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Today, I'm on a journey through the lowlands of Suffolk. | 0:00:19 | 0:00:22 | |
It's a place with all the rural trappings you'd expect | 0:00:22 | 0:00:26 | |
from this tranquil corner of the country, | 0:00:26 | 0:00:28 | |
but with some mysteries and surprises too. | 0:00:28 | 0:00:32 | |
I'm starting my journey in Thorpeness, | 0:00:32 | 0:00:34 | |
then I'll head for Rendlesham Forest before visiting the archaeological site at Sutton Hoo. | 0:00:34 | 0:00:40 | |
My Suffolk travels will end among the butterflies | 0:00:40 | 0:00:42 | |
at Wherstead Farm, south of Ipswich. | 0:00:42 | 0:00:44 | |
And along the way, I'll be looking back at the very best of the BBC's rural programmes | 0:00:44 | 0:00:50 | |
from this part of the world. This is Country Tracks. | 0:00:50 | 0:00:54 | |
Beginning my journey, I'm near the Suffolk coastline on this beautiful mere in the village of Thorpeness. | 0:01:00 | 0:01:05 | |
Thorpeness Mere covers an enormous 64 acres and is alive with wildlife. | 0:01:05 | 0:01:10 | |
But this is not a natural lake. | 0:01:12 | 0:01:15 | |
It's entirely man-made. | 0:01:15 | 0:01:18 | |
In fact, the whole idea of the village was dreamt up by friend of Peter Pan author JM Barrie. | 0:01:18 | 0:01:24 | |
Thorpeness was originally a small fishing hamlet. | 0:01:24 | 0:01:27 | |
Then, in 1910, a Scottish barrister called Glencairn Stuart Ogilvie bought a swathe of local land | 0:01:27 | 0:01:33 | |
and transformed the village into a fantasy holiday destination. | 0:01:33 | 0:01:38 | |
His aim was to create a fashionable resort which took people back to the days of merry old England. | 0:01:38 | 0:01:44 | |
I'm meeting his great-grandson Glen Ogilvie to find out more about this enchanting place. | 0:01:44 | 0:01:49 | |
His idea was that he would create a village that had something for everybody. | 0:01:49 | 0:01:54 | |
He's quoted as saying, "If children are happy, parents have a holiday," | 0:01:54 | 0:01:58 | |
and that, believe me, is as true today as it was back in 1910, | 0:01:58 | 0:02:02 | |
when he started the village. | 0:02:02 | 0:02:04 | |
And this example here - rather unusual-looking building. | 0:02:04 | 0:02:08 | |
-Undoubtedly, it's unique. -It's many of the odd ones here. Give me some of the history of this. | 0:02:08 | 0:02:13 | |
Great-grandfather built a steel water tower, | 0:02:13 | 0:02:17 | |
and it was a monstrosity and he hated it. | 0:02:17 | 0:02:20 | |
He didn't know what to do with it. | 0:02:20 | 0:02:22 | |
And a friend of his, a lady called Mrs Mason, said, "If you turn it into a house, I'll live in it," | 0:02:22 | 0:02:27 | |
and that is how it came to be. The name The House In The Clouds came from Mrs Mason. | 0:02:27 | 0:02:32 | |
Great-grandfather was going to call it The Gazebo, and she said, "No, no, that's my house in the clouds." | 0:02:32 | 0:02:37 | |
-That's where it got it's name. -It's a romantic name and I can see why she named it that. | 0:02:37 | 0:02:42 | |
I'm going to take a closer look if I may. It's so unusual. | 0:02:42 | 0:02:45 | |
So, Glen, this is another iconic building in Thorpeness, | 0:02:58 | 0:03:01 | |
-but it wasn't originally built on this spot, was it? -No, it wasn't. | 0:03:01 | 0:03:05 | |
It was moved here from the village of Aldringham, which is about two miles inland, | 0:03:05 | 0:03:11 | |
and converted from its original function as a corn mill to a water pump. | 0:03:11 | 0:03:15 | |
It was dismantled by a millwright whose name I believe was Ted Friend, taken to pieces and brought here. | 0:03:15 | 0:03:21 | |
The millwright had to drill that great big post, which is very hard oak, | 0:03:21 | 0:03:29 | |
for the driveshaft for the pump. | 0:03:29 | 0:03:31 | |
And he had to get it absolutely perpendicular, and he had to get it right first time, | 0:03:31 | 0:03:36 | |
and it was all done with a hand auger. I think it's an absolute work of art. | 0:03:36 | 0:03:40 | |
How was life in its heyday, when Thorpeness was buzzing and the full vision of the village came together? | 0:03:40 | 0:03:47 | |
It was a place, perhaps not of grandeur, but of splendour and fun, | 0:03:47 | 0:03:51 | |
which was the original idea of the village. | 0:03:51 | 0:03:53 | |
And even today, it's still enjoyed in very much that same ideal. | 0:03:53 | 0:03:59 | |
Yes, it really is. It's still a haven for children. | 0:03:59 | 0:04:02 | |
Even the adults living out their childhood fun with all those activities on offer. | 0:04:02 | 0:04:06 | |
For the Peter Pan in us all - the boy who never grew up. | 0:04:06 | 0:04:09 | |
-Yes, I suppose there is that about it, yes. -Absolutely. | 0:04:09 | 0:04:12 | |
Thorpeness is nestled next to the sea, so I've taken the chance | 0:04:28 | 0:04:32 | |
to continue my journey with a bracing coastal walk. | 0:04:32 | 0:04:36 | |
The Suffolk coastline is a haven for flora and fauna. | 0:04:36 | 0:04:40 | |
A few hundred metres inland is a man-made lagoon with its own rich ecosystem, | 0:04:40 | 0:04:45 | |
which Michaela Strachan explored. | 0:04:45 | 0:04:47 | |
Saline lagoons act as a halfway house between marine and freshwater environments, | 0:04:47 | 0:04:52 | |
and as such are home to very specialised plant and animal communities. | 0:04:52 | 0:04:56 | |
They're one of the rarest habitats in Europe, and here | 0:04:56 | 0:04:59 | |
on the east coast of Britain are some of the best examples. | 0:04:59 | 0:05:02 | |
But these precious habitats and the wildlife they encourage are now under threat. | 0:05:02 | 0:05:07 | |
Most coastal areas now have sea defences which don't allow new lagoons to form. | 0:05:07 | 0:05:12 | |
Rises in sea level and climate change | 0:05:12 | 0:05:14 | |
can also have a catastrophic effect. | 0:05:14 | 0:05:17 | |
So conservation groups have got together to look at | 0:05:17 | 0:05:20 | |
not only how to manage the lagoons we've already got, but also how to create new ones. | 0:05:20 | 0:05:25 | |
There's very little saline lagoon throughout the whole of Europe. | 0:05:25 | 0:05:28 | |
They're listed in the Habitats Directive | 0:05:28 | 0:05:31 | |
as a priority habitat - they're the most rare and the most threatened. | 0:05:31 | 0:05:34 | |
In the UK, we've only got about 5,000 hectares dotted around the whole coast, | 0:05:34 | 0:05:38 | |
most of them small sites like this. | 0:05:38 | 0:05:40 | |
Also, we have species that are specialised to live in lagoons - | 0:05:40 | 0:05:44 | |
quite harsh conditions, extremes of temperature and salinity. | 0:05:44 | 0:05:48 | |
Some species are protected under the Wildlife And Countryside Act because they're so rare. | 0:05:48 | 0:05:52 | |
The guide has been written by conservation groups working together, | 0:05:52 | 0:05:56 | |
amongst them, English Nature, the Environment Agency and the RSPB. | 0:05:56 | 0:06:01 | |
Matt, what creatures do you find here that you don't find anywhere else? | 0:06:01 | 0:06:04 | |
Well, we've got some here. | 0:06:04 | 0:06:06 | |
-I'll just get them into this tray. -So it's lots of very wee beasties, | 0:06:06 | 0:06:10 | |
-really? -Yeah, most of the things are small invertebrates. | 0:06:10 | 0:06:13 | |
That's what most of the important things in lagoons are. | 0:06:13 | 0:06:17 | |
What about these little transparent things? | 0:06:17 | 0:06:20 | |
They're a sort of little prawn, really, which you get in lots of brackish water bodies, | 0:06:20 | 0:06:25 | |
and there's lagoon corophium, which is another crustacean. | 0:06:25 | 0:06:28 | |
They are really like a stretched out woodlouse. | 0:06:28 | 0:06:32 | |
From the RSPB's point of view, species in the lagoons support birds. | 0:06:32 | 0:06:38 | |
You've got wading birds feeding on them. The avocet, which feeds and lives and nests on saline lagoons, | 0:06:38 | 0:06:43 | |
will be feeding on these sorts of species in the lagoons. | 0:06:43 | 0:06:46 | |
If it's birds you're interested in, then one of the best lagoons to come to in the UK is Minsmere in Suffolk. | 0:06:46 | 0:06:53 | |
