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I'm the First Lieutenant around here and don't you forget it. | 0:00:02 | 0:00:04 | |
Stanley Baker was British cinema's original tough guy. | 0:00:04 | 0:00:08 | |
How really tough are you? | 0:00:08 | 0:00:10 | |
Well, I don't know how tough I am. | 0:00:10 | 0:00:12 | |
All I can say is I was born and bred in the Rhondda Valley | 0:00:12 | 0:00:16 | |
and as people there know, you've got to be tough to live there. | 0:00:16 | 0:00:18 | |
He was always the hard man cos he looked hard. But he was a very soft man, really. | 0:00:18 | 0:00:22 | |
How old are you? | 0:00:22 | 0:00:24 | |
Guess. | 0:00:26 | 0:00:27 | |
Old enough to know what you're doing | 0:00:29 | 0:00:31 | |
and young enough to jump. | 0:00:31 | 0:00:34 | |
He had that rare thing - he filled the screen. | 0:00:35 | 0:00:38 | |
You look at him when he's on. | 0:00:38 | 0:00:41 | |
The films he made earned him a place in cinema history. | 0:00:41 | 0:00:45 | |
Fire! GUNFIRE | 0:00:45 | 0:00:46 | |
Fire! | 0:00:46 | 0:00:48 | |
Fire! | 0:00:48 | 0:00:49 | |
But his true greatness lay in his integrity as a man. | 0:00:51 | 0:00:55 | |
If I say I'm going down that pit, it'll take more than him to stop me. | 0:00:55 | 0:00:59 | |
Stanley Baker was born in 1928 in Ferndale, | 0:01:18 | 0:01:23 | |
a close-knit town nestled in a curve of the Rhondda Fach. | 0:01:23 | 0:01:26 | |
Everything that happened to Stanley stemmed from that amazing background | 0:01:28 | 0:01:33 | |
in Ferndale. | 0:01:33 | 0:01:34 | |
They were very poor. | 0:01:34 | 0:01:36 | |
So he always used to laugh and say, "I only had one place to go, | 0:01:36 | 0:01:39 | |
"that was up. I couldn't have gone down any further." | 0:01:39 | 0:01:41 | |
Stanley's father, Jack Baker, was a miner | 0:01:44 | 0:01:47 | |
who'd lost a leg in an accident down the pit. | 0:01:47 | 0:01:49 | |
Since he could no longer work underground, | 0:01:49 | 0:01:52 | |
he and his family had to do whatever they could to bring in money. | 0:01:52 | 0:01:56 | |
They seemed to get us through it. | 0:01:57 | 0:01:59 | |
I mean, my mother, she... she'd make toffee apples, | 0:01:59 | 0:02:03 | |
she'd make slab toffee... | 0:02:03 | 0:02:05 | |
oh, small beer she used to make | 0:02:05 | 0:02:08 | |
and sell it on a Sunday morning. | 0:02:08 | 0:02:11 | |
I used to go to his house with his mother and father | 0:02:11 | 0:02:13 | |
for different commodities, such as haircuts. | 0:02:13 | 0:02:16 | |
They were very renowned within the street | 0:02:16 | 0:02:19 | |
for making great faggots and peas. | 0:02:19 | 0:02:21 | |
You went into the back door. "Have you faggots and peas?" | 0:02:21 | 0:02:25 | |
And you'd pay his father | 0:02:25 | 0:02:26 | |
threepence, and you went out through the front door | 0:02:26 | 0:02:29 | |
and back home then and took 'em back home. | 0:02:29 | 0:02:31 | |
Your mother would send you for them. | 0:02:31 | 0:02:33 | |
That was every week. | 0:02:33 | 0:02:35 | |
Because they were hard days, there's no half and half about it. | 0:02:35 | 0:02:38 | |
In spite of the fact that we didn't have a lot of food | 0:02:38 | 0:02:41 | |
and very little money, | 0:02:41 | 0:02:43 | |
I look on my childhood as one full of advantages. | 0:02:43 | 0:02:46 | |
Because of my family, basically, and because of the people | 0:02:46 | 0:02:49 | |
that surrounded us at that time. Immensely strong communal feeling. | 0:02:49 | 0:02:53 | |
People worked towards one end | 0:02:53 | 0:02:55 | |
and that end at that time, unfortunately, | 0:02:55 | 0:02:59 | |
was not to die of hunger. | 0:02:59 | 0:03:00 | |
Stanley, or Spud as he was known to his mates, | 0:03:01 | 0:03:04 | |
was an amateur boxer and full-time tearaway. | 0:03:04 | 0:03:08 | |
He seemed to be headed in only one direction. | 0:03:08 | 0:03:10 | |
I hated school, I hated sitting in a classroom being taught things. | 0:03:10 | 0:03:14 | |
I was clearly destined to go into the coal pit until I went | 0:03:14 | 0:03:18 | |
to a school in Ferndale, North Road School, | 0:03:18 | 0:03:21 | |
and met a man called Glyn Morse who had other ideas about my life. | 0:03:21 | 0:03:26 | |
Glyn Morse was the art teacher at Ferndale Secondary School. | 0:03:26 | 0:03:30 | |
In his spare time, he was a playwright | 0:03:30 | 0:03:33 | |
who ran the local amateur dramatics society. | 0:03:33 | 0:03:35 | |
