0:00:02 > 0:00:06We first got television in Scotland in 1952. 1952, that's the year
0:00:06 > 0:00:08the Queen became...well, queen,
0:00:08 > 0:00:11Prime Minister Winston Churchill scrapped identity cards,
0:00:11 > 0:00:14the first ever passenger jet flew across the Atlantic,
0:00:14 > 0:00:17and the year Nirvana were formed.
0:00:17 > 0:00:19Eh? Well, you know, I'm not so sure about the last one
0:00:19 > 0:00:23but the other three are a lock, I'm telling you.
0:00:33 > 0:00:36One of the most brilliant things that television does
0:00:36 > 0:00:38is show you other people's lives.
0:00:38 > 0:00:42Some of the best bits from the last 60 years of television in Scotland
0:00:42 > 0:00:45aren't from big budget dramas or breaking news stories,
0:00:45 > 0:00:48but moments from documentaries
0:00:48 > 0:00:51where a window opens to someone else's world and we can take a look.
0:00:51 > 0:00:54I mean, what must it have been like to travel from the rainforests
0:00:54 > 0:00:57of Peru for ground-breaking surgery in Scotland?
0:00:57 > 0:01:02Or to be a shipbuilder during the Clydeside work-ins?
0:01:02 > 0:01:05Or to serve life plus 20 in Barlinnie?
0:01:05 > 0:01:09The last one, of course, I know all about.
0:01:09 > 0:01:12Having watched the documentary.
0:01:12 > 0:01:16'The five men kept inside this high security unit
0:01:16 > 0:01:18'are all convicted killers.
0:01:18 > 0:01:22'Since they were brought from various other prisons to this unit,
0:01:22 > 0:01:26'violence in the Scottish prison system has fallen dramatically.
0:01:26 > 0:01:30'In this yard, the casual way in which the inmates and the staff mix
0:01:30 > 0:01:34'is the essence of a unique experiment in the world's penal systems.'
0:01:34 > 0:01:391965, attempted murder of a prison officer.
0:01:39 > 0:01:421968, attempted murders of three prison officers.
0:01:42 > 0:01:45Common assault's another two.
0:01:45 > 0:01:491972, serious assaults on four prison officers.
0:01:49 > 0:01:52So all together, you're doing a life sentence
0:01:52 > 0:01:54- plus 26 years for various assaults? - Yeah.
0:01:54 > 0:01:56How does this prospect hit you?
0:02:00 > 0:02:03Well, it's deflated me somewhat, you know?
0:02:03 > 0:02:06There was no fear that those guys, the inmates,
0:02:06 > 0:02:09were going to do anything untoward.
0:02:09 > 0:02:12This was, and they understood this,
0:02:12 > 0:02:14their last chance.
0:02:14 > 0:02:17They believed that the next stop for them was Carstairs,
0:02:17 > 0:02:20the state mental hospital.
0:02:20 > 0:02:22They had a great fear of that,
0:02:22 > 0:02:26so they recognised this was their last chance they were going to have.
0:02:28 > 0:02:30I'd just come from a cage.
0:02:30 > 0:02:32- In Inverness? - In Inverness prison,
0:02:32 > 0:02:35and I'd been kept there for four and a half years.
0:02:35 > 0:02:37I'd nothing.
0:02:37 > 0:02:39Any food was thrown under the cage.
0:02:39 > 0:02:42There was no talk or dialogue between me
0:02:42 > 0:02:45or any of the prison people there.
0:02:45 > 0:02:50And to be thrown into this situation, you know...
0:02:50 > 0:02:54It offered me something, whereas the cage existence...
0:02:54 > 0:02:56I became so alienated to the outside world.
0:02:56 > 0:02:59It became so alien to me
0:02:59 > 0:03:02that it was hard to understand that there was a world outside.
0:03:02 > 0:03:07Someone was trying to boil a kettle up, boiling a kettle of water
0:03:07 > 0:03:09and it was taking a long time.
0:03:11 > 0:03:15And an official from the Scottish Office looked at the kettle
0:03:15 > 0:03:18in some frustration because it was taking a long time to boil,
0:03:18 > 0:03:20and said, "Boil, you BLEEP!"
0:03:20 > 0:03:23And at that point, Jimmy Boyle wheeled round and looked at him,
0:03:23 > 0:03:27and the guy said, "No, the kettle!"
0:03:30 > 0:03:32The Special Unit was hugely controversial.
0:03:32 > 0:03:35It's detractors felt it was rewarding bad behaviour
0:03:35 > 0:03:38instead of punishing it. The prison governor let the BBC in
0:03:38 > 0:03:41because he was hoping that showing the public what it was really like
0:03:41 > 0:03:44might make people think again.
0:03:44 > 0:03:47We're doing something here that's a lot more positive
0:03:47 > 0:03:50than anything else I've ever seen in the penal system.