Here, the RSPB have created man-made lagoons where you can find over 300 different species. | 0:06:53 | 0:07:00 | |
-Hi, Geoff. -Hi, Michaela. -Any good birds today? -It's a bit mixed at the moment. | 0:07:01 | 0:07:06 | |
The breeding season's over now, | 0:07:06 | 0:07:08 | |
so most of the things like the avocets have left. | 0:07:08 | 0:07:10 | |
But we're seeing lots of migrant waders coming through, | 0:07:10 | 0:07:14 | |
birds which bred in Arctic Europe. They have a quick refuel stop, then on to West Africa. | 0:07:14 | 0:07:18 | |
The amazing thing about this lagoon is that it's man-made. | 0:07:18 | 0:07:21 | |
Yeah, it was the first lagoon of its type in the world. | 0:07:21 | 0:07:25 | |
It was based on the fact that this was partially flooded during the war, and natural lagoons began to form. | 0:07:25 | 0:07:32 | |
We've excavated three main lagoons, put lots of islands in, a very intricate water-control system, | 0:07:32 | 0:07:37 | |
and it's been copied everywhere from Spain to Australia. | 0:07:37 | 0:07:41 | |
Right next to the sea, the shingle beaches are a feature of the Suffolk coastal landscape. | 0:07:53 | 0:07:58 | |
What I find amazing is that these windswept shores can harbour such a diverse selection of plant life. | 0:07:58 | 0:08:04 | |
Malcolm Farrow is an expert in the field. | 0:08:07 | 0:08:09 | |
Malcolm, it's so lovely walking along the beach on a day like today, isn't it? | 0:08:09 | 0:08:14 | |
-Yes, fantastic, isn't it? You couldn't be in a better place, really. -No, not at all. | 0:08:14 | 0:08:18 | |
Most people expect to see plants colonising the dunes and that part of beach life, | 0:08:18 | 0:08:23 | |
-but down here on the shingle it's quite a surprise to come across so many. -It's amazing. | 0:08:23 | 0:08:28 | |
It's the last thing you'd expect to see, | 0:08:28 | 0:08:30 | |
because shingle's such a hostile environment for plants. | 0:08:30 | 0:08:33 | |
It's a pretty tough place for any kind of life, | 0:08:33 | 0:08:35 | |
-so to get such a huge variety is amazing. -And flowering plants. | 0:08:35 | 0:08:38 | |
-What's this with these beautiful white flowers? -This is sea kale | 0:08:38 | 0:08:42 | |
and this is a real tough customer. | 0:08:42 | 0:08:44 | |
-Yes! -It's just sort of purpose-built for this kind of environment. -How so? -You have a feel of these leaves | 0:08:44 | 0:08:49 | |
-and feel how thick and rubbery they are. -Like rubber. -Incredible, isn't it? -Astonishing. | 0:08:49 | 0:08:54 | |
-So what conditions do these plants have to deal with? There's not a lot of fresh water. -No, that's right. | 0:08:54 | 0:09:00 | |
The only fresh water you get is the stuff that comes down from the sky, | 0:09:00 | 0:09:05 | |
-and it's going to go straight through these stones. -Yeah. | 0:09:05 | 0:09:07 | |
These plants have incredible root systems to suck up as much moisture as they can | 0:09:07 | 0:09:11 | |
-and store it in the leaves. -This is in flower. What time of year would you expect to get this? | 0:09:11 | 0:09:16 | |
Well, it's just starting to come out now and it'll flower right the way through May and into June. | 0:09:16 | 0:09:21 | |
Then, once the flowers have set seed, | 0:09:21 | 0:09:24 | |
you get lovely seed heads all over the plant. | 0:09:24 | 0:09:26 | |
It looks like the kale you get in gardens and supermarkets, but I presume we can't eat this stuff. | 0:09:26 | 0:09:32 | |
You could. It's a very close relative and people do... Here, they're protected. | 0:09:32 | 0:09:36 | |
You'd have to get the permission of the landowner to eat or harvest them, so I wouldn't recommend it here. | 0:09:36 | 0:09:42 | |
-What else have we got on the beach after the kale? -Well, another famous incumbent here is sea pea. | 0:09:42 | 0:09:48 | |
-Shall we go and have a look at some? -Yeah, let's see if we can find some sea pea. | 0:09:48 | 0:09:53 | |
This is a much rarer plant than sea kale. | 0:10:03 | 0:10:07 | |
-It looks completely different. Looks much more delicate. -Yeah, it does, doesn't it? | 0:10:07 | 0:10:12 | |
-It looks much more fragile. -And is it? -Well, no, it's just as tough in its own way. | 0:10:12 | 0:10:17 | |
It's just got a different strategy for survival here. | 0:10:17 | 0:10:20 | |
While the sea kale makes a big clump, sea pea likes to stay low. | 0:10:20 | 0:10:24 | |
This one hugs the ground as a way of staying out of the worst effects of the wind and the elements here. | 0:10:24 | 0:10:30 | |
You tend to find sea pea growing quite close to the wilder part of the beach. | 0:10:30 | 0:10:34 | |
What happens is, after it sets seed, the seeds end up in the sea, | 0:10:34 | 0:10:40 | |
and they'll float about and colonise another bit of beach. It's quite a scarce plant. | 0:10:40 | 0:10:45 | |
-Goodness. What a great find. -Yeah, it is. -And that's its flower? | 0:10:45 | 0:10:48 | |
-Yeah. A lovely flower. -Gosh, that is pretty. Given that this is so rare, | 0:10:48 | 0:10:53 | |
and it's doing well in Suffolk, do you think local people are quite proud of this | 0:10:53 | 0:10:57 | |
-and like having all the plants on the beach? -I do. I think it's a real Suffolk speciality. | 0:10:57 | 0:11:02 | |
We've got a lot of really good areas of vegetated shingle beaches, | 0:11:02 | 0:11:06 | |
and sea pea is perhaps the real, most glorious plant here, really. | 0:11:06 | 0:11:11 | |
It is very pretty. I'm so glad to have seen it. | 0:11:11 | 0:11:14 | |
My coastal walk continues to the village of Aldeburgh. | 0:11:17 | 0:11:21 | |
In the 16th century, Aldeburgh was a leading port and had a flourishing ship-building industry. | 0:11:21 | 0:11:25 | |
Sir Francis Drake's ships Greyhound and Pelican were both built here. | 0:11:25 | 0:11:31 | |
But the town is also known as home of one of the country's best-loved composers - Benjamin Britten. | 0:11:31 | 0:11:38 | |
I have tried to live elsewhere, but a magnet always brings me back. | 0:11:38 | 0:11:44 | |
I feel at home in this kind of scenery. | 0:11:44 | 0:11:48 | |
The marshes, the small villages, the fishermen in their boats - | 0:11:48 | 0:11:53 | |
that all is a part of my life without which I cannot seem to do. | 0:11:53 | 0:11:59 | |
This is the old mill in the village of Snape, and Britten was living here when he wrote | 0:11:59 | 0:12:04 | |
his most famous work, Peter Grimes, a story of a local fisherman who was a loner and an outcast. | 0:12:04 | 0:12:11 | |
And from this balcony, Britten would be able to look down to the old barley maltings in Snape. | 0:12:11 | 0:12:16 | |
And later, when those buildings became derelict, he was inspired to turn them into a great concert hall. | 0:12:16 | 0:12:23 | |
It was a completely mad idea in many ways, | 0:12:23 | 0:12:26 | |
but there again, starting up a music festival in 1948 | 0:12:26 | 0:12:29 | |
in a tiny fishing village about as far east in England as you can go | 0:12:29 | 0:12:33 | |
also must have seemed pretty mad at the time. | 0:12:33 | 0:12:35 | |
The concert hall was a huge success from the start, | 0:12:35 | 0:12:38 | |
mainly because the natural qualities of the venue - the acoustics that come from the brick and the wood - | 0:12:38 | 0:12:46 | |
meant that it had a very fine sound indeed, and musicians and audiences were very excited by that. | 0:12:46 | 0:12:51 | |
And also, of course, its incomparable setting. | 0:12:51 | 0:12:54 | |
His routine was to walk along the riverbank every afternoon, after spending the morning composing. | 0:12:54 | 0:13:01 | |
Then he'd work again from tea-time till dinner, but no later in case any wrong notes got through. | 0:13:01 | 0:13:07 | |
Britten loved the church here at Orford, a couple of miles from his home, | 0:13:12 | 0:13:17 | |
not least because the acoustics are excellent. | 0:13:17 | 0:13:20 | |
And in fact he chose this church for the very first performance | 0:13:20 | 0:13:23 | |
of his much-loved work for young people, Noah's Flood, the biblical story of the Ark. | 0:13:23 | 0:13:28 | |
And here's a small statue of Noah reaching out to the returning dove to remind us. | 0:13:28 | 0:13:34 | |