He recognised in Baker something no-one else had seen | 0:03:35 | 0:03:39 | |
and started coaching him as an actor. | 0:03:39 | 0:03:42 | |
I couldn't wait to get to school in the morning because this man | 0:03:42 | 0:03:45 | |
was teaching me something that meant something to me at 11. | 0:03:45 | 0:03:49 | |
Glyn Morse wrote parts for Stanley in the plays | 0:03:51 | 0:03:54 | |
that he staged in local church halls. | 0:03:54 | 0:03:56 | |
He'd be in his bedroom with a mirror in front of him. | 0:03:57 | 0:04:01 | |
And this script. | 0:04:01 | 0:04:03 | |
And I used to watch him do this and I'd think, "Marvellous." | 0:04:03 | 0:04:07 | |
He filled the stage when he got on it. | 0:04:07 | 0:04:09 | |
He was Stanley Baker. | 0:04:09 | 0:04:10 | |
He was Spud. He was the king of the kids. | 0:04:10 | 0:04:13 | |
At the age of 14, Stanley got a chance to show off his talents | 0:04:15 | 0:04:19 | |
to an audience beyond Ferndale. | 0:04:19 | 0:04:21 | |
Film director Sergei Nolbandov | 0:04:21 | 0:04:25 | |
came to the Rhondda looking for locations for his next movie, | 0:04:25 | 0:04:28 | |
the propaganda film, Undercover. | 0:04:28 | 0:04:30 | |
On a tip-off from a talent scout, | 0:04:30 | 0:04:33 | |
he came to see Stanley in the school play. | 0:04:33 | 0:04:36 | |
He was so impressed with what he saw that he gave him a role in the film. | 0:04:36 | 0:04:41 | |
You. | 0:04:42 | 0:04:43 | |
Yes, sir. | 0:04:43 | 0:04:45 | |
Answer me, where is she? | 0:04:45 | 0:04:46 | |
-She... -Don't answer, don't answer! -Silence! | 0:04:46 | 0:04:49 | |
Don't tell the Germans anything, anyone who answers is a traitor. | 0:04:50 | 0:04:54 | |
I see. | 0:04:54 | 0:04:56 | |
A national hero. | 0:04:57 | 0:04:58 | |
I'm going to teach you a lesson. | 0:04:59 | 0:05:01 | |
I'm going to plant a picture in your mind you'll carry all your life. | 0:05:01 | 0:05:06 | |
-You come with me. -SHOUTING FROM OUTSIDE | 0:05:06 | 0:05:10 | |
You six, outside. | 0:05:11 | 0:05:12 | |
FROM OUTSIDE: Fire! | 0:05:14 | 0:05:16 | |
Firing party on parade, sir. | 0:05:23 | 0:05:25 | |
Proceed. | 0:05:25 | 0:05:27 | |
Prepare to fire! | 0:05:27 | 0:05:29 | |
Fire! GUNFIRE | 0:05:31 | 0:05:33 | |
Fire! GUNFIRE | 0:05:34 | 0:05:36 | |
On the train journey home from filming, | 0:05:43 | 0:05:45 | |
Glyn Morse told the young lad, "Stanley, you're not going to be a miner, you're an actor." | 0:05:45 | 0:05:50 | |
Stanley took his earnings straight home to his mum. | 0:05:50 | 0:05:53 | |
We heard him shouting, | 0:05:53 | 0:05:55 | |
"Get your apron on!" | 0:05:55 | 0:05:57 | |
Came down the back steps, we had a lot of back steps | 0:05:58 | 0:06:01 | |
coming down into the house, you've probably seen that house. | 0:06:01 | 0:06:04 | |
And he said, "Open up your apron." | 0:06:04 | 0:06:07 | |
He showered all his notes into her apron. | 0:06:07 | 0:06:10 | |
A year later, Stanley got his first professional stage role | 0:06:11 | 0:06:15 | |
in a West End production of Emlyn William's play, The Druid's Rest. | 0:06:15 | 0:06:19 | |
He was understudying a young actor | 0:06:20 | 0:06:22 | |
from Port Talbot called Richard Burton. | 0:06:22 | 0:06:24 | |
Let loose in London, the two Welsh lads had a wild time. | 0:06:30 | 0:06:34 | |
Drinking, fighting, chasing girls | 0:06:34 | 0:06:36 | |
and taking pot shots with pea shooters at sunbathing actresses. | 0:06:36 | 0:06:40 | |
I'd never been outside Wales before. | 0:06:41 | 0:06:44 | |
And we had a hell of a time. | 0:06:44 | 0:06:45 | |
Enjoyed ourselves immensely. We became... | 0:06:45 | 0:06:48 | |
really close to each other, we both were in the same profession, | 0:06:48 | 0:06:52 | |
we both knew exactly what we wanted to do at that time. | 0:06:52 | 0:06:54 | |
Within a year, Stanley was acting in the prestigious | 0:06:57 | 0:07:00 | |
Birmingham Repertory Company. | 0:07:00 | 0:07:01 | |
It was the best possible training that any actor | 0:07:01 | 0:07:05 | |
in the world could have, because we did 12 plays per year, | 0:07:05 | 0:07:09 | |
it was monthly, which was marvellous, | 0:07:09 | 0:07:11 | |
you had a month to rehearse and a month to play. | 0:07:11 | 0:07:13 | |
And it was an education I had that I didn't have at school. | 0:07:14 | 0:07:18 | |
I have learned life through the theatre. | 0:07:18 | 0:07:21 | |
Stanley's apprenticeship was interrupted | 0:07:21 | 0:07:24 | |