0:03:50 > 0:03:52Jimmy discovered sculpture in the special unit
0:03:52 > 0:03:54and found a new reason for living.
0:03:54 > 0:03:57Reporter David Scott asked the prison governor
0:03:57 > 0:04:00what he thought would happen to Jimmy Boyle.
0:04:00 > 0:04:04A complex one. His history doesn't help him in any way.
0:04:04 > 0:04:09One can only say that one cannot see release for him
0:04:09 > 0:04:13for a very long time indeed without trying to put any term on it.
0:04:13 > 0:04:17- What about Larry? - I suppose, as he says himself,
0:04:17 > 0:04:20the most hopeless case of all.
0:04:20 > 0:04:22The governor was right about Larry.
0:04:22 > 0:04:25Two years after this programme was made,
0:04:25 > 0:04:27Larry died of a drugs overdose in his cell.
0:04:27 > 0:04:31But Jimmy Boyle? Well, we all know the governor was wrong about Jimmy.
0:04:31 > 0:04:35He served six more years and while he was still in prison,
0:04:35 > 0:04:37he got married to a psychiatrist he met on the unit.
0:04:37 > 0:04:39He lives in the South of France now.
0:04:39 > 0:04:41Jimmy Boyle is unquestionably
0:04:41 > 0:04:44the special unit's biggest success story,
0:04:44 > 0:04:46but the controversy finished it off in the end.
0:04:46 > 0:04:50It was finally closed down in 1995.
0:04:52 > 0:04:56Right from the start of television in Scotland, the programme makers
0:04:56 > 0:04:59knew that they ought to be putting real Scots on screen.
0:04:59 > 0:05:02They just hadn't worked out how to do it. Here's what they tried.
0:05:02 > 0:05:04Well, ah'll tell ye what ah'm like.
0:05:04 > 0:05:07When ah look in the mirror, ah see a face that hunger
0:05:07 > 0:05:10and hard times have left a mark on.
0:05:10 > 0:05:13It wis unemployment left this scar across mah brow.
0:05:13 > 0:05:15Ah've been a Clydeside Red.
0:05:15 > 0:05:18Ah'll put the fear o' god in them down the House of Commons.
0:05:18 > 0:05:19'It's scripted, of course.
0:05:19 > 0:05:22- POSH VOICE:- 'No way they were going to let a real Glasgay keelie
0:05:22 > 0:05:24'blather into the microphone back in 1957.'
0:05:24 > 0:05:27When ah raise mah voice, it's the Hampden roar ye hear.
0:05:27 > 0:05:31No, the nearest you get to unscripted real people here
0:05:31 > 0:05:34is this rather stagy interview with David Niven and Deborah Kerr.
0:05:34 > 0:05:37In that well-known part of Scotland, the South of France.
0:05:37 > 0:05:40Turns out she's one of us - sort of.
0:05:40 > 0:05:42What about Helensburgh, Deborah?
0:05:42 > 0:05:45I don't really remember much about Helensburgh naturally
0:05:45 > 0:05:48because I was very young when I left, but I do remember one thing.
0:05:48 > 0:05:52I remember losing a sixpence I'd been given and screaming for a week.
0:05:52 > 0:05:54So you see, I started off as a very good Scot,
0:05:54 > 0:05:57screaming about losing money!
0:05:57 > 0:06:00It's a shame we can't bottle these two off
0:06:00 > 0:06:02like Sheena Easton at Glasgow Green.
0:06:02 > 0:06:05Listen to David's rather patronising idea
0:06:05 > 0:06:07of the television audience.
0:06:07 > 0:06:10We all like something for nothing, and that's what television is!
0:06:10 > 0:06:13No, I think all joking aside it's wonderful,
0:06:13 > 0:06:16especially for people in rather lonely parts of the world.
0:06:17 > 0:06:22Telly - perfect for Scotland. Home of the tight-fisted loner.
0:06:22 > 0:06:26In 1967, STV made the brilliant documentary
0:06:26 > 0:06:28The Bowler And The Bunnet.
0:06:28 > 0:06:32The '60s was a time of huge change in industrial Scotland.
0:06:32 > 0:06:34The old heavy industries were under threat.
0:06:34 > 0:06:37The old hierarchies were starting to crumble.
0:06:37 > 0:06:40This film shows a vanishing world.
0:06:45 > 0:06:48This is where the crunch comes for a Govan shipyard,
0:06:48 > 0:06:50for Govan itself,
0:06:50 > 0:06:54for the whole business of building ships on the Clyde.
0:06:54 > 0:06:58Fairfields has been modernised at a cost of millions,
0:06:58 > 0:07:00but it's going down.
0:07:00 > 0:07:03If it dies, a whole community is going to die with it.
0:07:05 > 0:07:09- 13 million- BLEEP- pounds of orders and they've gone- BLEEP- bust?!