The performance was such a success, technically as well as artistically, | 0:13:41 | 0:13:46 | |
that Britten decided to record another of his works here in the church. | 0:13:46 | 0:13:51 | |
It was the Burning Fiery Furnace, | 0:13:51 | 0:13:53 | |
and the recording session took three days in May 1967. | 0:13:53 | 0:13:58 | |
It was filmed by the BBC, and not everyone in the village | 0:14:02 | 0:14:05 | |
was pleased to see an invasion of so many musicians. | 0:14:05 | 0:14:09 | |
Well, the traffic's shocking. It's worse than Piccadilly Circus on a Saturday night. | 0:14:11 | 0:14:16 | |
I cater for my local trade and I don't even stop to think about what visitors might want. | 0:14:16 | 0:14:21 | |
If I haven't got what they want, that's just too bad. | 0:14:21 | 0:14:24 | |
In any case, their attitude is, "Oh, haven't got so-and-so?" | 0:14:24 | 0:14:27 | |
You'd think it was Fortnum & Mason's, not the village shop! | 0:14:27 | 0:14:31 | |
There's a much warmer welcome these days, but even then, tourists were beginning to discover the area. | 0:14:31 | 0:14:36 | |
Britten needed tranquillity, and he moved here, to the Red House in Aldeburgh, | 0:14:36 | 0:14:41 | |
with his partner, the singer Peter Pears. It was to be his last home. | 0:14:41 | 0:14:46 | |
Previously, the Red House was, for about two centuries, a dairy farm, | 0:14:46 | 0:14:51 | |
and the room in which we're now sitting was actually a milking shed | 0:14:51 | 0:14:56 | |
and a school for dairy maids and dairy lads, I suppose. | 0:14:56 | 0:14:59 | |
In 1963, they really decided that they wanted a place where they could store books, manuscripts, | 0:14:59 | 0:15:05 | |
scores that they collected as well. | 0:15:05 | 0:15:08 | |
Obviously too, they wanted a space that was large enough to accommodate the rehearsals, | 0:15:08 | 0:15:12 | |
a place that could accommodate small local ensembles. | 0:15:12 | 0:15:16 | |
They also wanted a room large enough for a nice large grand piano. | 0:15:16 | 0:15:20 | |
The rooms are quite large but not large enough for a ten-foot concert grand, so they built this place. | 0:15:20 | 0:15:27 | |
They started in 1963 and I suppose it was opened in '64. | 0:15:27 | 0:15:31 | |
You have a great collection of photographs, covering most of Britten's life? | 0:15:31 | 0:15:35 | |
Indeed, yes. We've got 12,000 photographs in the collection. | 0:15:35 | 0:15:39 | |
Here's a photograph of Britten in the 1930s, at work composing. | 0:15:39 | 0:15:43 | |
It's a rare photograph of him wearing spectacles. You didn't often see him wearing spectacles. | 0:15:43 | 0:15:48 | |
There he is on the beach at Aldeburgh. | 0:15:48 | 0:15:50 | |
That's right, yes. Very near his beloved sea, where he found a great deal of inspiration, of course. | 0:15:50 | 0:15:56 | |
And finally, we've got a picture of him with Peter Pears, | 0:15:56 | 0:16:00 | |
taken not long before his death. | 0:16:00 | 0:16:03 | |
And of course, towards the end of his life, he heard in this very room | 0:16:03 | 0:16:07 | |
one of his last completed compositions, a string quartet, the Third String Quartet, | 0:16:07 | 0:16:11 | |
which was performed in the space at the end of the room here. | 0:16:11 | 0:16:15 | |
He was extremely ill and the Amadeus came and played the quartet for him. | 0:16:15 | 0:16:19 | |
It must've been a very moving moment. | 0:16:19 | 0:16:22 | |
Oh, yes, it would have been extremely emotional for him. For everyone concerned, I should think. | 0:16:22 | 0:16:27 | |
Benjamin Britten died nearly 30 years ago and, until recently, | 0:16:40 | 0:16:45 | |
there was no memorial to him here in Suffolk. | 0:16:45 | 0:16:48 | |
But in November 2003, this sculpture, highly controversial, | 0:16:48 | 0:16:53 | |
by Maggi Hambling, was unveiled here on the beach at Aldeburgh. | 0:16:53 | 0:16:57 | |
It symbolises his love for this coastline and for the sea. | 0:16:57 | 0:17:02 | |
When you listen to his music, when you're actually here on the Suffolk coast, | 0:17:06 | 0:17:10 | |
there's something about his music that taps into the spirit of his place. | 0:17:10 | 0:17:16 | |
It's feeling that connection, I think, between the music and the place | 0:17:18 | 0:17:23 | |
that I think is very, very special, and certainly speaks to me. | 0:17:23 | 0:17:28 | |
I've left Aldeburgh behind and I'm heading 12 miles inland to Rendlesham. | 0:17:35 | 0:17:39 | |
Driving into the heart of Rendlesham's forest, | 0:17:39 | 0:17:44 | |
I'm planning to set up camp and enjoy a night amongst the trees. | 0:17:44 | 0:17:48 | |
But first, I want to investigate a mystery that continues to baffle. | 0:17:48 | 0:17:52 | |
This may look like a picturesque and peaceful spot with the sun setting but, in 1980, | 0:17:52 | 0:17:57 | |
an incident happened in this very forest that made headlines | 0:17:57 | 0:18:02 | |
all around the world. | 0:18:02 | 0:18:04 | |
Now then, you may remember the sensational claim earlier this week that a glowing UFO had landed | 0:18:07 | 0:18:13 | |
in some woods near the US Air Force base at Woodbridge in Suffolk. | 0:18:13 | 0:18:17 | |
We had an eye-witness, a former security guard | 0:18:17 | 0:18:19 | |
who wanted to remain anonymous, and this is what he had to say. | 0:18:19 | 0:18:22 | |
This thing came down, it went right over and sat there maybe two seconds. | 0:18:22 | 0:18:27 | |
It was just a ball of light in the air. | 0:18:27 | 0:18:30 | |
Maybe 20 feet off the ground, 30 feet, and it dispersed in a multitude of colours, | 0:18:30 | 0:18:36 | |
and they all seemed to fall on top of this thing. And before our eyes, | 0:18:36 | 0:18:40 | |
it's almost indescribable, but there was a craft, an alien spacecraft or whatever. | 0:18:40 | 0:18:46 | |
Servicemen initially thought it was a downed aircraft. | 0:18:46 | 0:18:49 | |
Three of them entered the forest to investigate, armed with torches, a Geiger counter and a dictaphone. | 0:18:49 | 0:18:55 | |
150 feet or more from the initial suspected impact point... | 0:18:55 | 0:19:00 | |
What happened next sparked interest around the world. | 0:19:00 | 0:19:04 | |
A number of strange lights appeared to move through the trees, while a single bright light | 0:19:04 | 0:19:09 | |
appeared to emerge from an unidentified object. | 0:19:09 | 0:19:11 | |
I'm meeting the first civilian on the scene that evening, Vince Thurkettle, | 0:19:11 | 0:19:16 | |
to retrace the steps those servicemen took through the forest. | 0:19:16 | 0:19:19 | |
That night, OK, we've got... | 0:19:19 | 0:19:21 | |
This here was a tactical American air base. Tons of planes, tons of weapons, | 0:19:21 | 0:19:26 | |
and I believe there were three young airmen on guard here. | 0:19:26 | 0:19:30 | |
And it's probably a bit like this. | 0:19:30 | 0:19:31 | |
We're late at night. They saw something burn in the sky. | 0:19:31 | 0:19:36 | |
They thought it crashed in the forest. They asked permission to go out and were told, | 0:19:36 | 0:19:40 | |
"Leave your weapons, go out and see what it was." Can you imagine? | 0:19:40 | 0:19:44 | |
They must have had kittens! This is where it all started. | 0:19:44 | 0:19:47 | |
This is the east gate. They left their weapons and three of them went into the forest | 0:19:47 | 0:19:51 | |
around midnight or something. This is Close Encounters Of The Third time. | 0:19:51 | 0:19:55 | |
This is a very exciting, very serious time, so when these guys set off in the woods | 0:19:55 | 0:20:01 | |
to find something that had crashed, this is a big deal. | 0:20:01 | 0:20:04 | |
Now, call me paranoid, but there's a lot of activity going on. | 0:20:04 | 0:20:08 | |
I think a lot of the UFO people are paranoid, but I have to say, every time I've brought people here, | 0:20:08 | 0:20:14 | |
a military helicopter comes and seems to shadow us, and by God, it's happened now, even at night. | 0:20:14 | 0:20:20 | |
-It's amazing. -It is amazing. | 0:20:20 | 0:20:22 | |
Well, let's move on to our next destination in this story. | 0:20:22 | 0:20:25 | |
-OVER RADIO: -OK, why don't we do this? Why don't we make a sweep? | 0:20:25 | 0:20:29 | |
