Ellenshaw's Matte Magic

Peter Ellenshaw

One of the many elements that gave Walt Disney's live action film The Story of Robin Hood such a sumptuous quality were the matte effects of Peter Ellenshaw (1913-2007). We have looked at the life and work of Ellenshaw before on this blog and there are now over 10 pages on the subject here. But recently Neil has sent more examples of Ellenshaw's art work.

Below is an article that appeared in The Daily Mail describing the art of matte painting:

“Before computer-generated special effects, film-makers relied on ‘matte painting’ as a cheap substitute for building sets or filming on location. Matte paintings were made by artists using paints or pastels on large sheets of glass or integrating with the live-action footage via a double exposure.

Its foremost practitioner was Peter Ellenshaw (1913-2007), who joined Denham Studios in 1935 as an uncredited assistant to his stepfather, W. Percy Day, the inventor of matte painting on such things as Things To Come (1936) and The Thief Of Bagdad (1940).

In 1947, he created the wonderful mountain scenery for Michael Powell’s and Emeric Pressburger’s Black Narcissus. Martin Scorsese, a big fan, said that watching it was ‘like being bathed in colour.’”

***

After Black Narcissus, Ellenshaw worked on more than 30 films for Walt Disney Studios. He began working as a freelancer for Walt Disney in 1947 and became involved in the making of Treasure Island, the studios first live-action movie. It was the great art director Carmen Dillon that recommended Peter’s work to Walt Disney, for his next project in England, ‘The Story of Robin Hood and his Merrie Men’ in 1952.

Walt Disney and Peter Ellenshaw

"Peter Ellenshaw is a clever young painter,” Carmen Dillon said, “and has the backing of his father-in-law, Poppa Day, who has been doing optical tricks and mattes with Korda for many years.” Walt Disney was interested and replied, “Good! We’ll paint all the long shots of medieval Nottingham, the castle, Richard going to the Crusades, etc. on glass. They’ll be much more fun than the real thing.”

Nottingham before and after Ellenshaw's work

On Robin Hood, Peter Ellenshaw eventually painted 52 matte shots. A technique that impressed the film’s producer Ken Annakin so much, that in his next picture for Disney, The Sword and The Rose, he used 64 of Ellenshaw’s fine matte work.

So began Peter’s long career with the Disney Studios and a 30 year friendship with Walt Disney himself, of whom he regarded as a wonderful inspiration. Ellenshaw was officially designated a 'Disney Legend' in 1993.

Neil says:

"Just attaching these that you may have seen – I certainly haven’t – from The Story of Robin Hood and His Merrie Men 1952.
Some Matte Shots – before and after – that were so good I had never imagined that they were mattes at all. I am sure you will agree.
This is staggering work to me – and so impressive.

Trouble is it spoils things in a way because I always thought that the shots of Robins escape at the river scene was all a real location that I have even been to look for."

The pond becomes a river

I agree with Neil, some of the scenes I thought were 'real' locations, were in fact created by Ellenshaw. Above is a fine example. The first image is possibly one of the ponds used by Alex Bryce's second unit at Burnham Beeches. In the next shot is the same spot transformed by Peter Ellenshaw's matte magic.

Robin reaches a different riverbank

Above is another scene from Robin Hood's escape from the sheriff. This time we see the outlaw crossing the river on horseback. In the second image Ellenshaw has added a much steeper and more tree-lined bank.

Nottingham town square

In Neil's third example of Peter Ellenshaw's work (above), we are in Nottingham town square. This is the moment King Richard's ransom money is jubilantly carried off to the castle. The scene has been filmed on one of the giant sound stages in Denham Studios. But the matte process transports outside into the sunlight.

Construction of the final scene

The last series of images show the construction of the final scene of the movie. Top right is just the ground shot in which Alan a Dale walks. Around that image Peter Ellenshaw has painted trees and a beautiful sunset. And it is in this evocative closing scene the minstrel strolls off into history spreading the legend of Robin Hood.

A very big thank you to Neil Vessey for sharing these fascinating images with us. Don't forget to visit Neil's own website Films of The Fifites.