0:07:10 > 0:07:13- Gonna be some bloody Christmas(!) - That's nothing new.
0:07:13 > 0:07:15This goes back a long way.
0:07:21 > 0:07:24Aye, it goes back a long, long way.
0:07:24 > 0:07:27By 1967, Sean Connery had made five Bond films
0:07:27 > 0:07:29and he was getting fed up with 007.
0:07:29 > 0:07:33He felt he was being typecast and wanted a change.
0:07:33 > 0:07:35You can really feel in scenes
0:07:35 > 0:07:38like this how much he's enjoying himself.
0:07:38 > 0:07:42It was a fight to the death. And this is the death.
0:07:42 > 0:07:45Harland And Wolff, one of the proud names
0:07:45 > 0:07:47in Clyde shipbuilding, is a graveyard.
0:07:47 > 0:07:49And there are others.
0:07:49 > 0:07:55Henderson, Simons-Lobnitz, Blythswood, Hamilton, Inglis...
0:07:55 > 0:07:58Sean didn't just present this, he directed it too.
0:07:58 > 0:08:02The switch from Hollywood superstar to Govan documentary maker
0:08:02 > 0:08:03couldn't be more extreme,
0:08:03 > 0:08:06but he threw himself into it and did a pretty good job.
0:08:06 > 0:08:09And when it's your job to sack 1,000 men at the stroke of a pen,
0:08:09 > 0:08:11you can't be sentimental about the men.
0:08:11 > 0:08:14When it's your job to take the sack at the drop of a hat,
0:08:14 > 0:08:16you can't be sentimental about the boss.
0:08:16 > 0:08:19The script was written by Cliff Hanley.
0:08:19 > 0:08:22It's a bit poetic compared to documentaries today.
0:08:22 > 0:08:24The boss takes the gravy when the going's good.
0:08:24 > 0:08:28When things look bad, he sells out, takes his money and vanishes.
0:08:28 > 0:08:32Cliff also wrote the Oscar winning Seawards The Great Ships
0:08:32 > 0:08:34and the words to Scotland The Brave.
0:08:34 > 0:08:38# High in the misty highlands out by the purple islands
0:08:38 > 0:08:41# Brave are the hearts that beat beneath Scottish skies
0:08:41 > 0:08:44- # Wild are the winds... # - I'll stiffen ye!
0:08:44 > 0:08:46I'm trying tae drill here!
0:08:46 > 0:08:48Sorry!
0:08:48 > 0:08:50We found this next clip of Sean
0:08:50 > 0:08:53in a previously unbroadcast interview,
0:08:53 > 0:08:57talking frankly about what this documentary meant to him.
0:08:57 > 0:09:01It awakened all sorts of dislikes
0:09:01 > 0:09:05and likes that had obviously been kind of dormant in me,
0:09:05 > 0:09:08particularly against management.
0:09:08 > 0:09:11It's clear listening to him here it was a very personal project.
0:09:11 > 0:09:15My experience anyway since I left school, which was at 13.
0:09:15 > 0:09:20In this country, I have never found a particularly sympathetic
0:09:20 > 0:09:23or a really good functioning management
0:09:23 > 0:09:25in this country in my experience.
0:09:25 > 0:09:30They're, as a rule, too sort of greedy.
0:09:30 > 0:09:34Four years later, another documentary picks up the story
0:09:34 > 0:09:38of Fairfield shipyard, as Ted Heath's new Conservative government
0:09:38 > 0:09:42announced they were ending the industry subsidy.
0:09:42 > 0:09:46Check out this government minister. Oh, he cares, he really does(!)
0:09:46 > 0:09:50I hope nobody believes that the government doesn't care.
0:09:50 > 0:09:54I got this impression slightly when I was up in Glasgow recently.
0:09:54 > 0:09:57We do care deeply about these things.
0:09:57 > 0:10:01Watching these documentaries makes you realise some things never change.
0:10:01 > 0:10:03Politicians, for example.
0:10:03 > 0:10:07But other things seem like they're happening in another universe.
0:10:07 > 0:10:10Can you imagine the unions pulling this off today?
0:10:10 > 0:10:14The world is witnessing the first
0:10:14 > 0:10:17of a new tactic on behalf of workers.
0:10:17 > 0:10:20We're not going on strike.
0:10:20 > 0:10:24We're not even having a sit-in strike.
0:10:24 > 0:10:29We are taking over the yards because we refuse to accept that faceless men
0:10:29 > 0:10:32can take decisions that devastate our livelihoods with impunity.
0:10:32 > 0:10:34They're not on.
0:10:34 > 0:10:39In his own way, Jimmy Reid had as much charisma as Sean Connery.
0:10:39 > 0:10:42Our experience in the Clydeside has been once you're out a place
0:10:42 > 0:10:45and in the dole queue, once the padlocks are on the door,
0:10:45 > 0:10:47you're finished and the place is finished.