I think it's much better... | 0:20:29 | 0:20:31 | |
So this is odd, isn't it, walking through the woods at night? | 0:20:31 | 0:20:36 | |
Well, not really, because this is what the young airmen will have experienced when they came out. | 0:20:36 | 0:20:41 | |
They've left the gate, come up the tracks and walked through a forest pretty much like this. | 0:20:41 | 0:20:47 | |
-What did they see? -They're looking for something that's crashed, so they're wandering about | 0:20:47 | 0:20:52 | |
and then they see this pulsing light through the trees ahead of them. | 0:20:52 | 0:20:58 | |
It's described as yellow or reddish, but there's this pulsing light | 0:20:58 | 0:21:02 | |
five, six feet above the forest floor, illuminating the forest. | 0:21:02 | 0:21:06 | |
And very bravely, actually, they follow it, they move towards it, | 0:21:06 | 0:21:10 | |
and it appears to move away from them through the trees as they get towards it. | 0:21:10 | 0:21:14 | |
They must've been so excited at this point - terrified excited! | 0:21:14 | 0:21:17 | |
-Terrified and slightly mad to follow it. I'd have raced home. -They're pretty brave. | 0:21:17 | 0:21:22 | |
-Very brave! Well, we need to follow in their footsteps. Let's bravely... -Let's push on through the woods. -OK. | 0:21:22 | 0:21:28 | |
INDISTINCT RADIO CHATTER | 0:21:28 | 0:21:30 | |
OK, here we are on the edge of the forest. | 0:21:31 | 0:21:34 | |
So what would have happened next? | 0:21:34 | 0:21:36 | |
Well, they've got here. Whatever they were seeing, they think it's now flown out across these fields. | 0:21:36 | 0:21:42 | |
We're whispering! Interesting - we've started whispering! | 0:21:42 | 0:21:46 | |
But animals went berserk about here. | 0:21:46 | 0:21:49 | |
Now, whether they were wild animals they flushed out of the forest | 0:21:49 | 0:21:53 | |
or whether it was farm animals, I don't know. | 0:21:53 | 0:21:55 | |
-What's your explanation for what they saw? -They were following a light. | 0:21:55 | 0:21:59 | |
They followed it, it moved away, then they got to the edge of the forest, where we are now, | 0:21:59 | 0:22:04 | |
and they stared out across these fields, and were staring straight into the beam of a lighthouse. | 0:22:04 | 0:22:09 | |
So science suggests that it could have been the lighthouse they saw, | 0:22:09 | 0:22:13 | |
and the animals could've been spooked by them? So what's kept this myth, potentially, going? | 0:22:13 | 0:22:18 | |
We still have the core that, on two separate nights, | 0:22:18 | 0:22:22 | |
two groups of airmen came out in this forest and saw a pulsing light within the woods, | 0:22:22 | 0:22:26 | |
and watched it for hours in one case. | 0:22:26 | 0:22:29 | |
They WERE staring at a lighthouse, but in all honesty, | 0:22:29 | 0:22:34 | |
whether it could've fooled them for two nights, that's incredible. | 0:22:34 | 0:22:38 | |
3.05, we see strange, strobe-like flashes... | 0:22:38 | 0:22:43 | |
They're sporadic, but there's definitely something there, some kind of phenomenon. | 0:22:43 | 0:22:49 | |
I've just finished the UFO trail, | 0:22:49 | 0:22:51 | |
which I found absolutely fascinating, and even as something of a non-believer, | 0:22:51 | 0:22:56 | |
it's left me suitably spooked to be staying alone in the forest at night. | 0:22:56 | 0:23:00 | |
But if you're going to camp out, you might as well do it in style. | 0:23:00 | 0:23:05 | |
My accommodation for the night may look vintage Americana, but it is in fact brand-new... | 0:23:05 | 0:23:11 | |
OWL HOOTS | 0:23:11 | 0:23:13 | |
..and very snug. I always love camping, but there's something about camping on your own | 0:23:13 | 0:23:18 | |
that's pretty spooky, and having gone round the forest in the dark, | 0:23:18 | 0:23:24 | |
hearing about UFOs doesn't often help your cause when you're feeling a bit spooked. | 0:23:24 | 0:23:30 | |
But there's something about camping in this incredibly luxury vehicle | 0:23:30 | 0:23:34 | |
that has a lock on the door... that really helps. | 0:23:34 | 0:23:39 | |
And I tell you what also helps is... outside, I can hear two nightingales singing, | 0:23:39 | 0:23:45 | |
which is quite a rare thing these days, and it makes me think that the dawn is coming | 0:23:45 | 0:23:50 | |
because it's birdsong. Now I'm not quite so frightened. | 0:23:50 | 0:23:55 | |
I had a very good night's sleep in my wagon of dreams last night. | 0:24:02 | 0:24:08 | |
It was a lighthouse, not a UFO! | 0:24:08 | 0:24:11 | |
I feel much braver this morning... and a little bit daft. | 0:24:11 | 0:24:16 | |
This is perhaps the most famous UFO incident to have happened in Britain, | 0:24:18 | 0:24:23 | |
and ranks amongst the best-known UFO events worldwide. | 0:24:23 | 0:24:27 | |
Two decades earlier, just down the coast at Orford Ness, | 0:24:27 | 0:24:31 | |
a series of events occurred which, though frightening and fantastic, were definitely of this planet. | 0:24:31 | 0:24:37 | |
This was the United Kingdom's own Area 51. | 0:24:41 | 0:24:45 | |
Grant, what's Orford Ness | 0:24:45 | 0:24:47 | |
got to do with weapons of mass destruction, then? | 0:24:47 | 0:24:50 | |
This is where they were carrying out tests on Britain's atomic arsenal | 0:24:50 | 0:24:54 | |
between the 1950s and the 1970s. | 0:24:54 | 0:24:58 | |
This, Adam, is the type of bomb that they were testing here on Orford Ness, and this is a WE177, | 0:24:59 | 0:25:07 | |
which was the last of Britain's own atomic weapons, | 0:25:07 | 0:25:10 | |
and this was developed here on Orford Ness from the mid-1960s onwards until 1971. | 0:25:10 | 0:25:17 | |
And this particular weapon is a fairly small strategic weapon | 0:25:17 | 0:25:21 | |
of 200,000 tonnes of TNT, | 0:25:21 | 0:25:24 | |
which is about 200 times the power of the bomb dropped on Hiroshima. | 0:25:24 | 0:25:29 | |
-Terrifying. -It is, for something so small, and it's often what people comment on. | 0:25:29 | 0:25:34 | |
They're expecting something massive, but actually it's very small. | 0:25:34 | 0:25:38 | |
And what sort of tests were they doing on bombs like this here? | 0:25:38 | 0:25:42 | |
They called them environmental testing - | 0:25:42 | 0:25:44 | |
looking at all the environments that the bomb may be subject to, doing things like vibration testing - | 0:25:44 | 0:25:50 | |
mimicking the vibration in an aircraft carrying it. | 0:25:50 | 0:25:53 | |
And they were also looking at extremes of temperature - the highs, the lows - | 0:25:53 | 0:25:58 | |
and the humidity encountered, and a whole host of other different tests | 0:25:58 | 0:26:03 | |
which basically were designed to make sure that it was transported safely and, when it arrived, | 0:26:03 | 0:26:09 | |
it was in a good condition to operate. | 0:26:09 | 0:26:11 | |
One young man involved in those tests during the '50s and '60s was Jim Drane. | 0:26:13 | 0:26:19 | |
What work were you doing here, Jim? | 0:26:19 | 0:26:21 | |
Originally I was on the trials team. We were doing airborne trials. | 0:26:21 | 0:26:25 | |
So the planes used to fly over here? | 0:26:25 | 0:26:28 | |
Yes. They were controlled from this building. This was the bomb ballistics building, | 0:26:28 | 0:26:32 | |
and they controlled the aircraft. There was a target | 0:26:32 | 0:26:36 | |
about three-quarters of a mile out, | 0:26:36 | 0:26:38 | |
more or less in that direction over there. | 0:26:38 | 0:26:41 | |
Was it quite exciting? Was there sort of a good team working? | 0:26:41 | 0:26:44 | |
Well, on the airborne trials, we were working to a timetable in a lot of cases | 0:26:44 | 0:26:51 | |
because of the live nuclear tests taking place at Christmas Island, | 0:26:51 | 0:26:54 | |
and we had to complete our tests before those ones could take place. | 0:26:54 | 0:26:58 | |
HUGE EXPLOSION | 0:26:58 | 0:27:01 | |
Although the work was quite secretive, did you ever feel like the Russians were looking in on us? | 0:27:01 | 0:27:06 | |
If we heard that Russian vessels were in the area, we had to switch all our equipment off. | 0:27:06 | 0:27:12 | |
Yes, that did happen. | 0:27:12 | 0:27:13 | |