when he was called up for national service. | 0:07:24 | 0:07:27 | |
When he was discharged two and a half years later, | 0:07:28 | 0:07:32 | |
he had to start all over again as a jobbing actor. | 0:07:32 | 0:07:35 | |
He returned to London in search of work but he found much more there. | 0:07:36 | 0:07:41 | |
I was in a play. | 0:07:42 | 0:07:44 | |
I was waiting to go down to do the matinee. | 0:07:44 | 0:07:46 | |
Suddenly I saw two beautiful young men | 0:07:46 | 0:07:49 | |
walking across from the market. | 0:07:49 | 0:07:51 | |
I turned round and said to another actress | 0:07:51 | 0:07:53 | |
who was coming in, "Who's that?" She said, "That's Richard Burton." | 0:07:53 | 0:07:57 | |
I said, "No, not him. The tall one. The beautiful one." | 0:07:57 | 0:07:59 | |
She said, "That's Stanley Baker." | 0:07:59 | 0:08:02 | |
So we came across and we met. | 0:08:02 | 0:08:04 | |
And we arranged to meet in the pub | 0:08:04 | 0:08:07 | |
just immediately across the road from the stage door after the performance. | 0:08:07 | 0:08:12 | |
I went down to my dressing room and I thought, "I've got to meet him again." | 0:08:12 | 0:08:16 | |
There was a knock on the door. And there he was. | 0:08:16 | 0:08:18 | |
And he said, "I'll see you tonight." | 0:08:18 | 0:08:22 | |
And I thought, "Got him." | 0:08:22 | 0:08:23 | |
And I was sharing a dressing room with an actress called Jean Sinclair. | 0:08:24 | 0:08:29 | |
She said, "You don't want to go out with him, Ellen, you don't want to be one of a Baker's dozen." | 0:08:29 | 0:08:34 | |
I said, "I do, I do." SHE LAUGHS | 0:08:34 | 0:08:36 | |
And that was it, really. We got engaged a week later. | 0:08:36 | 0:08:41 | |
It was very instant. | 0:08:41 | 0:08:43 | |
It was all happening to Stanley. | 0:08:43 | 0:08:46 | |
His first big success came on stage that year | 0:08:46 | 0:08:49 | |
in the anti-war play A Sleep Of Prisoners | 0:08:49 | 0:08:52 | |
in which he played a captured soldier. | 0:08:52 | 0:08:54 | |
One midnight performance, there was Dame Edith Evans, | 0:08:54 | 0:08:58 | |
Dame Sybil Thorndike, the Oliviers, | 0:08:58 | 0:09:01 | |
the Redgraves, Orson Welles... | 0:09:01 | 0:09:03 | |
I mean, it went on and on and on. All sitting there in the front | 0:09:03 | 0:09:06 | |
watching these four actors. | 0:09:06 | 0:09:08 | |
Then they would have dinner afterwards with Christopher Fry | 0:09:08 | 0:09:12 | |
and ask about this new young boy. | 0:09:12 | 0:09:14 | |
Through Ellen, Stanley heard of a forthcoming film | 0:09:16 | 0:09:18 | |
called The Cruel Sea. | 0:09:18 | 0:09:20 | |
Having read the book, | 0:09:20 | 0:09:22 | |
he set his sights on the part Lieutenant Bennett. | 0:09:22 | 0:09:25 | |
It wasn't a star part in the film. | 0:09:26 | 0:09:28 | |
But to me reading the book, it was the best part of the film. | 0:09:28 | 0:09:32 | |
Whoever played that part, Stanley Baker or Joe Snooks... | 0:09:32 | 0:09:36 | |
..if they were ready for it, it would help to make them a star. | 0:09:37 | 0:09:40 | |
In the film, Bennett is the ship's bully. | 0:09:41 | 0:09:44 | |
Carlson! | 0:09:44 | 0:09:45 | |
-Sir. -This man is smoking during working hours. -Yes, sir. | 0:09:46 | 0:09:48 | |
-Not quite in proper routine yet, sir. -Makes no difference. | 0:09:48 | 0:09:51 | |
-No smoking except during stand easy. Understood? -Aye, aye, sir. | 0:09:51 | 0:09:56 | |
There was a scene where he had to tell me off, as Bennett. | 0:09:57 | 0:10:00 | |
He used to scare the hell out of me. "No, no, don't...!" | 0:10:00 | 0:10:03 | |
I'd jump. I mean, he had this terrific power. | 0:10:03 | 0:10:06 | |
So, you've been round the ship. | 0:10:06 | 0:10:08 | |
How many fire hose points are there? | 0:10:09 | 0:10:11 | |
14. | 0:10:11 | 0:10:12 | |
Very smart. What sort of gun have we got? | 0:10:13 | 0:10:16 | |
-Four inch. -Four inch what? | 0:10:18 | 0:10:20 | |
-Breach-loading, quick firing, mark four, mark six, fixed ammunition? -I don't know. | 0:10:20 | 0:10:24 | |
Find out. | 0:10:24 | 0:10:25 | |
I'll ask you the next time I see you. | 0:10:26 | 0:10:28 | |
-Both of you, get over to the dock office and start mustering the confidential books. -Yes. Sir. | 0:10:28 | 0:10:33 | |
I'm the First Lieutenant around here. | 0:10:33 | 0:10:35 | |
And don't you forget it. | 0:10:37 | 0:10:38 | |