0:10:47 > 0:10:51After 18 months of the workers running the yard themselves,
0:10:51 > 0:10:53the government caved in and reached a compromise.
0:10:53 > 0:10:58Two thirds of the yard survived to fight another day.
0:10:58 > 0:11:02But nothing could halt the industrial decline of Scotland.
0:11:02 > 0:11:06By the 1970s, areas of Glasgow were some of the poorest in Britain.
0:11:09 > 0:11:14In 1976, the BBC made a documentary called Lilybank - The Fourth World.
0:11:14 > 0:11:16It's about a sociologist who goes undercover
0:11:16 > 0:11:19to live in one of the most deprived areas in the country.
0:11:19 > 0:11:21All sounds very modern, doesn't it?
0:11:21 > 0:11:25Sort of like Secret Millionaire, but without the money.
0:11:25 > 0:11:27'I took a taxi'
0:11:27 > 0:11:31and I took with me my radio, my tape recorder,
0:11:31 > 0:11:34a few books,
0:11:34 > 0:11:35And a change of clothes.
0:11:36 > 0:11:40And absurdly, I left this house
0:11:40 > 0:11:44clutching a sweeping brush.
0:11:45 > 0:11:47And that really was
0:11:47 > 0:11:50a very primitive kind of response.
0:11:50 > 0:11:54The thing about this documentary is if you were making it today,
0:11:54 > 0:11:56she'd have a television crew with her. But back in the 70s,
0:11:56 > 0:12:00she wasn't just doing it for the cameras, she was doing it for real.
0:12:00 > 0:12:02She went and lived in Lilybank for three months
0:12:02 > 0:12:05and then came back and told Magnus Magnusson all about it.
0:12:05 > 0:12:08It's hostile and it's ugly
0:12:08 > 0:12:11and there were times here
0:12:11 > 0:12:15I would go back to the house and my eyes
0:12:15 > 0:12:17would literally be hurting
0:12:17 > 0:12:22with the pain of never having anything beautiful to look at,
0:12:22 > 0:12:25everything being dissonant and difficult.
0:12:25 > 0:12:28There's that one. She thinks she's it.
0:12:28 > 0:12:31There were some lovely children, of course.
0:12:31 > 0:12:35There always are. But there were others who were marked
0:12:35 > 0:12:38with the stigmata
0:12:38 > 0:12:41of deprivation
0:12:41 > 0:12:43by the time they were three years of age.
0:12:43 > 0:12:46The stigmata of deprivation?
0:12:46 > 0:12:49Whit you talkin' aboot, missus? Ma weans are clean!
0:12:49 > 0:12:5434 years later, the BBC filmed life on this estate in Kilmarnock.
0:12:54 > 0:12:56Look how the filmmaking's changed.
0:12:56 > 0:12:58'Upstairs, Candice's boyfriend, Chris,
0:12:58 > 0:13:01'thinks it's him who the police are after.'
0:13:02 > 0:13:06It's handheld and all about getting up close and personal.
0:13:06 > 0:13:11Chris is saying he's got warrants oot. He disnae want lifting.
0:13:11 > 0:13:16'Chris gets away and downstairs, Gary is sticking to his story.'
0:13:16 > 0:13:21Gary's no been here all night. I don't know what's happened.
0:13:21 > 0:13:24But did he say to the polis he's been here?
0:13:24 > 0:13:26Well, I don't care.
0:13:26 > 0:13:29- Cos I think... - CHILD: The polis in?- Shh!
0:13:29 > 0:13:32'The police have finished interviewing Kay.
0:13:32 > 0:13:35'Gary is taken away for more questioning.'
0:13:35 > 0:13:39Back in the 70s, Kay's much more academic, analytical.
0:13:39 > 0:13:40Listen to this.
0:13:40 > 0:13:45Dogs seem to have enormous symbolic significance
0:13:45 > 0:13:47in areas of great poverty.
0:13:47 > 0:13:52When a dog is brought in as it usually is as a puppy,
0:13:52 > 0:13:54it is a focus for a lot of tenderness.
0:13:54 > 0:13:58Later on, when the dog gets bigger, it becomes some kind of symbol,
0:13:58 > 0:14:03I'm sure, of power and virility and strength.
0:14:03 > 0:14:06Ha, I'm not sure about that. What do you reckon, Bowser?
0:14:08 > 0:14:09When you watch these films,
0:14:09 > 0:14:12it's the women who jump out the screen at you.
0:14:12 > 0:14:14There's a certain kind of Glasgow mum
0:14:14 > 0:14:17and boy, you don't want to mess with her! Look at this.
0:14:17 > 0:14:19Youse have nae got a dump, in't youse?
0:14:19 > 0:14:23- I know, it's terrible. - Aye, well who's making the dump? Eh?
0:14:23 > 0:14:27- Who's making the dump? Who's to pay for all this?- I dunno.