'Here at Orford, in May 1935, | 0:27:13 | 0:27:17 | |
'a small team of experimental scientists was detached from Slough | 0:27:17 | 0:27:22 | |
'to conduct these first experiments in RDF...' | 0:27:22 | 0:27:25 | |
RDF, or radar as it later became known, was tested here too, along with aircraft-delivery systems, | 0:27:25 | 0:27:32 | |
free-falling bombs, and a pilot's best friend - the parachute. | 0:27:32 | 0:27:36 | |
'..a typical aircraft at 10,000 feet up to 45 miles.' | 0:27:36 | 0:27:42 | |
So what's the future, then? | 0:27:44 | 0:27:46 | |
Well, it's a National Trust property, | 0:27:46 | 0:27:49 | |
and what we're looking at is continuing the restoration. | 0:27:49 | 0:27:51 | |
We're continuing to enhance it for its conservation interest. | 0:27:51 | 0:27:55 | |
Some buildings we're restoring, others we're not. | 0:27:55 | 0:27:58 | |
The best way of illustrating is to look at Orford Castle. | 0:27:58 | 0:28:01 | |
Here we have a military structure built in the late 12th century | 0:28:01 | 0:28:05 | |
which became redundant, and so it was just allowed to ruinate. | 0:28:05 | 0:28:11 | |
It was many hundreds of years later that somebody decided it was worth preserving. | 0:28:11 | 0:28:16 | |
This may be the same for these buildings. | 0:28:16 | 0:28:18 | |
We have neither the resources financially or technically | 0:28:18 | 0:28:22 | |
to do much in the way of restoration of some of these very large buildings. | 0:28:22 | 0:28:26 | |
But who knows what the future holds? | 0:28:26 | 0:28:28 | |
Money may be available, the technology may be available, and the will to do it. | 0:28:28 | 0:28:34 | |
Somebody will come along and restore them | 0:28:34 | 0:28:36 | |
and the Cold War will be a major historical feature, and Orford Ness in it. | 0:28:36 | 0:28:41 | |
Leaving Rendlesham and Orford Ness behind, I've travelled south to Sutton Hoo. | 0:28:48 | 0:28:54 | |
Opposite the harbour, along the bluffs of the eastern bank of the River Deben, | 0:28:54 | 0:28:58 | |
lies the site of two Anglo-Saxon cemeteries dating back to the 6th and 7th centuries. | 0:28:58 | 0:29:04 | |
When Edith May Pretty and her husband moved into this house in 1926, | 0:29:05 | 0:29:10 | |
they heard local stories of untold gold, | 0:29:10 | 0:29:14 | |
but it wasn't until 1937, when she employed Suffolk archaeologist Basil Brown, | 0:29:14 | 0:29:19 | |
that Britain's most important and atmospheric archaeological site was uncovered here at Sutton Hoo. | 0:29:19 | 0:29:26 | |
I'm meeting Sutton Hoo guide Lindsay Lee. | 0:29:28 | 0:29:31 | |
So, Lindsay, this is Mound One that Basil Brown excavated all those years ago. What did he find? | 0:29:32 | 0:29:39 | |
Well, the most exciting thing was that he put in a trench | 0:29:39 | 0:29:42 | |
from that area round there, right through, | 0:29:42 | 0:29:45 | |
and discovered pretty well straight away ship rivets, iron ship rivets or clench nails, | 0:29:45 | 0:29:51 | |
but the important thing was that they were in situ. | 0:29:51 | 0:29:54 | |
They had not been moved by man. | 0:29:54 | 0:29:56 | |
And so, as he followed them along and down, | 0:29:56 | 0:30:00 | |
then he discovered that they were actually following the lines of a clinker-built ship. | 0:30:00 | 0:30:06 | |
So what was the significance of finding the ship? | 0:30:06 | 0:30:09 | |
The importance of an Anglo-Saxon ship here, of late 6th, early 7th century, | 0:30:09 | 0:30:17 | |
is that nothing had been found of that period in this country before, | 0:30:17 | 0:30:20 | |
indeed, in the world before of that period, apart from outside Scandinavia. | 0:30:20 | 0:30:25 | |
And here, there are two ships on this site, a third one being about ten miles away at Snape, | 0:30:25 | 0:30:31 | |
which was slightly earlier, | 0:30:31 | 0:30:32 | |
and it looked as if, obviously, this site was a very special burial site | 0:30:32 | 0:30:38 | |
of these early Anglo-Saxon rulers | 0:30:38 | 0:30:41 | |
who had pagan burial practices of being buried in a ship. | 0:30:41 | 0:30:46 | |
So was it absolutely ground-breaking at the time? | 0:30:46 | 0:30:49 | |
It was ground-breaking, and it changed the history books | 0:30:49 | 0:30:52 | |
and it's changing the history books to this day. And Sutton Hoo, | 0:30:52 | 0:30:56 | |
because of layers and layers of history on this one site, continues to change the history books. | 0:30:56 | 0:31:01 | |
We're still writing and finding out about this site and about this special place. | 0:31:01 | 0:31:06 | |
-And, other than the ship, did you find anything else here in Mound One? -Of course. | 0:31:06 | 0:31:10 | |
The treasure. An amazing amount of artefacts were found. | 0:31:10 | 0:31:15 | |
This was the richest hoard ever discovered to this day | 0:31:15 | 0:31:18 | |
of this early period, | 0:31:18 | 0:31:21 | |
and these artefacts came not only from here but from all over Europe, | 0:31:21 | 0:31:26 | |
from the Mediterranean areas, right up through the Rhine region, through to Scandinavia, | 0:31:26 | 0:31:33 | |
and that pinpoints that this was not just any old local ruler. | 0:31:33 | 0:31:37 | |
This was an important man. | 0:31:37 | 0:31:38 | |
The fact that the treasure was here suggests it hadn't been robbed at Mound One? | 0:31:38 | 0:31:43 | |
There had been an attempted robbery in the 16th century, and the robbers came here, | 0:31:43 | 0:31:47 | |
just about where you're standing, and actually sunk a shaft. | 0:31:47 | 0:31:51 | |
We know they'd been here because they left their lunch at the bottom of the shaft at some stage, | 0:31:51 | 0:31:56 | |
and it was a 16th-centruy Bellarmine jar, which of course we could date. | 0:31:56 | 0:32:01 | |
-And they had missed the burial chamber by about 9 to 12 inches. -What luck! | 0:32:01 | 0:32:06 | |
Absolute luck, and it's a luck to this day that they had done that. | 0:32:06 | 0:32:10 | |
So, Lindsay, what are these flint markings here on the ground? | 0:32:15 | 0:32:19 | |
These just mark out where some early graves were, which came as a big surprise, | 0:32:19 | 0:32:24 | |
another great surprise at Sutton Hoo. There's so many of them. | 0:32:24 | 0:32:28 | |
They're actually of a slightly later date, we think. | 0:32:28 | 0:32:31 | |
To begin with, we didn't know what they were, because the sand bodies were quite obviously | 0:32:31 | 0:32:37 | |
very badly mutilated when we dug them up. | 0:32:37 | 0:32:39 | |
And then, in the following five, ten years, a lot of research has been done about these early pagan sites. | 0:32:39 | 0:32:46 | |
We now think pretty firmly that they were executed by early Christians. | 0:32:46 | 0:32:51 | |
So firstly, why are they called sand bodies? | 0:32:51 | 0:32:54 | |
OK. Right, Sutton Hoo, sand is very acidic here and it destroys everything. | 0:32:54 | 0:33:01 | |
A bone, a 90-foot ship, you name it, anything, | 0:33:01 | 0:33:05 | |
disintegrates very quickly in the acidic soil, | 0:33:05 | 0:33:10 | |
and so what you have here is not skeletons but, | 0:33:10 | 0:33:14 | |
as the body matter leaches out on decay, | 0:33:14 | 0:33:17 | |
it actually melds with the soil, the sand, and makes rather like an inverted sand castle. | 0:33:17 | 0:33:24 | |
So the sand takes over the body that was there, | 0:33:24 | 0:33:28 | |
and so, a thousand years later, you dig up and you see the shape in sand. | 0:33:28 | 0:33:35 | |
So, Lindsay, there are two mounds of flint here. What are these for? | 0:33:37 | 0:33:40 | |
Well, yes, it isn't two mounds, it's one mound. | 0:33:40 | 0:33:43 | |
And here again is the surprise. It took us completely by surprise. | 0:33:43 | 0:33:47 | |
And when we dug here, we went down the middle of the mound, | 0:33:47 | 0:33:52 | |
as one would expect, and that's what robbers did. | 0:33:52 | 0:33:55 | |
At some stage in the past, they went right down the middle | 0:33:55 | 0:33:59 | |
and they missed two graves on either side, in the middle of the mounds. | 0:33:59 | 0:34:04 | |
Here we found an intact grave of a young warrior man, | 0:34:04 | 0:34:09 | |