Robin Hood's Test Shots

Over the past ten years we have made some fascinating discoveries about Walt Disney's live-action movie The Story of Robin Hood and his Merrie Men (1952). But I was beginning to think there was nothing else to surprise me, until Neil sent me these two intriguing images:

Neil says:

"I have been looking through my film memorabilia and come across these two stills which I have not taken notice of previously - I don't know why because they are very unusual and very interesting.
Richard Todd as Robin Hood is posing with his father in one of them - BUT it is not the actor Reginald Tate, who plays his father in the film - and looks like a stand-in for a pre production design set up.

The clothes are quite different to those in the film - and Richard Todd has slightly shorter hair and in these stills looks nothing like as convincing as he does in the film.

On the other picture there are three of them - Richard Todd as Robin, Someone as his father AND another stand-in for Red Gill I would guess - who was played in the film by Archie Duncan.
It could be that these men are stunt doubles as they are similar in stature to the actors.
The costumes also look wrong - and my opinion is that they were going through the options until they got it right which they did of course.
Another thing - the backdrop - I  at first,  thought this might be a real backdrop but looking further I am leaning towards a studio set picture - and I think that is what it was."

These do seem to be 'test shots', used - as Neil says - by Walt Disney's production crew on Robin Hood, for design and cinematic purposes. But it does seem unusual for the images to be released in the form of 'movie stills.' Below is how Archie Duncan as Red Gill, Richard Todd as Robin Hood and Reginald Tate as Hugh Fitzooth later appeared in the movie.

A still showing the stars and their costumes

Seeing these two experimental pictures taken during the early stages of production, reminded me of a post I did back in November 2012 about a picture I discovered of Joan Rice in a costume that was never used in the movie. It  tied-in with a  memo sent by Walt Disney to Perce Pearce and Fred Leahy regarding Joan Rice's Maid Marian costume:

“The final tests arrived the first part of the week and we looked at them. I think [Richard] Todd is wonderful, and I feel he will project a great deal of personality and do a lot for the role.Joan Rice is beautiful and charming. I think, however, she will need some help on her dialogue. I thought at times, she lacked sincerity, although one of her close-ups was very cute. I do not care much about her costume in the first scenes. It seems that women of that period always have scarves up around their chins, but I think it does something to a woman’s face. I’d like to see us avoid it, if possible, or get around it in some way or other-maybe use it in fewer scenes.When we see Miss Rice disguised as a page, this costume seemed bulky and heavy. The blouse or tunic was too long and hung too far down over her hips-it didn't show enough of her and I thought distracted from her femininity. I do believe the costume did much to set off her femininity. I think a slight showing of the hips would help a lot."

Joan Rice as Marian in a costume never used in the film

Joan Rice wearing the updated costume.

Walt Disney continued in his memo:

" ... I liked Elton Hayes as Allan-a-Dale. He has a good voice with quite an appeal. The last word I had from Larry [Watkin] was to the effect that he would be sending in a new and complete script very soon. I have been following his changes and the little thoughts I have are close to “lint-picking”, which I feel he is smoothing out in his final script, so I won’t bother about passing on my thoughts until I get his so-called final script...”

                                                                                                     Walt Disney  

Special thanks to Neil for sending in those extremely rare pictures. They have given us yet another fascinating insight into the pre-production of  Walt Disney's Story of Robin Hood and his Merrie Men.

Geoffrey Rodway (1911-1999)

Geoffrey Godway (1911-1999) with Joan Rice in the make-up department

This is an up-date to a post from three years ago. It was in November of that year I posted a picture of Joan Rice (1930-1997) in the make-up department for her role as Maid Marian during the filming of Walt Disney's Story of Robin Hood and his Merrie Men.

At the time, I was not sure who the gentleman was applying the make-up. I went through the names, including Geoffrey Rodway the Make-Up Supervisor on the movie, Trevor Crole-Rees, Stuart Freeborn, Eddie Knight, A. L Lawrence, Robert Alexander and Wally Schneiderman. They are all listed in various articles as uncredited make-up artists on Disney’s live-action movie. At the time I guessed in might have been Geoffrey Rodway.

Well, I was thrilled to receive a message from Alex Rodway:

“Yes that is Geoffrey Rodway, my grandfather.”

Neil, our regular contributor, also informed us that South African born Geoffrey Rodway (1911-1999) was employed in various make-up departments from the early forties right through to the seventies. Including working on the much-loved Carry-On films.

Rodway was part of the team that worked for Walt Disney on Treasure Island and Sword and the Rose.  He was also Joan Rice's make-up artist not just on Robin Hood, but also Curtain Up, A Day To Remember and One Good Turn. 