0:14:27 > 0:14:30- Yer mother and yer faither's to pay for it.- I'm no getting the blame.
0:14:30 > 0:14:31- Is that true? CHILDREN:- Aye.
0:14:31 > 0:14:34Ye'll no dae it in yer ain place. Youse always come
0:14:34 > 0:14:35and pick on this close.
0:14:35 > 0:14:38The people in this close cannae be keeping... Ye think it's funny?
0:14:38 > 0:14:41There's something about watching children in old programmes,
0:14:41 > 0:14:45you can't help but wonder, "What happened to that wee one? How did their story pan out?"
0:14:45 > 0:14:48One of the most famous documentaries in Scotland
0:14:48 > 0:14:50told the story of one child.
0:14:50 > 0:14:52It was a child the whole country fell for
0:14:52 > 0:14:54and his astonishing journey.
0:14:54 > 0:14:58The story we're about to tell you is one of the most remarkable
0:14:58 > 0:15:00I personally have ever reported.
0:15:00 > 0:15:02It's become, for all of us working on it,
0:15:02 > 0:15:07more than a documentary search, rather a kind of unfolding drama.
0:15:07 > 0:15:09It's about a little boy called David
0:15:09 > 0:15:14who might have spent his whole life labelled as a freak or even a monster,
0:15:14 > 0:15:18bracketed with the other victims of awesome deformity like The Elephant Man.
0:15:18 > 0:15:23'We desperately wanted people to fall in love with David.'
0:15:23 > 0:15:29We knew he'd come across well with the viewing public
0:15:29 > 0:15:33but it was how to ease our way in.
0:15:33 > 0:15:40'And so I started off the film with lots of shots of this young boy
0:15:40 > 0:15:44'walking to school, but from the rear.'
0:15:44 > 0:15:48Here was this child with a lollipop in his mouth.
0:15:48 > 0:15:52The only unusual thing was that the stick of the lollipop
0:15:52 > 0:15:57came out from a hole about half an inch above his eyes
0:15:57 > 0:16:00because, with having no roof to his mouth,
0:16:00 > 0:16:04he could bring his lower teeth right up onto his forehead.
0:16:04 > 0:16:09'Of course basically that lollipop was being sucked against the base of his skull.
0:16:09 > 0:16:13'He had no central area to his face.'
0:16:13 > 0:16:17Plastic surgeon Ian Jackson came across David in a hospital in Peru.
0:16:17 > 0:16:23He raised the money from the people of Glasgow to bring three-year-old David to Scotland for surgery.
0:16:23 > 0:16:26David had four or five operations a year throughout his childhood.
0:16:26 > 0:16:29'I just felt terrible, I can't describe how I felt.
0:16:29 > 0:16:31'Your heart couldn't fail to go out to him.
0:16:31 > 0:16:36'He was a frightened, tiny little boy and very cold
0:16:36 > 0:16:40'and he had little Peruvian hat which covered all of his face
0:16:40 > 0:16:44'except his eyes and the hole in the centre of his face.'
0:16:44 > 0:16:48So he was an odd little figure and terribly pathetic.
0:16:48 > 0:16:51- Do you want to have a game of scissors, paper and stone?- OK.
0:16:51 > 0:16:54The film was presented by Desmond Wilcox.
0:16:54 > 0:16:56Back in the Eighties he was a big cheese in British TV
0:16:56 > 0:16:59and he came up to Scotland to make this programme.
0:17:00 > 0:17:01One, two three.
0:17:01 > 0:17:03DAVID LAUGHS
0:17:03 > 0:17:05One, two three. You win, you win!
0:17:05 > 0:17:08Desmond's got a great rapport with David here.
0:17:08 > 0:17:10He makes us feel like we really know this boy.
0:17:10 > 0:17:13Have you enjoyed being part of a film?
0:17:13 > 0:17:14Yes.
0:17:14 > 0:17:18And you know what all the equipment's for now, don't you? What's that for?
0:17:18 > 0:17:22That's to hear... That's to hear the sound.
0:17:22 > 0:17:27- That's the sound equipment, is it? - Yes.- What do we call that?
0:17:27 > 0:17:32- Take one.- Take one! Yes, well, we do call it "take one", but it's actually called a clapperboard, isn't it?
0:17:32 > 0:17:36- And whose name has it got on the front?- David. - "David..." What does it say?
0:17:36 > 0:17:40- David Lopez.- That's right. And why does it say David Lopez?
0:17:40 > 0:17:44- Because it's my film. - It's your film. You're quite right.
0:17:44 > 0:17:48I knew the public would warm to him
0:17:48 > 0:17:51but the extent of that warmth I didn't anticipate.
0:17:51 > 0:17:58It just was overwhelming and, you know, it's nothing to do with me,
0:17:58 > 0:18:01that was all to do with the character of the boy himself.