aged between 17 and 24, perhaps, with his knapsack, with his spear, | 0:34:09 | 0:34:17 | |
with his sword. He had been groomed for kingship maybe. | 0:34:17 | 0:34:21 | |
And in the other one was a horse, a male horse, | 0:34:21 | 0:34:25 | |
14.2 hands high, maybe his favourite steed, we don't know, | 0:34:25 | 0:34:31 | |
and that horse was killed as a sacrifice on his death, | 0:34:31 | 0:34:37 | |
which was quite normal in Anglo-Saxon burial practice. | 0:34:37 | 0:34:42 | |
How was it for you personally, coming across something so rare and intact? | 0:34:42 | 0:34:47 | |
Well, I'm privileged to have dug here because every barrow-load came up with something. | 0:34:47 | 0:34:54 | |
You can dig for years at sites and not come up with anything. | 0:34:54 | 0:34:58 | |
But Sutton Hoo has so many layers of history to it, so much archaeology, | 0:34:58 | 0:35:03 | |
and things had survived | 0:35:03 | 0:35:05 | |
as a testament here, particularly to these early, wonderful years, | 0:35:05 | 0:35:11 | |
and the first page of English history, which is Sutton Hoo. | 0:35:11 | 0:35:16 | |
Over the decades, Sutton Hoo has slowly given up | 0:35:16 | 0:35:19 | |
its ancient secrets of Saxon kings, their ships and weapons of war. | 0:35:19 | 0:35:25 | |
In more recent times, this part of Britain has been associated with people who work the land. | 0:35:25 | 0:35:30 | |
It was this rural tradition which inspired theatre and film director Sir Peter Hall, | 0:35:30 | 0:35:35 | |
and he came to Suffolk to tell this story. | 0:35:35 | 0:35:38 | |
Blending fact with fiction, he set out to create an enduring portrait of a farming community. | 0:35:38 | 0:35:44 | |
Over 30 years ago, a film about rural life | 0:35:46 | 0:35:50 | |
set in a beautiful, fictional Suffolk village | 0:35:50 | 0:35:52 | |
entered cinematic history. | 0:35:52 | 0:35:54 | |
It told the story about three generations of a farming family | 0:35:54 | 0:35:57 | |
and the changing face of the English countryside. | 0:35:57 | 0:36:02 | |
That village was called Akenfield, and what made this film unique | 0:36:02 | 0:36:06 | |
was that it wasn't actors carefully reciting lines from a script. | 0:36:06 | 0:36:10 | |
It was local people speaking from the heart about the lives they loved and lived. | 0:36:10 | 0:36:14 | |
Directed by Sir Peter Hall, the film takes place over one day in Akenfield. | 0:36:16 | 0:36:20 | |
It revolves around the funeral of Old Tom, who, | 0:36:20 | 0:36:23 | |
apart from going to fight in the First World War, like so many, | 0:36:23 | 0:36:27 | |
never left the village in which he was born. | 0:36:27 | 0:36:29 | |
Events are seen through the eyes of Young Tom, his grandson, | 0:36:29 | 0:36:32 | |
with loads of lovely flashbacks to years gone by and the two great wars. | 0:36:32 | 0:36:36 | |
He used to be so fond, Tom, of this village. | 0:36:36 | 0:36:39 | |
Well, you see, he was born here and went to school here, | 0:36:39 | 0:36:42 | |
got wed here. | 0:36:42 | 0:36:44 | |
This is his real native place. | 0:36:44 | 0:36:47 | |
-Village has changed... -It has, yes. | 0:36:49 | 0:36:51 | |
Some of the poor old cottages have been knocked down. | 0:36:51 | 0:36:56 | |
Of course, it's only right, I think, this progress. | 0:36:56 | 0:37:00 | |
Originally a book, Akenfield was adapted for the screen by its author, Ronald Blythe. | 0:37:00 | 0:37:07 | |
Ronnie, you're a Suffolk man born and bred. Is the book autobiographical? | 0:37:07 | 0:37:11 | |
Oh, very. Yes, it is based on things | 0:37:11 | 0:37:16 | |
I've seen since I was born before the war - | 0:37:16 | 0:37:18 | |
changes in farming, the sort of people I grew up with - so it's very autobiographical. | 0:37:18 | 0:37:24 | |
I think, like all writers, from childhood onwards, you listen to family voices, | 0:37:24 | 0:37:30 | |
and in the countryside, people talk about things, many, many years ago sometimes, | 0:37:30 | 0:37:36 | |
and you notice certain changes | 0:37:36 | 0:37:40 | |
and you understand people's difficulties and the old poverty. | 0:37:40 | 0:37:45 | |
It's all the sort of...thing which a writer would do anywhere, really, but I did it in Suffolk. | 0:37:45 | 0:37:53 | |
How did the book turn into a film? | 0:37:53 | 0:37:56 | |
Peter Hall got in touch with me. He'd been born in Bury St Edmunds, | 0:37:56 | 0:37:59 | |
not far away, and he was very moved by the book, | 0:37:59 | 0:38:03 | |
then shortly afterwards proposed that we made it into a film. | 0:38:03 | 0:38:07 | |
So I wrote a story based on the book, covering the same period and the same work and the same kind of people, | 0:38:07 | 0:38:14 | |
so I made it into a story as seen through the eyes of a young man at his grandfather's funeral. | 0:38:14 | 0:38:20 | |
'You be careful of the governor. | 0:38:22 | 0:38:24 | |
'Farmers still aren't used to their men being free. | 0:38:24 | 0:38:27 | |
'I know he gives you little things - petrol for your motorbike, things like that - | 0:38:27 | 0:38:32 | |
'and one day he'll give you a cottage, but he wants more than your work. | 0:38:32 | 0:38:36 | |
'He wants you to be beholden to him in some way, just like the old days. | 0:38:36 | 0:38:41 | |
'He wants you to throw your life into his farm. He wants to own you.' | 0:38:41 | 0:38:46 | |
Akenfield was a fictional place. | 0:38:46 | 0:38:48 | |
In reality, filming took place in six neighbouring villages, | 0:38:48 | 0:38:52 | |
and I'm here in Hoo where the church scenes were shot. | 0:38:52 | 0:38:55 | |
And one of those locals who had their life turned upside down back in the '70s | 0:38:57 | 0:39:02 | |
was Peggy Cole who played Young Tom's mum. | 0:39:02 | 0:39:05 | |
Peggy, it's lovely to meet you. | 0:39:05 | 0:39:07 | |
-How are you doing? -Fine, thank you. | 0:39:07 | 0:39:09 | |
I love the film. I thought it was fantastic. | 0:39:09 | 0:39:11 | |
I really did. It completely drew me in when I saw it. | 0:39:11 | 0:39:15 | |
What was it like when you had these big names coming down from London? | 0:39:15 | 0:39:19 | |
Well, at first, I couldn't quite understand why they wanted to | 0:39:19 | 0:39:24 | |
make a film about us. | 0:39:24 | 0:39:26 | |
That's really what it was based on - | 0:39:26 | 0:39:28 | |
Suffolk people and how we worked and farmed the land, really. | 0:39:28 | 0:39:34 | |
I had met Ronnie Blythe the day before with Peter Hall at the flower show, | 0:39:34 | 0:39:39 | |
and I sold him some raffle tickets. | 0:39:39 | 0:39:41 | |
And, in fact, I didn't know who Peter Hall was. | 0:39:41 | 0:39:44 | |
I thought he was somebody buying a house in the village, | 0:39:44 | 0:39:48 | |
and he said, "Now, just talk anything and chat." | 0:39:48 | 0:39:52 | |
Well, we talked the biggest squit on earth! That's the truth. | 0:39:52 | 0:39:56 | |
And Peter Hall said to me, "Now, Peggy, | 0:39:56 | 0:40:00 | |
"I don't want any posh talk or anything put on." | 0:40:00 | 0:40:04 | |
I said, "I can't put posh talk on, not for anybody!" | 0:40:04 | 0:40:08 | |
I said, "I am what I am and you won't change that." | 0:40:08 | 0:40:12 | |
Because, through the movie, there was no script. | 0:40:12 | 0:40:15 | |
You basically were given a cue and then you just went with it. | 0:40:15 | 0:40:18 | |
Yes, that's what... At various stages, he said, "Now, Peggy, you're a mother and I want you to be riled." | 0:40:18 | 0:40:25 | |
Well, my two sons were in the room when we were doing one scene and I always remember them. | 0:40:25 | 0:40:29 | |
They said, "Mum, you were riled with Tom, weren't you? | 0:40:29 | 0:40:33 | |
"Just like you get with us sometimes." | 0:40:33 | 0:40:35 | |
-Wouldn't have hurt you to have poured me one out today. -Why don't you? | 0:40:35 | 0:40:40 | |
Wonder if Jean'll wait on you like this. | 0:40:41 | 0:40:45 | |
Did you ask her to come? | 0:40:45 | 0:40:47 | |
-Maybe later on. -Give me a hand. | 0:40:47 | 0:40:49 | |
She didn't say if her mother was coming, I suppose? HE MUMBLES | 0:40:51 | 0:40:56 | |
-Don't answer with your mouth full. -If you talk to me when I'm eating, I've got to answer! | 0:40:56 | 0:41:00 | |