In March of this year Mick got in touch and asked if the family had lived in Iver in Buckinghamshire? I am pleased to say that yesterday Tim Walker contacted me with this answer:

"Hi all - I'm another of Geoff's grandsons - cousin of Alex who wrote in previously. Geoff did a large number of films at Pinewood Studios, which are of course situated in Iver. So yes Geoff and his wife Nora (who was also his assistant) did live in the area - I think in Denham and Iver at some stage. This was up until Geoff retired and they moved to the South coast during the seventies. I hope this is of interest. Regards, Tim Walker. 

Many thanks to all those who very kindly contacted this web site regarding Geoffrey Rodway, especially members of his family. If you have any information regarding the production crew or actors and actresses that made Disney's Story of Robin Hood please get in-touch. I will be pleased to hear from you.

Champion Archer Found!

Last week I posted two letters that has been received by John Nelson from Richard Todd. In John's second letter, Richard described how he had been trained for his role as Robin Hood in Walt Disney's live action movie:

"I was given some weeks of training and practice in archery for my role in Robin Hood and became quite proficient. My teacher had been the champion archer of England and I greatly enjoyed working with him and carried on using a bow and arrow for some years for pleasure."

So the big question last week was who was 'the Champion Archer of England' in 1951?

I would like to send a huge thank you! to Chrissy Noel on our Story of Robin Hood Facebook page, who went to the trouble of contacting 'The Society of Traditional Archers' with our question. They responded almost immediately with an answer, 'it was the late great George Brown'.

Very little information is available on the internet about George Brown. Chrissy thinks he may have had connections with 'The Sherwood Archers', an archery club based in Southwell, Nottinghamshire. 

The 'Society of Traditional Archers' had this to say:

...we all knew about George. He was a Gentle Giant of a man, unassuming, a true gent and a true champion. This was the 1950's, a change over period in modern archery when man made materials were taking over from traditional equipment. George never made 'champion' again but like the wonderful Edward McKewan he is a legend to those of us who are lucky enough to remember him. he inspired many of us as children as did Richard Greene, Richard Todd et al. I bumped into Richard Todd outside the may fair theater in London...My God I exclaimed you're Richard Todd... he shook my hand and replied, 'Yes, young man I am indeed.' He was small in stature but a legend.

Chrissy did manage to find some silent film footage by British Pathe of George Brown at a 'Grand National Archery Meeting' in 1956. And SOTA confirmed that this is the man we have been looking for.

George Brown in 1956

The irony is that George Brown has appeared on this blog before. 

Way back in 2008, Neil sent in this fantastic still, showing behind the scenes during the making of Walt Disney's Story of Robin Hood and his Merrie Men (1952). Not only does the image give us a rare glimpse of the equipment and crew as they a film by the river bank with Richard Todd, but Neil managed to get the names of the two archers - James Hemmings and George Brown. 

So here is Richard Todd and George Brown possibly on set together!

Thanks to Chrissy and Neil I believe we have managed to trace Richard Todd's champion archer!

George Brown the Champion Archer of England during the 1950's

Letters From Richard Todd

John's autographs of Richard Todd and Ken Annakin

I received a wonderful email from John Nelson last week. John is a huge fan of Walt Disney's Story of Robin Hood and his Merrie Men (1952) and a regular visitor to this web site. He has been fortunate enough to have met both Richard Todd (1919-2009) (who played Robin Hood) and Ken Annakin (1914-2009) (the producer of the movie). John has kindly allowed me to show his two letters from Richard Todd.

But first here is John's email:

Hello to all.
Here are three items from my personal collection sent to me by Mr Richard Todd, in my opinion the finest of all Robin Hoods on film.  Errol being a close second.
I had the great pleasure of meeting Richard on many occasions and corresponded with him for many years.  I met Ken in Los Angeles a few years ago, sadly he has also passed away.
I found them both to be friendly, obliging, and very kind gentlemen and I am sure they would have been delighted with your interesting and very informative "The Story of Robin Hood" site.
It appears Richard had fun making the movie and mastering the art of archery and swordplay becoming quite proficient in both and I am sure he would not have minded me sharing these personal letters and photo with you for the pleasure and enjoyment of your many followers.
He certainly was an amazing, talented actor.  Hasty Heart, The Dambusters, Rob Roy, being among my favourites. The Story of Robin Hood being the top of my list.
Wishing you continued success.  Keep up the good work.