'The British actors in them days were all a bit effeminate, weren't they?' | 0:10:39 | 0:10:44 | |
Stanley was the first one who looked like a villain | 0:10:44 | 0:10:47 | |
or could handle himself and he was masculine on the screen. | 0:10:47 | 0:10:52 | |
It was gentlemen's cinema. | 0:10:52 | 0:10:54 | |
All these guys wore sports coat and smoked pipes | 0:10:54 | 0:10:57 | |
and spoke impeccably and had been | 0:10:57 | 0:10:59 | |
to public schools and been officers in the forces. | 0:10:59 | 0:11:02 | |
They were all so relaxed, you used to go to sleep watching them in the '50s. | 0:11:02 | 0:11:06 | |
Then, suddenly, this angry young man from the Rhondda burst onto the scene. | 0:11:06 | 0:11:10 | |
The Cruel Sea was Baker's big break. | 0:11:10 | 0:11:13 | |
In the wake of its success, he was signed by legendary | 0:11:13 | 0:11:16 | |
film producer Alexander Korda. | 0:11:16 | 0:11:18 | |
In the space of just four years, | 0:11:18 | 0:11:21 | |
Stanley made 11 films. | 0:11:21 | 0:11:23 | |
He just bounced from film to film. He didn't have time to catch a breath. | 0:11:24 | 0:11:28 | |
It was very exhilarating. | 0:11:28 | 0:11:30 | |
We went to see one of his films. | 0:11:30 | 0:11:32 | |
It was The Good Die Young. | 0:11:32 | 0:11:34 | |
There was a woman sitting next to my mother. | 0:11:35 | 0:11:37 | |
As soon as Stanley came on the screen, | 0:11:37 | 0:11:40 | |
she said to this woman, "That's my son." | 0:11:40 | 0:11:43 | |
I said, "She didn't believe you." | 0:11:44 | 0:11:46 | |
I said, "She thinks you're crackers." | 0:11:46 | 0:11:49 | |
She said, "I don't care whether she believe me or not." | 0:11:49 | 0:11:52 | |
She was quite right. | 0:11:52 | 0:11:55 | |
You're bound to get excited | 0:11:55 | 0:11:57 | |
when you're the mother of a boy like that. | 0:11:57 | 0:11:59 | |
Most of his early appearances were in supporting roles, | 0:12:00 | 0:12:03 | |
but in 1956, Stanley got a chance to play the lead | 0:12:03 | 0:12:07 | |
in the BBC production of Jane Eyre. | 0:12:07 | 0:12:09 | |
Yes. | 0:12:09 | 0:12:11 | |
Adele is very fond of you. | 0:12:11 | 0:12:12 | |
When you go away from Thornfield for months at a time... | 0:12:12 | 0:12:15 | |
If you knew what it cost me to be here now. I hate Thornfield! | 0:12:15 | 0:12:19 | |
I hate everything about it. | 0:12:19 | 0:12:22 | |
Its gardens, its grounds, its stairs, its corridors. | 0:12:22 | 0:12:24 | |
Sorry. | 0:12:24 | 0:12:25 | |
I am sorry. | 0:12:29 | 0:12:31 | |
But this time, it's something I can't explain. | 0:12:37 | 0:12:40 | |
What I've told you is not... | 0:12:42 | 0:12:44 | |
There's something much worse. | 0:12:45 | 0:12:47 | |
Something you don't know. | 0:12:48 | 0:12:50 | |
But that same year, Stanley's career suffered a setback, | 0:12:53 | 0:12:57 | |
with the death of Alexander Korda. | 0:12:57 | 0:12:59 | |
When he died, | 0:13:00 | 0:13:01 | |
Stanley and everyone else was sold piecemeal to Rank. | 0:13:01 | 0:13:05 | |
You woke up, you weren't even told and you were with Rank. | 0:13:05 | 0:13:07 | |
He found that very difficult. | 0:13:07 | 0:13:09 | |
The regime at Rank's studios | 0:13:10 | 0:13:13 | |
was very different to that of the benevolent Korda. | 0:13:13 | 0:13:16 | |
Stanley had little control over the roles he was given. | 0:13:17 | 0:13:20 | |
With his dark brooding features, | 0:13:20 | 0:13:22 | |
he found himself continually cast as a villain. | 0:13:22 | 0:13:25 | |
The Evening Standard described his face as "the face Britons hate." | 0:13:25 | 0:13:30 | |
They only saw him as a villain. | 0:13:32 | 0:13:34 | |
They couldn't see him as a leading man | 0:13:34 | 0:13:36 | |
and a romantic interest. They just couldn't. | 0:13:36 | 0:13:39 | |
When Rank made the 1957 film Hell Drivers, | 0:13:39 | 0:13:43 | |
they wanted Stanley to play a minor role once again. | 0:13:43 | 0:13:46 | |
He threatened to walk off the picture if they didn't give him the lead. | 0:13:46 | 0:13:50 | |
'Hell Drivers. | 0:13:51 | 0:13:52 | |
'Hurtling down the one-way street to destruction. | 0:13:52 | 0:13:55 | |
'Starring Stanley Baker as Tom. | 0:13:57 | 0:13:59 | |
'Using another man's name. | 0:13:59 | 0:14:01 | |
'But forced by his own past into the vicious circle | 0:14:01 | 0:14:05 | |
'of the Hell Drivers. | 0:14:05 | 0:14:06 | |
'Living so close to death | 0:14:06 | 0:14:08 | |
'that any love is reckless, | 0:14:08 | 0:14:10 | |