Peter knew I made homemade wine. He said, "Can you bring some down?" | 0:41:00 | 0:41:04 | |
-This is what I done. I took a gallon down and I'd got parsnip... -A gallon?! | 0:41:04 | 0:41:08 | |
Yes, I'd got parsnip, gooseberry wine, and they'd all had a tiddle of this before we started the scene. | 0:41:08 | 0:41:15 | |
Well, by the time we got through the scene, there was two or three gallons went, | 0:41:15 | 0:41:20 | |
cos I know I had to send my son home to get some more. That was gone. | 0:41:20 | 0:41:25 | |
-So they were well-oiled? -They were well-oiled, yeah. | 0:41:25 | 0:41:28 | |
And the tales were coming out, and Peter Hall was cracked up. | 0:41:28 | 0:41:32 | |
THEY LAUGH | 0:41:32 | 0:41:34 | |
Funny thing, I should be at this funeral today, but I remember Tom laughing one day... | 0:41:34 | 0:41:40 | |
When they went to have a cup of tea like we are having now, | 0:41:40 | 0:41:45 | |
he was saying, "What sort of husband was he?" | 0:41:45 | 0:41:48 | |
"Oh," she said, "one of the best. You couldn't wish for a better one. | 0:41:48 | 0:41:52 | |
"We used to lie in bed Sunday mornings and hear the church bells ringing. | 0:41:52 | 0:41:57 | |
"We used to go up with the ding and come down with the dong." | 0:41:57 | 0:42:01 | |
And she said, "If it hadn't been for that fire engine going by at the time, he'd have been alive now!" | 0:42:01 | 0:42:06 | |
THEY ALL LAUGH | 0:42:06 | 0:42:08 | |
How did you cope? Your life must've turned around doing this filming. | 0:42:08 | 0:42:12 | |
Well, it did, really. | 0:42:12 | 0:42:14 | |
I used to, um...cook and put it in the deep freeze | 0:42:14 | 0:42:18 | |
so the family had a meal for the weekend, but that got... | 0:42:18 | 0:42:22 | |
Through the film, I was cooking for the crew and that as well. | 0:42:22 | 0:42:26 | |
-For the whole crew? -I used to bring cakes and pies and things down, yeah. | 0:42:26 | 0:42:32 | |
-So you acted and you also supplied the food? -Yes. | 0:42:32 | 0:42:36 | |
I often said, "I don't expect Elizabeth Taylor would've done this when she was in films!" | 0:42:36 | 0:42:41 | |
And we had to sort of stand by the roadside sometimes and be sort of... | 0:42:41 | 0:42:47 | |
a bit of make-up and that put on, and I thought, | 0:42:47 | 0:42:50 | |
"Where are your posh caravans where you see these film people go in and get ready," | 0:42:50 | 0:42:55 | |
but there was nothing like that. | 0:42:55 | 0:42:57 | |
Garrow Shand, who played Tom, told me how the schedule was organised under such unusual circumstances. | 0:42:57 | 0:43:03 | |
The way they made the film, cos it was only done at weekends, | 0:43:03 | 0:43:06 | |
which was nice, so you could do your normal job during the week, | 0:43:06 | 0:43:10 | |
and they did it over a whole year to get all the seasons in. | 0:43:10 | 0:43:13 | |
-So it didn't affect your normal work, really. -So it just became part of your life, really? | 0:43:13 | 0:43:19 | |
Yeah, for a sort of year, yeah. | 0:43:19 | 0:43:21 | |
There's this one scene I remember, which is you on the morning of the funeral having your breakfast, | 0:43:21 | 0:43:27 | |
and you were getting your breakfast cooked by Peggy, who played your mother in it, | 0:43:27 | 0:43:33 | |
but it wasn't as straightforward as it seems on TV. You didn't like her cooking. | 0:43:33 | 0:43:37 | |
I think the thing was... | 0:43:37 | 0:43:39 | |
They'd shot that scene four times, so I'd had four cooked breakfasts, and I'd just had enough. | 0:43:39 | 0:43:45 | |
I had to go out and made myself physically sick so I could eat another breakfast! | 0:43:45 | 0:43:48 | |
-So it wasn't her cooking? -No, no. | 0:43:48 | 0:43:50 | |
I've had enough of this. | 0:43:50 | 0:43:52 | |
I'm trying to run a school here, and every day, half my class is away out working on the farms! Sit quietly! | 0:43:52 | 0:43:57 | |
Stop that! All right, hands on your heads. And no smirking there, you. | 0:43:57 | 0:44:01 | |
'Well, at the time, I was actually teaching up in London, in Hackney, | 0:44:03 | 0:44:08 | |
'and you had to be pretty strict to deal with the kids in Hackney, | 0:44:08 | 0:44:12 | |
'so Peter said, "Just come in really hard," | 0:44:12 | 0:44:15 | |
'and I did my research, you know, about Victorian times.' | 0:44:15 | 0:44:18 | |
Hands on your head, I said. On your head! That's better. | 0:44:18 | 0:44:22 | |
What did you have to do at the screen test? | 0:44:22 | 0:44:24 | |
We had to talk to Sir Peter Hall and then he said, | 0:44:24 | 0:44:27 | |
"Could you tell a joke in a Suffolk dialect?" | 0:44:27 | 0:44:30 | |
And I said, "I suppose I could." | 0:44:30 | 0:44:33 | |
-I told this joke and they said, "Thank you very much," and that was it. -What was the joke? | 0:44:33 | 0:44:37 | |
Go on! | 0:44:37 | 0:44:39 | |
I was sittin' in a pub in Southall with my friend | 0:44:39 | 0:44:42 | |
and the nights were starting to draw in, and my friend came and he sat down next me. | 0:44:42 | 0:44:48 | |
He said, "Oh, blast, that's getting late early nowadays, in't it?" | 0:44:48 | 0:44:51 | |
THEY LAUGH | 0:44:51 | 0:44:55 | |
For some of the original cast, the memory of Akenfield and all it symbolised is bitter-sweet. | 0:44:55 | 0:45:00 | |
Farming is changing and everything is happening so quickly, it's frightening, really. | 0:45:00 | 0:45:06 | |
Um, you know, I know they say they were hard times. | 0:45:06 | 0:45:09 | |
They were hard times, but people were more happier and more contented in them days, | 0:45:09 | 0:45:15 | |
I'm sure, than what they are today. | 0:45:15 | 0:45:17 | |
It's rush here, rush there, haven't got time. | 0:45:17 | 0:45:20 | |
I see the fields, a lot of them now have got put out to set-aside, | 0:45:20 | 0:45:24 | |
you know, and that's so pitiful for the farmers, I'm sure. | 0:45:24 | 0:45:29 | |
61 miles of film was shot over that year, | 0:45:29 | 0:45:32 | |
and this is now stored in the East Anglian Film Archives, | 0:45:32 | 0:45:36 | |
where it's treasured as a unique piece of social history. | 0:45:36 | 0:45:39 | |
What Akenfield achieved was to capture the magic and misery of life on the land in 20th-century England, | 0:45:39 | 0:45:46 | |
and it left us with a legacy that will fascinate and enthral many generations to come. | 0:45:46 | 0:45:52 | |
We men were beaten, for the farms took every ounce of our physical strength. | 0:45:52 | 0:45:57 | |
It was the farm against our bodies. | 0:45:57 | 0:46:00 | |
The farm always won. | 0:46:01 | 0:46:04 | |
My Suffolk journey continues. | 0:46:04 | 0:46:07 | |
Of course, Sir Peter Hall's brilliantly realised Akenfield | 0:46:07 | 0:46:10 | |
doesn't feature on the map, but the rest of my route does. | 0:46:10 | 0:46:13 | |
I started in Thorpeness, travelled to Aldeburgh, | 0:46:13 | 0:46:17 | |
and then on to Rendlesham Forest and Sutton Hoo. | 0:46:17 | 0:46:20 | |
Now I've wound my way to Wherstead. | 0:46:20 | 0:46:23 | |
Farming is still one of the most important industries in Suffolk, but times have changed. | 0:46:25 | 0:46:31 | |
Farms are diversifying to stay viable. | 0:46:31 | 0:46:34 | |
I'm visiting Jimmy's Farm, a small pig farm that was borne to our screens five years ago | 0:46:34 | 0:46:39 | |
after a cash injection from Jim Doherty's friend Jamie Oliver. | 0:46:39 | 0:46:43 | |
It's been a very public first five years. | 0:46:43 | 0:46:46 | |
I'm meeting Michaela, Jimmy's fiancee, | 0:46:46 | 0:46:49 | |
to find out how the farm is faring when the cameras and Jimmy are away. | 0:46:49 | 0:46:54 | |
What was the vision for the farm at the very beginning, all those years ago? | 0:46:54 | 0:46:58 | |
I think that the first point of the farm | 0:46:58 | 0:47:00 | |
when we set it up was that we had to concentrate | 0:47:00 | 0:47:03 | |
on bringing back the rare-breed pigs. | 0:47:03 | 0:47:05 | |
That was number-one priority. And, as things evolved, we wanted to | 0:47:05 | 0:47:10 | |
make it a lot more accessible to people to learn about farming, understand farming, | 0:47:10 | 0:47:14 | |
see where their food came from, so we opened the farm shop, we started going to shows selling sausages, | 0:47:14 | 0:47:21 | |