My kindest regards to you.
John Nelson

Below is John's first letter from Richard Todd:

It is particularly interesting to read this:

'I don't know how my version of Robin Hood compared with the various other ones that have been filmed but I truly think that Walt Disney, his script writer and the producer Perce Pearce, captured the youthful adventurous spirit of the traditional image of the characters of mythology, possibly based on both fact and history.

The Robin Hood film will always be one of my favourite memories despite a few awkward moments during the filming.' 

I wonder which 'awkward moments' Richard Todd is referring to?

Below is John's second letter:

Richard Todd gives another fascinating insight into the making of the film when he says:

'I had a certain amount of training in the basic skills of swordplay while I was at drama school and later during those films requiring any fencing. I worked and trained with experts both in the United Kingdom and America.

I was given some weeks of training and practice in archery for my role in Robin Hood and became quite proficient. My teacher had been the champion archer of England and I greatly enjoyed working with him and carried on using a bow and arrow for some years for pleasure.' 

Frustratingly I can't put a name to 'the champion archer of England' who trained Richard Todd. 

In his biography Caught In The Act (1986), Todd mentions that, 'a gymnasium was set up for me at Pinewood Studios, and here, under the watchful and energetic tutelage of Paddy Ryan, the doyen of British stunt men, I worked out almost daily, and practiced back-flips and tumbles that I hadn't tried since my early army days. Rupert Evans, a former Champion at Arms of the British Army, coached me in sword-play, and he and Paddy worked with me throughout the picture. In addition, I had hours of tuition in archery and practice on horseback, with and without bows and arrows. I may not have been the greatest celluloid Robin Hood, but I was certainly going to be the fittest.'

The Tough Guy Agency supplied stunt men and fight-training for The Story of Robin Hood and other action films of that period. It was managed by Mickey Wood (1897-1963) the self-defence and physical training expert. But it is unknown wether Rupert Evans (1911-1995) and Paddy Ryan (1911-1999), who are both mentioned by Todd, were connected to this company. 

Rupert Evans with James Hayter (as Friar Tuck)

Ryan, a former Desert Rat, is considered to be the 'father of English stunt men' and credited with performing one of the film industries best known stunts. This was his spectacular high fall from the castle turrets in the movie Ivanhoe (1952) into an eight feet deep moat. 

But who was the champion archer who trained Richard Todd?

A big thank you to John Nelson for contacting me with these fascinating letters.

If you can help in identifying 'the champion archer' who trained Richard Todd in 1951 please get in touch.

To read more about the life of Richard Todd please click here.

Fight Training

Richard Todd as Robin Hood and James Robertson Justice as Little John

Down the years Neil has contributed a vast amount of information to this blog and also has his own wonderful website dedicated to the Films of the Fifties.  He has recently discovered a fascinating article about the making of Walt Disney's Story of Robin Hood (1952). It includes this very rare image (above) and an article about the training given by Rupert Evans for the fight scenes in the movie.

Neil says:

There is a new photograph [above] there of Richard Todd and James Robertson Justice rehearsing for the quarter staff fight - it is not much of a picture BUT it is yet another find ... If you look at the cart to the left - that appears in a scene where Little John  trots across with the horse that Peter Finch is going to be placed on. That was quite a set of Robin Hood s camp - I remember Ken Annakin saying that it was at least 200 ft. wide which is massive.

Look closely at the picture though and it underlines - something I have said so often - how good the set is. It looks like real woodland.

This certainly is an interesting insight into the preparation that went on behind-the-scenes at Denham Studios during the making of that wonderful film. Being behind-the-scenes at Denham in 1951 is an experience many of us fans could only dream of.

The picture above also reminded me of another image we  have seen of Richard Todd and James Robertson Justice preparing for the quarter-staff fight scene.

Richard Todd, James Robertson Justice and Ken Annakin

Neil describes the magazine article in which the picture appeared:

This article appears in an American Publication of August 1952 called 'Boys Life' and this is towards the back of the magazine which would come out just after the July 1952 release of The Story of Robin Hood in America. We had it in Feb or March of 1952 as you know..

