-Smith

Sound Editor:- Winston Ryder

Matte Artist:- Peter Ellenshaw

Matte Effect Technician:- Alan Hulme

Matte Effect Technician:- Peter Hall

Scenic Artist:- Robert Dawe

Set Dresser:- Harry White

Technicolor Colour Consultant:- Joan Bridge

Conductor: Royal Philharmonic Orchestra:- Muir Mathieson

Clapper Loader:- John Alcott

Assembly Cutter:- Anne V. Coates

Assistant Camera:- Peter Hall

Focus Puller:- Alan Hume

Still Photographer:- Ian Jeayes

Still Photographer:- George Courtney Ward

Hair Dressing Supervisor:- Vivienne Walker

Hairdresser:- Joyce Wood

Hairdresser:- Joan White

Hairdresser:- Alf Beeber

Hairdresser:- Gordon Bond

Hairdresser:- Ann Fordyce

Hairdresser:- Pearl Tipaldi

Construction Manager:- Gus Walker

Property Master:- Bill Mason

Production Buyer:- Jim Baker

Production Publicist:- Catherine O’ Brien

Production Publicist:- Joan R. Davis

Producers Secretary:- Denise Carey

Casting Secretary:- Pat Bull

Publicity Secretary:- Nita Oswin

Ballads:- Elton Hayes

Ballads:- Clifton Parker

Ballads:- George Wyle

Ballads and Lyricist:- Eddie Pola

Ballads and Lyricist:- Lawrence Edward Watkin