0:18:02 > 0:18:07This film isn't just the story of David's journey from the rainforest to Glasgow then America,
0:18:07 > 0:18:09or his courage under the knife.
0:18:09 > 0:18:11When the Jacksons decide to adopt David,
0:18:11 > 0:18:15the film takes an unexpected turn.
0:18:15 > 0:18:18Marjorie goes to South America to find David's real parents
0:18:18 > 0:18:22and try and get their permission. It's an astonishing story.
0:18:22 > 0:18:26'Here we are, we don't know what will happen. What if they want him back?'
0:18:26 > 0:18:30I don't want to give him back. I think as far as his future's concerned,
0:18:30 > 0:18:35I think that David is going to... He's not now a Campa Indian.
0:18:37 > 0:18:41The Boy David was one of those programmes that everyone seemed to have watched.
0:18:41 > 0:18:45It made a huge impact on the television audience.
0:18:45 > 0:18:46El cumpleanos.
0:18:46 > 0:18:48Este es el papa.
0:18:48 > 0:18:52So when the Jacksons finally got permission to adopt David
0:18:52 > 0:18:55the whole country rejoiced with them.
0:18:56 > 0:18:59David Lopez is a graphic designer in California now.
0:19:01 > 0:19:05Now there's a whole other type of television documentary we haven't got to yet.
0:19:05 > 0:19:09Since the dawn of time - well, since the '50s -
0:19:09 > 0:19:13television in Scotland has being telling us our nation's story,
0:19:13 > 0:19:16so what are the ingredients you need to make a history programme?
0:19:17 > 0:19:21A presenter walking over a hill, and being expressive.
0:19:21 > 0:19:23- But it's strange... - Of ancient monuments...
0:19:23 > 0:19:26An expert with lots of facial hair,
0:19:26 > 0:19:28Celtic carvings and old paintings.
0:19:31 > 0:19:36A bunch of actors in slightly dodgy costumes who aren't allowed to speak because that costs too much money.
0:19:38 > 0:19:43And aerials - you have to have aerials.
0:19:43 > 0:19:46MUSIC: "The Celts" by Enya
0:19:49 > 0:19:53In 1974, director John McGrath did something completely different
0:19:53 > 0:19:55with history on television.
0:19:55 > 0:19:58The Cheviot, The Stag And The Black, Black Oil began life in the theatre.
0:19:58 > 0:20:02It tells the story of the Highland Clearances, and it's brilliant.
0:20:02 > 0:20:05It uses every trick in the book to draw the audience in.
0:20:05 > 0:20:07DRUM ROLL
0:20:07 > 0:20:11Scene Five - 1882, Isle of Skye.
0:20:11 > 0:20:14Now, at that time Lord McDonald
0:20:14 > 0:20:16was driving the people down to the shores.
0:20:16 > 0:20:20- What shores?- I'll have a wee dram. - DRUM ROLL, LAUGHTER
0:20:20 > 0:20:26Yes, but apparently we're having an altercation about the grazing rights on a little mole.
0:20:26 > 0:20:28- A little mole?- Och, Angus, that's very civil of you.
0:20:28 > 0:20:31- DRUM ROLL, LAUGHTER Just say when.- All right.
0:20:31 > 0:20:35'The Cheviot, the Stag and the Black, Black Oil, was originally a stage show.
0:20:35 > 0:20:38'John McGrath, he came up with the original idea
0:20:38 > 0:20:39'and wrote most of the material.
0:20:39 > 0:20:43'But we all contributed, it was a real sort of collective show.'
0:20:43 > 0:20:46Bill Paterson, John Bett and I, Liz MacLennan,
0:20:46 > 0:20:50and we toured all that all round the Highlands with the show
0:20:50 > 0:20:54and it kind of... It set the heather on fire.
0:20:54 > 0:20:56The word went round like a fiery cross,
0:20:56 > 0:20:59and people used to pack the halls to come and see this show.
0:20:59 > 0:21:02So we kind of knew we were... We had something a bit special.
0:21:02 > 0:21:06And I'm perfectly satisfied that no person has suffered
0:21:06 > 0:21:09hardship or injury as a result of these improvements.
0:21:11 > 0:21:15'It was a mixture of drama, of theatre,
0:21:15 > 0:21:19'of music hall, of political polemic, of agitprop, of comedy.'
0:21:19 > 0:21:24Now this, by any measurement across all different parts of Scottish life -
0:21:24 > 0:21:26our theatre, our sense of self,
0:21:26 > 0:21:31the history of Scotland's clearances, the oil industry -
0:21:31 > 0:21:35it's just a massive kind of big piece of work
0:21:35 > 0:21:38that when it came on television just shouted at you.
0:21:38 > 0:21:40LOUD SINGING
0:21:40 > 0:21:42# We'll show you we're
0:21:42 > 0:21:49# The ruling class. #
0:21:49 > 0:21:50MACHINE GUN FIRE
0:21:52 > 0:21:56'It was innovative in ways that I'd never seen television before.'