-so, yeah, it's evolved. -How have the last few years felt? Has it been pretty hard work? -Really hard work. | 0:47:21 | 0:47:26 | |
God! The last few years have been...probably some of the hardest. | 0:47:26 | 0:47:32 | |
I mean, we've just hit a recession, obviously, now, | 0:47:32 | 0:47:36 | |
so we're up against harder times, but, yeah, it's been hard. | 0:47:36 | 0:47:40 | |
But we're still here, and you keep learning and fighting. | 0:47:40 | 0:47:44 | |
I'm getting nibbled! | 0:47:44 | 0:47:45 | |
THEY LAUGH | 0:47:45 | 0:47:47 | |
Come this way! Piggies! | 0:47:48 | 0:47:52 | |
-Come on, sweeties. -Come on, piglets. | 0:47:52 | 0:47:55 | |
And how's life here on the farm now, cos Jimmy's away a lot filming other programmes, isn't he? He's busy. | 0:47:57 | 0:48:03 | |
Yeah, he is. Obviously I miss him madly when he's away, | 0:48:03 | 0:48:06 | |
but he's just been here for the last two weeks | 0:48:06 | 0:48:10 | |
and we've both been bothering each other, but we've built Chicken Safari. He's here a lot of the time. | 0:48:10 | 0:48:16 | |
If he's not here, he's on the end of the phone. | 0:48:16 | 0:48:19 | |
-Yeah. But you're working constantly here, aren't you? -Yeah, this is my baby, yeah. | 0:48:19 | 0:48:23 | |
Absolutely, this is, um... Which is great. | 0:48:23 | 0:48:25 | |
It works really well, even with him being away. | 0:48:25 | 0:48:29 | |
So describe what countryside life is like. | 0:48:29 | 0:48:31 | |
It's fantastic, actually. I mean, certainly it's a big transition | 0:48:31 | 0:48:37 | |
to move from London to Suffolk, but it's such a beautiful county. | 0:48:37 | 0:48:41 | |
I was gobsmacked when I arrived, | 0:48:41 | 0:48:43 | |
because it's these huge open skies, beautiful, beautiful vistas. | 0:48:43 | 0:48:48 | |
We're right on the coast, so you get these amazing estuaries that come in. | 0:48:48 | 0:48:52 | |
The wildlife, the flora, the fauna, the whole thing. | 0:48:52 | 0:48:54 | |
-It's actually a bit dreamy, but it's a beautiful county. -Fantastic. Oh, these pigs are hungry! | 0:48:54 | 0:49:00 | |
We'll need to give them some more food, I think. | 0:49:00 | 0:49:02 | |
Look at them. | 0:49:02 | 0:49:04 | |
Cheeky little monkeys. | 0:49:04 | 0:49:07 | |
Look at you, you monkeys! | 0:49:07 | 0:49:09 | |
So the farm really began with the saddlebacks, but it's diversified so much in a really short time. | 0:49:17 | 0:49:22 | |
Yes, it has. We've got all sorts of rare breeds, actually, certainly in pig. | 0:49:22 | 0:49:27 | |
We've got saddlebacks, large blacks, | 0:49:27 | 0:49:29 | |
Gloucester old spots, Berkshires, so we've got a full range of rare-breed pigs, but we've also... | 0:49:29 | 0:49:36 | |
Jimmy's a bit nuts about cows as well, | 0:49:36 | 0:49:40 | |
-and he loves sheep. -You've got sheep as well? -Yeah. So we've got some Jacobs and some Soay. | 0:49:40 | 0:49:44 | |
But actually this young lady over here was one of our prize Red Poll cattle, | 0:49:44 | 0:49:49 | |
which is indigenous to Suffolk, and she's just had a little calf. | 0:49:49 | 0:49:53 | |
Oh, sweet! That's quite an amazing colour she is. | 0:49:53 | 0:49:57 | |
-Really rich, rich, red. -Beautiful. They're actually a dual-purpose cow, so used for beef and dairy. | 0:49:57 | 0:50:02 | |
But, yes, it's really exciting cos it's also a heifer. | 0:50:02 | 0:50:06 | |
-So you'll be able to breed with the calf? -Yes, so good news. | 0:50:06 | 0:50:09 | |
-Good news for Jimmy's Farm. -That's fantastic. She looks very content, actually. | 0:50:09 | 0:50:14 | |
-Are rarer breeds harder to look after? -All of our stock - sheep, | 0:50:14 | 0:50:18 | |
cows and pigs - are all used for meat, so we mature them slowly. | 0:50:18 | 0:50:24 | |
So, yes, they're harder to keep in that you've got to keep them for longer but otherwise, no. | 0:50:24 | 0:50:29 | |
We're a small farm. We're not a commercial farm. | 0:50:29 | 0:50:32 | |
There are probably far more problems and excitement on larger, more commercial farms. | 0:50:32 | 0:50:39 | |
But here? No, piece of cake! Piece of cake. Loads of food and they follow you anywhere. | 0:50:39 | 0:50:46 | |
See you later. | 0:50:46 | 0:50:47 | |
Although mostly stocked by rare breeds, an exception has been made for a small group of orphaned lambs. | 0:50:49 | 0:50:57 | |
After taking the orphans in from neighbouring farms, Michaela and her team | 0:50:57 | 0:51:01 | |
are hand-rearing them, ready to join the rest of the flock. | 0:51:01 | 0:51:04 | |
I've been on a journey through Suffolk. I started in Thorpeness. | 0:51:24 | 0:51:28 | |
I then went into Rendlesham Forest before visiting the fascinating site at Sutton Hoo. | 0:51:28 | 0:51:33 | |
My travels are ending | 0:51:33 | 0:51:35 | |
among the butterflies at Wherstead, just south of Ipswich. | 0:51:35 | 0:51:38 | |
I'm on Jimmy's Farm with his fiancee Michaela, who's running the place while Jimmy's away. | 0:51:38 | 0:51:43 | |
-This place is amazing. -I know, very hot. -I'm boiling. -Take your jacket off! | 0:51:43 | 0:51:47 | |
-Why have you got a butterfly house on the farm? -It's a good question. | 0:51:47 | 0:51:51 | |
I think probably, predominantly, Jim studied entomology as a PhD, | 0:51:51 | 0:51:56 | |
and it was his great passion, so he decided that this was one of the things | 0:51:56 | 0:52:01 | |
that had to be on the farm, and also he worked in a butterfly house when he was very young. | 0:52:01 | 0:52:06 | |
But probably, secondly, it's sort of the educational value side to it. | 0:52:06 | 0:52:11 | |
Fantastic. So it was another of Jimmy's ideas that you had to put your back into? | 0:52:11 | 0:52:15 | |
I know. Very much certainly on the whole gardening side. | 0:52:15 | 0:52:19 | |
It was the design in here and the type of plants that were going in, etc, etc. | 0:52:19 | 0:52:24 | |
So, yeah, it was back-breaking work, actually. | 0:52:24 | 0:52:27 | |
And then, once you've got the structure, how do you get butterflies in here? | 0:52:27 | 0:52:31 | |
There's a company in London that sends out pupae. They send them out | 0:52:31 | 0:52:35 | |
and they arrive by post, which is great. | 0:52:35 | 0:52:39 | |
-In the mail. -In the mail, in a little polystyrene box, and basically you glue them up on these sticks. | 0:52:39 | 0:52:44 | |
-Oh, wow. -So along here, you've got little points where they're glued on. | 0:52:44 | 0:52:49 | |
Then, after a couple of days, they emerge, they hang from these, | 0:52:49 | 0:52:53 | |
-they pump their wings full, and then they set like glass, and then they fly. -Amazing. -Yeah. | 0:52:53 | 0:52:59 | |
So the ones you've got in here - they're also breeding away? | 0:52:59 | 0:53:02 | |
Yes, there's lots of caterpillars all over the shop, so we're hoping that we're going to have our own reserve. | 0:53:02 | 0:53:08 | |
So what's in there? | 0:53:08 | 0:53:10 | |
We have got, I believe, lots of Plains Tiger, we've got a Common Mime, which is there. | 0:53:10 | 0:53:17 | |
-Fantastic. -And a Common Crow as well. | 0:53:17 | 0:53:20 | |
They are absolutely beautiful. | 0:53:20 | 0:53:22 | |
-Can I have a go at releasing them? -Yeah, go on. | 0:53:22 | 0:53:25 | |
-This is what I'm most excited about. -It's the first time they've flown. -Is it? -Yeah. | 0:53:25 | 0:53:29 | |
I hope I don't let them down. OK... | 0:53:29 | 0:53:31 | |
'..Now a crow Which in a cage he fostered many a day | 0:53:36 | 0:53:41 | |
'And taught to speak As men may teach a jay | 0:53:41 | 0:53:44 | |
'White was this crow As is a snow-white swan | 0:53:46 | 0:53:48 | |
'And counterfeit the speech of every man | 0:53:48 | 0:53:52 | |
'He could when desired to tell a tale...' | 0:53:52 | 0:53:54 | |
Look at that! | 0:54:07 | 0:54:09 | |
-They are beautiful. Aren't they crackers? -Yeah. | 0:54:09 | 0:54:14 | |
The colours on the wing... It's great, isn't it? | 0:54:14 | 0:54:18 | |
Absolutely gorgeous. What a fabulous way to end my trip through Suffolk. | 0:54:18 | 0:54:23 | |
Aw... | 0:54:23 | 0:54:25 | |
Subtitles by Red Bee Media Ltd | 0:54:40 | 0:54:43 |