This is what the article says:

When you see the new Walt Disney RKO live-action film, THE STORY OF ROBIN HOOD - and don't miss it- you'll see hand-to-hand combats in which the actors used no doubles. Robin Hood, legendary fighter of freedom, is most famous as an archer, and the film does have some eye-popping shots with bows and arrows. But Robin and his men could also bloody the heads of tyrants with their fists, knives, swords cudgels or six foot long  quarter-staves, a speciality of the period (for the movie about 1190 A.D.)

That was the time when the good King Richard the Lionhearted, left England for the Holy Land, and his weak, greedy brother, Prince John, oppressed the people. For resisting, Robin Hood and his followers were outlawed, but they hid in Sherwood Forest, raiding and  making fools of Prince John's men. For the numerous action scenes the actors were trained by a former coach of the British Royal Marines. Richard Todd, as Robin Hood, mastered all the weapons. Todd would be a tough man to tangle with now, even if he didn't have a quarter staff along.

Back in 2010 I posted about the Tough Guy Agency. This was the organisation that supplied stunt men and fight-training for films like The Story of Robin Hood and other action films of that period. I found the article in the Super Cinema Annual 1954. It featured a piece on Mickey Wood (1897-1963) the self-defence and physical training expert who was manager of the agency Tough Guys Limited which provided stunt people for films, including Disney’s Story of Robin Hood (1952). Perhaps Rupert Evans was connected to this company. This is the piece from the annual:

"Through the leafy green thicket of Sherwood Forest came a wiry little man on a shaggy forest pony. Without pausing, the rider galloped the pony straight into a wide and deep stream which cut its meandering way through the trees. The spray shot up around them, hiding them from view for an instant. Then came the deep twang of a bow string. A long slender arrow sped through the air. With a sickening thud, it caught the rider full in the chest, even as he reached mid-stream.

He threw up his arms and fell from the pony, to land with a splash in the water. The frightened animal was left alone to struggle to the other side. The body of the man floated downstream, face upwards, arms outstretched, with the deadly arrow sticking up from his chest for all the world like a sail-less mast of some stricken ship-

Recognise this scene?

Well it was taken from ‘Robin Hood,’ that wonderful R.K.O. film which so faithfully portrayed the adventures of England’s ever-green hero of Sherwood Forest.We went to interview Mickey Wood and found him in his office in Wardour Street, the centre of all the world’s film companies in England. He is a quiet, unassuming man in his early fifties and his office walls are filled with pictures of the many hair-raising stunts which his own tough experts have performed, or have taught well known film stars to do.

Yes we can hear you saying, “I suppose that was a dummy which a good marksman shot off the pony. It was jolly well done though.”

It certainly was well done! But that dramatic scene was no fake-the man on the pony was alive and surprisingly enough, has lived to perform many other daring stunts. For the rider was none other than Mickey Wood, principal of the ‘Tough Guys Stage and Screen Agency.’

Rupert Evans with James Hayter as Friar Tuck

 

And yet Mickey had an operation when he was a boy which would have been enough to kill many people, if not make them permanently disabled. He was trepanned and to this day [1954] he carries in his head a silver plate as a grim relic of this operation.


But Mickey Wood refused to let this put him off. At school he became the schoolboy boxing champion, took up wrestling and self defence and later on became the light-weight champion of Great Britain. Besides self-defence, he became an expert in swimming, diving, swordsmanship and riding.

During the last War, Mickey taught the Commando troops all he knew about self-defence and many of them must have found that knowledge invaluable when they came to grips with the enemy.

Peter Finch the Sheriff with Rupert Evans

 

Today, his ‘Tough Guys Agency’ has about three hundred and fifty people on its books, all of them experts in their various ways-ranging through boxers, wrestlers, high-divers, fencers, archers, car-crashers, circus acrobats and many other “tough guys.” But not only men-for Mickey has a number of extremely able young ladies who are willing to risk life and limb in the cause of stunting.

Micky’s first film-fight came in a film of George Formbey’s called ‘George in Civvy Street,’ when he worked with Kid Lewis, the famous boxer. Recent films in which Mickey has taken part are ‘Robin Hood,' already mentioned, ‘High Treason,’ ‘The Wooden Horse,’ and ‘Ivanhoe.’ The latter being the most spectacular and the one in which a big team of Mick’s people were engaged.

They had to leap from the castle battlements. Take part in fierce fights with swords, maces and all amidst clouds of arrows. But don’t run away with the idea that the fights such as you see here are haphazard affairs-not a bit of it!