'any hatred...fatal.' | 0:14:10 | 0:14:12 | |
The film was made by American director Cy Endfield | 0:14:17 | 0:14:20 | |
who'd been blacklisted in the States for his left-wing views. | 0:14:20 | 0:14:24 | |
In it, Stanley plays a truck driver | 0:14:24 | 0:14:26 | |
fighting a corrupt haulage racket. | 0:14:26 | 0:14:28 | |
What do you know about it? | 0:14:28 | 0:14:30 | |
You, I'm talking to you. | 0:14:31 | 0:14:33 | |
I'm a...not talking to the yellow belly. | 0:14:33 | 0:14:36 | |
If he wants to find out why his pay was stopped, ask Ed. | 0:14:36 | 0:14:39 | |
-Ed? -Yeah. | 0:14:39 | 0:14:41 | |
-Who put this on Tom? -You mean on yellow belly? | 0:14:43 | 0:14:46 | |
Me. | 0:14:47 | 0:14:48 | |
I'm the road foreman. | 0:14:49 | 0:14:51 | |
Yeah. | 0:14:52 | 0:14:53 | |
And that's not all you are. | 0:14:54 | 0:14:56 | |
What else am I? | 0:14:58 | 0:14:59 | |
You're scum. | 0:15:00 | 0:15:02 | |
He had this hard edge, this tough, tough edge. | 0:15:04 | 0:15:09 | |
On film, this is what counts, | 0:15:09 | 0:15:11 | |
reflection of one's personality, this is what comes through. | 0:15:11 | 0:15:14 | |
The film established Stanley as a tough British hero, | 0:15:14 | 0:15:18 | |
a home-grown counterpart to American stars like Humphrey Bogart | 0:15:18 | 0:15:21 | |
and Robert Mitchum. | 0:15:21 | 0:15:23 | |
Having proved that he could cut it as a leading man, | 0:15:24 | 0:15:27 | |
Stanley now took a gamble | 0:15:27 | 0:15:29 | |
and bought his way out of his contract with Rank. | 0:15:29 | 0:15:32 | |
It cost him £12,000, a significant sum in those days. | 0:15:32 | 0:15:37 | |
He borrowed the money from his agent, | 0:15:37 | 0:15:40 | |
bought himself out and then was able to pay it back within six months. | 0:15:40 | 0:15:43 | |
Stanley's gamble paid off | 0:15:45 | 0:15:47 | |
with the success of films such as The Guns of Navarone. | 0:15:47 | 0:15:50 | |
As a free agent, | 0:15:51 | 0:15:52 | |
he was now able to choose roles that stretched him as an actor. | 0:15:52 | 0:15:56 | |
He produced some of his best work | 0:15:56 | 0:15:58 | |
with Hell Drivers' director Cy Endfield | 0:15:58 | 0:16:00 | |
and another blacklisted American Joseph Losey. | 0:16:00 | 0:16:04 | |
You can't stress how important these two directors were, | 0:16:04 | 0:16:08 | |
Endfield and Losey. | 0:16:08 | 0:16:10 | |
People who were already in their American work starting to look at themes of social tension, | 0:16:10 | 0:16:15 | |
class jealousy and so on and wanted to do the same thing in Britain, | 0:16:15 | 0:16:18 | |
and were looking for actors to embody that | 0:16:18 | 0:16:21 | |
and Stanley Baker was perfect for them. | 0:16:21 | 0:16:24 | |
During that early period of my film career, | 0:16:25 | 0:16:28 | |
I looked at it as a sort of flippant thing, film. | 0:16:28 | 0:16:32 | |
Films were easy things to do and a lot of money attached to them. | 0:16:32 | 0:16:35 | |
I met this man who taught me about films and film-making | 0:16:35 | 0:16:40 | |
and taught me...what films really mean. | 0:16:40 | 0:16:44 | |
Joseph Losey broadened Stanley's horizons | 0:16:44 | 0:16:48 | |
and nurtured in him an ambition to be more than an actor. | 0:16:48 | 0:16:51 | |
Jo completely involved you, unlike other directors, | 0:16:51 | 0:16:55 | |
you know, you'd turn up and do the job and go. | 0:16:55 | 0:16:57 | |
But he wanted you to be involved in every aspect of film-making | 0:16:57 | 0:17:00 | |
That's really why Stanley became a producer. | 0:17:00 | 0:17:03 | |
Stanley had found a script he was desperate to produce. | 0:17:03 | 0:17:07 | |
But no-one wanted to back him. | 0:17:07 | 0:17:09 | |
I would go into an office of someone in Columbia | 0:17:09 | 0:17:12 | |
or Metro-Goldwyn-Mayer and they'd say, | 0:17:12 | 0:17:14 | |
"Fine, we know you as an actor, we'll employ you as an actor, | 0:17:14 | 0:17:17 | |
"but what makes you think you're a producer? | 0:17:17 | 0:17:20 | |
"We like the subject. | 0:17:20 | 0:17:23 | |
"Why don't WE produce it?" | 0:17:23 | 0:17:25 | |
I wouldn't let them. | 0:17:25 | 0:17:27 | |
Stanley got the break he needed when he met maverick Hollywood producer Joseph E Levine. | 0:17:27 | 0:17:33 | |
Levine didn't bother reading the script. | 0:17:33 | 0:17:36 | |
He backed the movie on the strength of its title. | 0:17:36 | 0:17:38 | |
For his first film as a producer, | 0:17:46 | 0:17:49 | |