0:21:56 > 0:21:59Arguably one of the great pieces of work in the history of Scottish culture.
0:21:59 > 0:22:02We didn't charge these chappies a lot of money.
0:22:02 > 0:22:05I mean, we didn't want to put them orf.
0:22:05 > 0:22:06Good thinking.
0:22:06 > 0:22:09Your wonderful Labourite government was really nice.
0:22:09 > 0:22:12Thank God they weren't socialists.
0:22:14 > 0:22:16Ten years earlier, back in 1964
0:22:16 > 0:22:20another astonishing programme changed the way we saw our history.
0:22:20 > 0:22:24Culloden was the first full-length programme Peter Watkins directed.
0:22:24 > 0:22:27He had the brilliant idea to make a historical film
0:22:27 > 0:22:30as though he was reporting from a contemporary battlefield.
0:22:30 > 0:22:34Not a documentary or a mockumentary, but a Culloden-mentary.
0:22:35 > 0:22:37Your Highness, why are you fighting today
0:22:37 > 0:22:39when the ground here has been criticised
0:22:39 > 0:22:42- by some of your officers? - Because God is on our side
0:22:42 > 0:22:47and I'm convinced that my duty to my people lies in fighting today.
0:22:47 > 0:22:51LOUD EXPLOSIONS
0:22:51 > 0:22:54The rebels' artillery have stopped firing altogether.
0:22:54 > 0:22:57Before they did, we counted...
0:22:57 > 0:23:03Angus! Stop gassing with that camera crew and stoke the cannon!
0:23:03 > 0:23:08It still looks pretty brilliant almost half a century later
0:23:08 > 0:23:12but back in 1964, scenes like this were revolutionary.
0:23:12 > 0:23:16'The public orders of the rebels to give no mercy to the Royal Army
0:23:16 > 0:23:19'do not exist in any other form than a crude forgery
0:23:19 > 0:23:23'alleged to have been found on the field of battle.'
0:23:23 > 0:23:25It's all right, lad. We're only taking you to hospital.
0:23:25 > 0:23:30'But whether he knows this public order is a forgery or not
0:23:30 > 0:23:34'Cumberland makes it his excuse to authorise what now happens.'
0:23:34 > 0:23:36Fire.
0:23:37 > 0:23:42'The officer in charge of this execution squad is himself a Scotsman.'
0:23:42 > 0:23:45There are no actors in this, and I think you can tell.
0:23:45 > 0:23:48Peter Watkins found people with faces he thought fitted the part,
0:23:48 > 0:23:53and he couldn't care less what they did as a day job. The Ken Loach approach.
0:23:53 > 0:23:55A year later, Peter would use the same technique
0:23:55 > 0:23:59to make his controversial film, The War Game.
0:24:00 > 0:24:02How do you feel?
0:24:05 > 0:24:07I don't feel nothing, really.
0:24:11 > 0:24:15- Left. - ALL: Left, right, left, right, quarter to...
0:24:15 > 0:24:18248 years after the Battle of Culloden,
0:24:18 > 0:24:21these teenagers have all just joined the army.
0:24:21 > 0:24:25We follow them through ten weeks of basic training.
0:24:25 > 0:24:27Bayonet comes along with a scabbard. Things in it -
0:24:27 > 0:24:29you've got a bottle opener there
0:24:29 > 0:24:33so's in-between killing folk you can have a wee bottle of Coke.
0:24:33 > 0:24:36It looked like a kind of joke at the time,
0:24:36 > 0:24:40for the boys, playing around with weapons and having fun
0:24:40 > 0:24:42but the reality was going to bite.
0:24:42 > 0:24:44Fit the bayonet to the weapon.
0:24:44 > 0:24:47'And so in this very disciplined environment
0:24:47 > 0:24:50'which initially they find quite hard,
0:24:50 > 0:24:53- 'they grow and they grow physically and they grow mentally.' - Take it off.
0:24:53 > 0:24:55"I left you in this position!"
0:24:55 > 0:25:01The left arm is forced to the rear as far as physically possible.
0:25:01 > 0:25:04'They're basically corrupting your mind.'
0:25:04 > 0:25:07That's taking your mind away and replacing it with a microchip.
0:25:07 > 0:25:09What... What they're doing is actually moulding you
0:25:09 > 0:25:12to be a soldier. They're taking away a civilian
0:25:12 > 0:25:15and replacing it with a robot who knows how to go and kill people.
0:25:17 > 0:25:19Yes, about turn. One, two, three, one.
0:25:19 > 0:25:24Now turn to the right. One, two, three, one. Look, look at this.
0:25:24 > 0:25:26- It's sliding, isn't it? - Yes, Corporal.
0:25:26 > 0:25:28It's sliding all the way down to the right.