These stunt men and women are tough, but they have no wish to throw their lives away just for the sake of a good picture. Every fight is carefully rehearsed and, very often, when two men are engaged in combat, practically every blow is planned beforehand. This is absolutely necessary; otherwise it could easily lead to serious injury or perhaps the death of one of the combatants."

 James Robertson Justice and Richard Todd in The Story of Robin Hood

Thanks to Neil for sending in the Boys Life article.

               

Japanese Programme

Inside of a Japanese programme for Walt Disney's Story of Robin Hood

This image of inside a Japanese programme for Walt Disney's Story of Robin Hood and his Merrie Men was kindly sent in by Mike. Disney's live-action movie had its premier in England on 13th March 1952 but was not released in Japan until 22nd January 1955 which is probably when this article was produced.

I would have liked to have seen more pages, as it is always fascinating to see how the movie (and of course the legend) is presented in different cultures.

But what we can see are stills from the movie that have been posted on this blog before. In particular is the rare glimpse of the filming of the scene in which Robin Hood (Richard Todd) and his men throw Little John (James Robertson Justice) into the stream (below).

The filming at Denham Studios

This is a clearer image of the picture used in the Japanese programme and we see the huge Technicolor cameras being used (by possibly the director Ken Annakin) at one of the sound stages at Denham Studios. Also note how the area of the stream is still dry before being filled with water for the particular scene.

Walt Disney with Elton Hayes (left) and Richard Todd (right)

Above is a slightly different picture (than in the Japanese programme) of Walt Disney feeling the weight of a helmet, on the Nottingham Castle set during his visit to Denham Studios in June 1951. Alongside him is Elton Hayes (as the minstrel Allan-a-Dale) and Richard Todd (Robin Hood ‘disguised as a soldier of the Sheriff’). In his autobiography (Caught in the Act, Hutchinson 1986) Richard Todd describes the ‘solid’ dungeon walls as being constructed of pure wood and plaster and the ‘metal’ ring made of papier mache'.

Filming of Walt Disney’s Story of Robin Hood and his Merrie Men began on 30th April 1951. Ken Annakin, the director of the movie, in his autobiography (So You Wanna Be a Director, Tomahawk 2001) says that 10 weeks into shooting, Disney made a surprise visit to the set. Annakin describes how the great man had photos taken with the stars of the film in the Nottingham Square set on the lot. This also included ‘numerous’ pictures with Joan Rice (Maid Marian) on the archery field.

This fits with Richard Todd's (Robin Hood) memoirs where he describes Disney coming over from London to Denham near the end of June 1951 and how he was thoroughly pleased with the way things were going.

Coinciding with Walt’s stopover, the then Princess Elizabeth (later Queen Elizabeth II) paid a visit to the Denham Studios, accompanied only by her lady-in-waiting and equerry. The future queen was shown by Walt Disney and the art director Carmen Dillon around the outside sets and the costume department. Perce Pearce, the producer of Walt Disney’s Robin Hood, insisted that filming should continue as normal as that is what the young princess wanted to see. So for about twenty minutes she stood quietly in a dark corner, while production carried on, then gave a friendly wave and slipped out of the stage. I wonder what scene it was she saw being filmed?


To read more about the production of the film, Walt Disney, or see the picture gallery please click on the labels below.

Elspeth Gill (1936-2012)

Elspeth Gill with Richard Todd in 1951

I was saddened this week to learn that Elspeth Gill passed away two years ago. Her father Alex Bryce (1905-1961) was the celebrated director, producer and writer who had worked on Walt Disney's live-action movies The Story of Robin Hood and his Merrie Men (1952), Sword and the Rose (1953) and Rob Roy (1953).  

In July 2012 I had the great pleasure of talking to Elspeth about her visit to the set of Robin Hood with her father and was struck by her warmth and kindness (I have re-posted the interview). Since then, I have learnt a great deal more about her incredible life.

Elspeth Gill

Below is her obituary sent to me by Neil Vessey:

Elspeth Gill

(1936-2012) 

Dare To Be Different

These are the words used by Elspeth Gill who used them to describe why she should be considered for the Hackney Performance Horse of the Year Award, She was right, she was different and yes she won that award! Elspeth was a remarkable woman who led an extraordinary life, this is her story..