Stanley had chosen an epic war story. | 0:17:49 | 0:17:51 | |
Shot on location in South Africa | 0:17:51 | 0:17:53 | |
with a cast of 4,000 Zulu tribesmen, | 0:17:53 | 0:17:56 | |
none of whom had ever seen a film before. | 0:17:56 | 0:17:59 | |
We went up to Zululand. | 0:17:59 | 0:18:02 | |
And they had this big feast of roast ox and what-have-you | 0:18:02 | 0:18:06 | |
to meet people, it was very, very moving. | 0:18:06 | 0:18:09 | |
It was very funny. | 0:18:09 | 0:18:12 | |
I used to give Stanley the rifle, the blank rifle. | 0:18:12 | 0:18:15 | |
And I would come rushing at Stanley with a spear | 0:18:15 | 0:18:17 | |
and he'd fire the blank, and I'd go up in the air... | 0:18:17 | 0:18:21 | |
a very dramatic death scene. | 0:18:21 | 0:18:23 | |
And all the Zulu, "Ooh! Jesus! What? He's dead." | 0:18:23 | 0:18:27 | |
And I'd stand up and, "Whoa!" | 0:18:28 | 0:18:30 | |
They'd all burst out laughing. | 0:18:30 | 0:18:32 | |
Over the course of the production, Stanley developed a close friendship with Zulu leader Chief Buthelezi. | 0:18:32 | 0:18:39 | |
He was a very humble person. | 0:18:39 | 0:18:42 | |
He was a caring person. | 0:18:42 | 0:18:44 | |
That, really... | 0:18:44 | 0:18:45 | |
You couldn't help just loving him purely from the point of view of... | 0:18:45 | 0:18:49 | |
at the time, you might say in South Africa racism was at its height. | 0:18:49 | 0:18:54 | |
So, I mean, the human approach | 0:18:54 | 0:18:57 | |
which he had, was something that was not common. | 0:18:57 | 0:19:00 | |
As a first-time producer out on location, | 0:19:01 | 0:19:05 | |
Stanley was in at the deep end. | 0:19:05 | 0:19:07 | |
We had the most appalling weather when we first got there. | 0:19:08 | 0:19:11 | |
So we had to have witch doctors, all sorts of things, | 0:19:11 | 0:19:16 | |
to pray that the rain would stop. | 0:19:16 | 0:19:18 | |
We were ten days behind after two weeks. | 0:19:18 | 0:19:21 | |
Stanley struggled to bring the production back on track | 0:19:21 | 0:19:25 | |
while simultaneously coping with a demanding role as an actor. | 0:19:25 | 0:19:30 | |
He played Lieutenant John Chard, one of the two commanding officers at Rorke's Drift. | 0:19:30 | 0:19:35 | |
For the other lead role, that of Lieutenant Gonville Bromhead, | 0:19:36 | 0:19:38 | |
he'd taken a chance on a young newcomer called Michael Caine. | 0:19:38 | 0:19:43 | |
But the film's backers had doubts about him. | 0:19:43 | 0:19:46 | |
I saw a cable saying, "Actor playing Bromhead doesn't know what to do with hands. | 0:19:46 | 0:19:52 | |
"Suggest replacement." | 0:19:52 | 0:19:55 | |
So I thought, "Oh...!" | 0:19:55 | 0:19:56 | |
So I walked around for a couple of days, | 0:19:56 | 0:19:59 | |
every time I saw Stanley I was waiting for him to say, | 0:19:59 | 0:20:01 | |
"Right, Michael, that's it." | 0:20:01 | 0:20:02 | |
And one day he noticed, and said, "What's the matter with you?" | 0:20:02 | 0:20:06 | |
So I said, "I'm waiting to be fired, Stanley." | 0:20:06 | 0:20:09 | |
He said, "What do you mean, fired? | 0:20:09 | 0:20:12 | |
"Who's the producer of this film?" I said, "You are, Stan." | 0:20:12 | 0:20:15 | |
He said, "Have I said anything to you?" | 0:20:15 | 0:20:17 | |
I said no. "Get on with your bloody job then." That was the end of it. | 0:20:17 | 0:20:21 | |
Fire! | 0:20:25 | 0:20:26 | |
Do it now. | 0:20:28 | 0:20:30 | |
HE PLAYS FANFARE | 0:20:30 | 0:20:32 | |
Fire! | 0:20:36 | 0:20:37 | |
Firing by ranks. Front rank, fire! | 0:20:38 | 0:20:42 | |
GUNSHOTS BOOM | 0:20:42 | 0:20:43 | |
Fire! | 0:20:43 | 0:20:44 | |
Third rank, fire! | 0:20:45 | 0:20:47 | |
Second rank, fire! | 0:20:47 | 0:20:49 | |
Third rank, fire! | 0:20:49 | 0:20:51 | |
Fire! | 0:20:51 | 0:20:53 | |
Fire! | 0:20:53 | 0:20:54 | |
Cease firing! | 0:20:54 | 0:20:56 | |
With its emphasis on the human cost of combat, | 0:21:03 | 0:21:06 | |
Zulu was a complex and intelligent war movie. | 0:21:06 | 0:21:09 | |
'That script, for him, was really... I think the script that he always wanted to do.' | 0:21:12 | 0:21:18 | |
Not because it gave him another part alongside, if you like, the other star, | 0:21:18 | 0:21:24 | |
it was really about anti-violence and anti-war. | 0:21:24 | 0:21:28 | |
They approached the subject with great respect. | 0:21:28 | 0:21:30 | |
And I think the aim was to portray the bravery of both sides, you know. | 0:21:30 | 0:21:35 | |