0:25:28 > 0:25:32- It is not squared off, A4 size, is it?- Yes, Corporal.
0:25:32 > 0:25:36What are you talking about, you psycho? That's really tidy!
0:25:36 > 0:25:39The only people with cupboards tidier than that are serial killers.
0:25:39 > 0:25:44Do you want all your soldiers be like that guy out of Sleeping With The Enemy? Clown.
0:25:44 > 0:25:47'They're no here for the right reasons, that's for sure.
0:25:47 > 0:25:50'There's no many of them here because they want to be a soldier.
0:25:50 > 0:25:54'They want to come here because they cannae get a job, it's as simple as that.
0:25:54 > 0:25:58'It's, er... The Government's our best recruiting officer, I think.'
0:25:58 > 0:26:01- Right, good night, ladies. - Good night.
0:26:01 > 0:26:04This kind of film-making is called fly-on-the-wall.
0:26:04 > 0:26:08Director and cameraman David Peat follows these boys everywhere.
0:26:08 > 0:26:11He's even lurking in their bedroom after lights-out.
0:26:11 > 0:26:14BOYS SING THEME FROM TWILIGHT ZONE
0:26:14 > 0:26:18- Night-night.- I love you. - Sleep tight, everybody!
0:26:19 > 0:26:22One of the small joys about watching old programmes
0:26:22 > 0:26:24is seeing how people have changed.
0:26:24 > 0:26:28This next one was made in 1997. It's about a Scot
0:26:28 > 0:26:32who's got his eyes on the prize and he's just about to hit the big time.
0:26:32 > 0:26:36This is the party long before the hangover.
0:26:37 > 0:26:40'On May the 2nd the Labour Party celebrated their
0:26:40 > 0:26:43'greatest ever election victory.
0:26:43 > 0:26:45'This film goes behind the scenes...'
0:26:45 > 0:26:49Oh, look. Here's Rebekah Brooks listening in.
0:26:49 > 0:26:53This documentary concentrates on Gordon Brown and his team.
0:26:53 > 0:26:56- GORDON BROWN:- 'Ed Balls was brought in from the Financial Times.
0:26:56 > 0:26:59'He's still under 30.
0:26:59 > 0:27:01'With him, Ed Miliband who's even younger
0:27:01 > 0:27:04'who works on the speech-writing alongside him.'
0:27:04 > 0:27:08The taxi driver said that he wouldn't have done it
0:27:08 > 0:27:11for Kenneth Clarke but given that Gordon...
0:27:11 > 0:27:14This is so long ago Ed Miliband looks like he's there on work experience.
0:27:14 > 0:27:17TANNOY ANNOUNCEMENT ..Tony Benn. We chose not to...
0:27:17 > 0:27:19He looks like Harry Potter's younger brother.
0:27:19 > 0:27:21..Gordon Brown had different views.
0:27:21 > 0:27:23I think, as far as the Health Service,
0:27:23 > 0:27:26- I don't think we actually got it up strongly enough.- Mm.
0:27:26 > 0:27:30I don't think the claim was precise enough.
0:27:30 > 0:27:31So I think in your speech...
0:27:31 > 0:27:34So much has happened between these two since,
0:27:34 > 0:27:36it's like looking back at the wedding video
0:27:36 > 0:27:37after a really messy divorce.
0:27:37 > 0:27:44- That's the phrase. Why don't we put it, "Every pensioner must ask the question..."- Yeah.
0:27:44 > 0:27:46"Every parent must ask the question,
0:27:46 > 0:27:49"will the Health Service be there when I need it?"
0:27:49 > 0:27:52- Is that the right way to do it? - Yeah.- I'll write that up.
0:27:52 > 0:27:53Can you do me some stuff...
0:27:53 > 0:27:57- Can you pick up my suit at the dry-cleaners? - "Every pensioner should ask..."
0:27:57 > 0:27:59Anyway, I won't spend all afternoon arguing
0:27:59 > 0:28:03but if you wrote anything other than "we'll be tough on public spending" I'll beat you up.
0:28:03 > 0:28:06They're not guaranteeing every pensioner £175 a week...
0:28:06 > 0:28:09This documentary really takes you inside the New Labour world,
0:28:09 > 0:28:12back to a time when they had everything to play for.
0:28:12 > 0:28:14You change that then. Let's see it.
0:28:17 > 0:28:19After watching a stack of them,
0:28:19 > 0:28:22I suppose that's what all our favourite documentaries have in common.
0:28:22 > 0:28:25They give us a window into somebody else's world,
0:28:25 > 0:28:30and who can resist a keek into someone else's windie, huh?
0:28:31 > 0:28:34# Runnin', runnin' from home
0:28:34 > 0:28:37# Breakin' ties that you'd grown
0:28:37 > 0:28:43# Catchin' dreams from the clouds. #
0:28:43 > 0:28:46Subtitles by Red Bee Media Ltd