Elspeth Mary Macgregor Gill was born in North London in 1936 where she spent much of her childhood growing up in Scotland. Her father was a celebrated film director who worked for Walt Disney. The youngest of 4 children, Elspeth spent many of her formative years on set with her father where her love of acting was born. She adored the glamour and showmanship of acting, developing a talent that would furnish her with essential skills for her future. In contrast to the glamorous lifestyle, another one was brewing, a keen interest in the harness horse inspired by the horsedrawn delivery tradesmen such as milkmen, bakers and coalmen around the suburbs of Rickmansworth.

In 1954 she won a scholarship to RADA, THE Royal Academy of Dramatic Art in London, where her natural gift for acting was honed. She studied alongside contemporaries such as the Oscar winning Glenda Jackson and Leonard Rossiter. On graduation, she went on to spend many years in repertory theatre performing in theatres around the country. The ability to travel around independently and adapt to the ever changing face of theatre demands set the scene for a remarkably strong woman who faced adversity and extraordinary challenges in her personal life

After meeting her first husband whilst starring as GiGi in the Wolverhampton Grand, she settled into in the rural idyll of Shropshire, They went on to have three girls, Lesley, Emily and Abbie. Elspeth married a second time and their son Daniel was born. With the children fast outgrowing their Welsh Ponies, Elspeth decided to be resourceful and break the ponies to harness, drawing on her skills learnt as a girl with the milkround! The rest they say is history!

Elspeth’s original driving pony was Tilliepronie Emperor Tilly a versatile children’s riding. With the fuel crisis in 1973 she drove her ponies to town with the kids in a governess cart to do the shopping, a feature broadcast on local television. She was then approached by the Bromsgrove driving group, joined up and opened up a whole new world of showing.

Elspeth’s passion for drama was now being put to good use in carriage driving, Her illustrious career in competitive Private Driving had just begun. With the combined smell of greaspaint…and horses, her achievements in the show ring culminated with her attaining a third place at the Horse of the year show in 1976. Third place was not good enough for Elspeth and realized that to be better, and to win, she would need to be different; to be outstanding and to be noticed, and so she turned to the aristocrat of the showring, the Hackney.

Her lifelong association with the hackneys had started. She became impassioned about of the breed and became a respected lifelong advocate of the Hackney Horse Society. Her first horse was Blue Cap John, a stunning Hackney which she had many a success with. With her constant quest for craving perfection and success in the show ring, she acquired the indomitable hackney stallion Finesse from Holland, Nessie was the love of her life, the greatest hackney of them all. To achieve her supreme goal, she called on the services of master coach-builder Philip Holder of the Wellington Carriage Company to design and build a new type of vehicle, her famous Cane Whiskey which is now on show the Redhouse Museum in Darbydale. The combination of a stunning lightweight carriage, outstanding hackney and impeccable turnout provided the desired effect, they were virtually unbeatable in the show ring and went on to win the supreme accolade, the Concours d'Elegance at HOYS in 1982. This single solitary rosette will adorn her wicker coffin to her funeral.

With a move to Cheshire, Elspeth worked her horses as commercial weddings and tourist rides. Her proximity to Manchester and the Granada television studios opened up new opportunities and returned to acting, this time with the horses and carriages in tow. She supplied carriage turnouts and horses for film, she appeared once again on screen in ITV productions such as Handel and Sherlock Homes. She commissioned John Willets from West Wales to build a hansom cab for film work for the Sherlock Homes and held a Hackney Cab license for rides around Chester. She famously performed a display for the Liverpool Taxi Cab association in a hansom cab, reversing a serpentine down a street to the astonishment of watching taxi drivers!

Elspeth’s attention to detail was revered across the country and became a well loved doyenne of the showring. The previous successful working relationship with Phillip Holder on the Cane Whisky was rekindled when she commissioned another stunning carriage, a pony Spider Phaeton to her exacting designs, which she excelled in many shows, and was often seen with her children perched precariously on the back dicky seat, usually it was her son Danny looking resplendent as the tiger boy Their glory came when they won at the British Driving Society National show and were presented to the Queen. So confident that their turnout was a show winner, Elspeth had already prepared a posy for a young Danny to present to her Majesty.