On its release, Zulu broke box office records. | 0:21:35 | 0:21:40 | |
40 years on, it remains a classic. | 0:21:41 | 0:21:43 | |
My favourite story is of being on the terraces at Ninian Park watching Cardiff City play once, | 0:21:43 | 0:21:48 | |
and at half time a group of Cardiff City supporters in front of me began | 0:21:48 | 0:21:52 | |
to debate what their favourite film ever was, | 0:21:52 | 0:21:55 | |
and as a film historian I couldn't believe this, | 0:21:55 | 0:21:57 | |
I had my notepad ready to take notes! | 0:21:57 | 0:21:59 | |
And all six or seven of them agreed without any doubt that Zulu was the best film they'd ever seen. | 0:21:59 | 0:22:05 | |
I've made something like 60-odd films. | 0:22:05 | 0:22:07 | |
None of them has affected me in the way this particular film has. | 0:22:07 | 0:22:11 | |
Not because of its success, | 0:22:11 | 0:22:13 | |
not because of its...critical and financial success, | 0:22:13 | 0:22:18 | |
but because I was terribly involved with it, | 0:22:18 | 0:22:21 | |
before I made it, during the time I made it, and I'm still involved with it. | 0:22:21 | 0:22:25 | |
Flushed with the success of Zulu, | 0:22:25 | 0:22:27 | |
Stanley set up Oakhurst Productions with partners Bob Porter and Michael Deeley | 0:22:27 | 0:22:32 | |
to make more films. | 0:22:32 | 0:22:34 | |
One of the first was Robbery, based on the real-life story of the great train robbers. | 0:22:36 | 0:22:40 | |
'But is there a danger that a picture about a magnificent | 0:22:40 | 0:22:44 | |
'and gigantic and adventurous crime | 0:22:44 | 0:22:46 | |
'might be guilty of ennobling both the crime | 0:22:46 | 0:22:49 | |
'and the hoodlums who planned it? | 0:22:49 | 0:22:51 | |
'Stanley Baker is the co-producer of the film, | 0:22:51 | 0:22:53 | |
'and he's starring in it as leader of the gang.' | 0:22:53 | 0:22:56 | |
Talking about gangsters and villains, as we are in this film, | 0:22:56 | 0:23:00 | |
compare what they've got away with, in our film, which is somewhere in the region of £3 million, | 0:23:00 | 0:23:08 | |
and look at modern business, big business, you know, | 0:23:08 | 0:23:10 | |
think of the law-breaking, the criminality that goes on there! | 0:23:10 | 0:23:15 | |
Though Stanley was now a businessman himself, | 0:23:15 | 0:23:18 | |
he still retained the political ideals of his upbringing. | 0:23:18 | 0:23:22 | |
I'm a dedicated socialist, first of all, | 0:23:22 | 0:23:24 | |
I suppose because...I had to be at the very beginning, because I was brought up that way. | 0:23:24 | 0:23:29 | |
I saw the things that happened to...certainly to my family, | 0:23:29 | 0:23:35 | |
and to the people around me. | 0:23:35 | 0:23:37 | |
That sort of existence must stay in your mind. | 0:23:37 | 0:23:41 | |
Stanley used his professional expertise | 0:23:41 | 0:23:44 | |
to advise Labour prime minister Harold Wilson on his media appearances. | 0:23:44 | 0:23:48 | |
He could see a lot that wasn't right with the Party Political Broadcasts, | 0:23:48 | 0:23:53 | |
the television Party Political Broadcasts, and he wanted to do those. | 0:23:53 | 0:23:57 | |
'And he did those.' | 0:23:57 | 0:23:59 | |
'This is the way the prime minister and Mary Wilson have been greeted in every part of Britain. | 0:23:59 | 0:24:03 | |
'You've seen it on television every day - enthusiasm and warmth.' | 0:24:03 | 0:24:07 | |
Stanley got an even warmer welcome when he returned home | 0:24:10 | 0:24:14 | |
for the unveiling of a plaque outside his old house. | 0:24:14 | 0:24:17 | |
CHEERING | 0:24:17 | 0:24:19 | |
Stanley, it's a fantastic welcome, how do you feel now? | 0:24:19 | 0:24:22 | |
Well, I'm just overwhelmed, I really am, | 0:24:22 | 0:24:23 | |
emotionally and in every other way. | 0:24:23 | 0:24:26 | |
It's an extraordinary thing to come back to the place you were born | 0:24:26 | 0:24:30 | |
and this sort of honour to happen to you. | 0:24:30 | 0:24:32 | |
Did you ever expect, when you left this house for London, you'd | 0:24:32 | 0:24:35 | |
-come back in glory like this? -Good God, no. | 0:24:35 | 0:24:37 | |
When he knew he was coming to Ferndale, | 0:24:37 | 0:24:40 | |
he'd get on the telephone to me and say, | 0:24:40 | 0:24:43 | |
"Can you make it? I'm coming down, I'm going to Ferndale," | 0:24:43 | 0:24:47 | |
he'd say, "D'you know, Mur, do you know, I'm just as excited | 0:24:47 | 0:24:50 | |