Whilst living in Dorset, Elspeth added Sunbeam Fantasia (Billy) to her yard, a stunning black Hackney Stallion who proved to be her soul mate seeing her through many a triumph and tradgedy. On return to Shropshire where she ‘retired from the show ring’, Elspeth moved to Bromdon Stables where she was able to look out from her window to see Billy staring back at her from his stable. The lure of the show ring was compelling. She made a call to Gary Docking to find a vehicle, and off to Reading she went and bought the vehicle of her dreams, the iconic Studebaker Princess Basket Phaeton. Great successes followed up and down the country. 

Undeterred by the onset of old age, Elspeth decided to travel to France and take part in the Concours d’Elegance d’Attelage de tradition at Cuts. For a 70 year old woman, a 21 year old horse a 100 year old carriage and a 30 year old battered old transit box, the team set off on an epic journey of a lifetime and yes she won again. Later that year she went on to win the Concours class at the National Carriage Driving Championships at Windsor too! 

Elspeth enjoyed all aspects of carriage driving, both Billy and her would travel all over the country taking part in various events. They even starred together in a couple of theatre productions with Equilibre with their magical performances. At the end of the 2006, their combined carriage driving exploits accrued them enough points to win the highly prestigious Hackney Performance Horse of the Year award. 

In recent years, the stresses of travel, failing health and Billy’s prolonged lameness took it’s toll, so Elspeth drew her competitive driving days to a close. Her final swansong came in 2010 when she fulfilled a lifelong dream to retrace the steps of the Reverend Henry Philpott from his journal of 1835 called "From Worcestershire to North Wales in a gig" chronicling his 11 day 260 mile adventure driving his little black mare. Her youngest daughter Abbie took time out with Elspeth to explore the route by car and when possible would bring Billy along to recreate the journey with a pony and trap. 

Elspeth was very close to her family and hugely proud of their achievements, She was especially thrilled to travel to see the Equestrian Olympics at Hong Kong in 2008 with her daughters Lesley and Emily and grandchildren. 

It was ironic that the hackney horse should offer one last page to the story of her life , sadly on the 5th June, whilst tending to her beloved Billy, she took an unfortunate fall and was taken to the Royal Shrewsbury Hospital where she passed away peacefully in her sleep. Elspeth Gill was an exceptional woman, a formidable character and wonderful person, so as a fitting epilogue to one of life’s great actresses…as they say in the theatre land “Stage…Exit…Left”

Elspeth Gill on the set of Robin Hood

A few years ago both Neil and myself contacted Elspeth and she graciously shared with us some of  her memories of those days with her father while he was filming Robin Hood.

Elspeth’s father was in charge of the Second Unit, which specialised in all the action shots and fight scenes of this wonderful Disney movie. These included the ambush of the royal coach, the rescue of Scathelok in the market square and Robin’s various battles with the Sheriff. She was about sixteen years old at the time and remembers the filming very well. Below is a copy of the blog post I did after our conversation:

"At the age of sixteen, Elspeth had the enviable experience of watching the filming of Robin Hood at not only Burnham Beeches but also the huge sound stages at Denham Studios. During that period she was living in a house approximately four miles from the legendary studios. When Elspeth entered a fancy dress costume at that time, she was lucky enough to be allowed to borrow one of Richard Todd’s Robin Hood costumes. She won the contest-of course! And afterwards rode her horse all the way to the Denham Studios. The security men on the gate were apparently pre-warned of her arrival!

Although it was over sixty years ago, she could vaguely remember meeting Walt Disney and described the Art Director, Carmen Dillon, as a formidable woman. Richard Todd she said “was such a lovely, lovely, man.” He became a friend of the family and Elspeth had fond memories of Scottish dancing with him during the making of the later movie, Rob Roy. Her father, she explained, loved making those live-action Disney movies."

Alex Bryce with Richard Todd (Robin Hood)

"During the filming of the scene in which Robin Hood meets Friar Tuck (James Hayter), Richard Todd asked Elspeth to keep hold of Barron, his Great Dane. Unfortunately Baron was a great deal stronger than Elspeth and she was dragged by the huge dog downwards towards the river!"

Peter Finch as the Sheriff

"Elspeth could also remember being somewhere high up during the filming of a scene in Nottingham Town Square. But she kept feeling something hitting her body and when she looked around, she realised it was Peter Finch (Sheriff of Nottingham) throwing pebbles at her!"

It was a memorable experience for me to be able to talk to Elspeth about her fond memories of those golden days. She was a charming and remarkable woman.