"as we used to be when we were going to Barry for a day with the chapel." | 0:24:50 | 0:24:55 | |
He said, "That's how I'm feeling. I won't sleep!" | 0:24:55 | 0:24:57 | |
The boy from Ferndale was now a successful film producer. | 0:24:57 | 0:25:01 | |
He had a seat on the board of HTV, | 0:25:01 | 0:25:03 | |
and a luxury penthouse overlooking the Houses of Parliament. | 0:25:03 | 0:25:07 | |
For his next project, | 0:25:07 | 0:25:09 | |
he set his sights on nothing less than the salvation of the British film industry. | 0:25:09 | 0:25:13 | |
When Shepperton Studios came up for sale, | 0:25:14 | 0:25:17 | |
he and his business partners bought it. | 0:25:17 | 0:25:19 | |
But in 1974 the stock market collapsed, | 0:25:19 | 0:25:22 | |
and the value of their company was wiped out. | 0:25:22 | 0:25:26 | |
He was left holding the baby. | 0:25:26 | 0:25:28 | |
I think it was somewhere in the region of £600,000 - £700,000. | 0:25:28 | 0:25:32 | |
Now, this is equivalent today, I suppose, of £2 - 3 million. Maybe more. | 0:25:32 | 0:25:38 | |
That basically gave him two options. | 0:25:38 | 0:25:40 | |
One was to go into liquidation | 0:25:40 | 0:25:44 | |
as Oakhurst Productions, | 0:25:44 | 0:25:45 | |
and the other was to face it out. | 0:25:45 | 0:25:48 | |
My father had enormous pride, and he put himself and his soul into this, | 0:25:48 | 0:25:54 | |
so, in the end of the day, he stood for it. | 0:25:54 | 0:25:57 | |
Determined to honour his debts, Stanley worked furiously. | 0:25:57 | 0:26:02 | |
He returned to television, and in 1976 went back to his roots | 0:26:03 | 0:26:08 | |
with his appearance in the BBC production of How Green Was My Valley. | 0:26:08 | 0:26:12 | |
I've got the strength there, Beth, to go back into the face. | 0:26:12 | 0:26:15 | |
And here - a bit rusty after six years, but... | 0:26:15 | 0:26:20 | |
It's my wind that worries me though. | 0:26:22 | 0:26:23 | |
I think I've got a bit of dust sometimes. | 0:26:23 | 0:26:26 | |
Ahh, no, it's no good fooling myself. | 0:26:27 | 0:26:29 | |
A week on that face would finish me. | 0:26:31 | 0:26:33 | |
Well, then. | 0:26:33 | 0:26:35 | |
The Lord be praised to have shut down that old black hole | 0:26:35 | 0:26:38 | |
and brought you up into the fresh air while you can still breathe it. | 0:26:38 | 0:26:41 | |
Within weeks of the programme being televised, | 0:26:43 | 0:26:46 | |
Stanley was diagnosed with lung cancer. | 0:26:46 | 0:26:48 | |
Obviously Ellen was very upset, | 0:26:49 | 0:26:52 | |
and every so often she would look very thoughtful | 0:26:52 | 0:26:56 | |
and her eyes would mist over, and he would see her and say, | 0:26:56 | 0:26:59 | |
"Hey, Ellen, stop that." | 0:26:59 | 0:27:01 | |
He just didn't want any kind of, um... | 0:27:01 | 0:27:05 | |
He said, "Look, I've had a wonderful life. | 0:27:05 | 0:27:07 | |
"I've done everything I want to do, I've provided for my family, | 0:27:07 | 0:27:10 | |
"I've seen and done more things than I could have ever imagined | 0:27:10 | 0:27:13 | |
"I would have done when I was a boy." | 0:27:13 | 0:27:16 | |
And he said, "I'm willing to accept this. If that's it, that's it." | 0:27:16 | 0:27:21 | |
Stanley underwent treatment, but the cancer had already spread too far. | 0:27:27 | 0:27:31 | |
I was showing my distress, and... | 0:27:34 | 0:27:38 | |
Stanley said, "Shut up." | 0:27:38 | 0:27:39 | |
You know. He just said, "Stop that." | 0:27:42 | 0:27:45 | |
And, I tell you, he had all the guts in the world. | 0:27:47 | 0:27:50 | |
Stanley knew what was happening. When the pain went to the bones | 0:27:50 | 0:27:56 | |
and he did what he was told not to, he went swimming. | 0:27:56 | 0:27:59 | |
And he wanted... I guess he wanted to do it his way. | 0:27:59 | 0:28:04 | |
And he did. It was all over in three days. | 0:28:04 | 0:28:08 | |
Stanley Baker died on 28th June 1976. | 0:28:13 | 0:28:19 | |
He was 48. | 0:28:19 | 0:28:20 | |
2,000 people gathered on the hillside above Ferndale for the scattering of the ashes. | 0:28:22 | 0:28:26 | |
Among the many floral tributes was one from Zulu leader, Chief Buthelezi. | 0:28:26 | 0:28:32 | |
It simply described Stanley as, "The most decent white man I have ever met." | 0:28:34 | 0:28:40 | |
Subtitles by Red Bee Media Ltd | 0:28:47 | 0:28:50 | |
E-mail [email protected] | 0:28:50 | 0:28:53 |