cmiran.livejournal.com

DOG DAY SUMMER OF '76

Mon, 17 Sep 2007 19:58:49 GMT

Title: Dog Day Summer of '76
Author: cmiran
Book: The Charioteer
Pairing: Ralph/Laurie
Rating: Vintage X
Flash Fanfic (written in one hour)
Prompt: THE DOG DAYS OF SUMMER
Disclaimer: I don't own these characters and make no profit from them.

Laurie's quaint mews house in South Kensington recalled those 'Swinging Sixties' days, when he and other prosperous artists had started to flood them. Now, years later, they were all considered privileged jet-setters. Old Ralph, who would remain stubbornly in his humble basement flat in Stockwell never seemed to mind the trend or at least never commented on it, for years now, when coming up (crossing the river) to visit Laurie. That late July of '76 became legendary for its extreme heat. Ralph took the tube as usual, changing at Victoria Station for the District Line. It was a long journey which he never minded although the back felt heavier each time and the hot humidity made it stifling inside the carriage this late morning as sundry blond long haired dolly-boys kept coming to sit besides, bare legs spread, eventually standing in front with their short-pants and exposed torsos barer than any other boys' in his experienced tropic latitudes ever. Lazily emerging from a routine summing up of some travel article on the South Sea Islands drafted last night, he ended up noticing, as in Polynesian ritual dance swayings, the slow rhythm of a pelvis, to and fro, by his nostrils. He suddenly took in the smell of sweat from all the neighbouring bodies and remembered the Turkish baths in El Cairo's old harem district, where the ephebes used to jump in the pool next to him and Laurie, offering them with broad, generous grins, their underwater erections. And that was only three summer ago, when Laurie had time free for their joint summer holidays. He looked up almost abruptly and saw the body's face: a handsome teen specimen with curly locks, eyes leering absently within some fake void. Ah, the allure of the Orient, right inside a District-line underground train! Well, thought Ralph, if I am still to be considered "some quite handsome, bony and statuesque mature British graying blond type", as the last requirement of his TV spot audition specified --for which, he was, no doubt, promptly chosen-- I might as well act like one, proudly. And as the train slowed down into Gloucester Road Station he made a move to stand, not before fondling with his lame hand, briefly and sharply, the boy's hard phallus through the terylene cloth, and as dolly suddenly looked down, half smiling (oh, pretending he had been distracted from some awesome, philosophical daydream on Plato's life work) Ralph withdrew his hand, which he had chosen to keep bare and ungloved, gracefully, and made his way towards the carriage's door muttering a firm: "So sorry."

Walking down the road towards the mews, as the summer revelers crowded the pub's open verandas shouting and toasting, flaunting their ever sparse summer outfits, Ralph felt suddenly tired of all of the metropolis, of being British and queasy, ever ebbing with a tide of getting old with memories and a present of nothingness.

"I was given tickets for Saddlers Wells tonight; the Netherlands Dance Company, apparently their male dancers appear all naked in some Glen Tetley piece", ole mate Spud had announced early in the morning, "Let's have lunch at the mews, shall we, Lan? Then find our way to the Angel?" He had phoned him early in the morning, as ever, before starting work on his current book. Ralph had suddenly begun to ask himself, this summer noon, whether he had stopped loving him at last, now or ever.

He'd been given a key years ago but Ralph always knocked to be let in. Gyp II, the labrador dog jumped heavily towards him while a handsome silver-haired man, somewhat plump but still bearing, opened and let him in, grinning as always with comfort. "Hail, Lanyon. It's hot and sexy outside, yes?

Ralph, feeling wrongly warm and a stranger stepping into his lover's house, in his own country and anywhere else, went in instantly asking for a joint (several of which, he knew, were prepared for them to enjoy, inside some Japanese lacquered wood box in Laurie's study) and wished to evade and ramble on... his sea adventures during the fourties, the battle of Dunkirk or any of that long-forgotten war they had lived through; about sundry, relaxed sex games with ephebes in El Cairo's harem district, and about meeting Andrew Raynes, soon, for the first time.

winsome threesome II

Fri, 14 Sep 2007 12:14:15 GMT

Here's another version of the winsome threesome pic for "The Movie Journals":
(click to enlarge)

_{pic credits:background texture courtesy coqette
light texture courtesy xsleepingwanx
compilation my_cnnr}

The Movie Journals

Fri, 14 Sep 2007 07:44:04 GMT

Title:The Movie Journals
Author: cmiran
Book: The Charioteer
Pairing: novel/screenplay
Rating: TC and movie-freak children of all ages
Disclaimer: I don't own these characters and make no profit from them.

This sundry correspondence was gathered in a folder found among other papers by a relative of mine who generously lent it me to inspect and compile. The various letters and handwriten notes concern the preparation of a film during the early 1960s in London and Los Angeles, California. It must be, as I suppose, a work of my great uncle John Schlesinger, the reputed cinema director, who died a few years ago. I have transcribed it all as it was, being able to find no more of it. Whether my great uncle managed to finish his film, we shall not know... until the final letter.

Sheila N., film historian.

***********************

The Movie Journals

*Note from producer Joseph Janni to John Schlesinger

October 5, 1961

Hi, John. I managed to locate Mary Renault's agent here but you should write to the author personally first, no? on your project? I'll be, in the mean time, concentrating (madly) on tentative figures for a budget. JJ
_______________

*Drafted letter (never sent) from John Schlesinger to Mary Renault in South Africa

October 10, 1961

Hail, Mary, full of prose and illumination. We, young British film makers, ever fighting against the tyranny of snubbing patronage and eternal dependancy on Hollywood Moguls, do salute you.

I have been working on a film adaptation of your novel "The Charioteer" for quite sometime now, as it had ignited such depth of concepts and emotions within my soul. As you must know, Dearden's film 'Victim' starring Dirk Bogarde helped denounce prejudice against homosexuals - queers (note: 'homosexuals' scratched, corrected: 'queers') in the UK and the 'blackmailers' charter', hopefully helping to liberalize our rancid laws in some foreseeable future. In this endeavour of ours, I firmly intend to
_______________

*Letter from Maude Spector (Casting Director) to John Schlesinger

October 11, 1961

Dear John, this is definitely going to be some venture! No definite shooting schedule? (oh well, I should be used to this by now)... and your whim for an all cast of tip-top supporting actors! John Mills to play Dave, Jack Hawkins for Major Ferguson, Noel Coward as Rev. Straike... oh dear, we'll have to see about that and pray. (I'm glad Olivier and Gielgud aren't in the wish-list...)

On my proposed three young & eager candidates for Andrew Raynes: Hemmings, York or Stamp. Didn't you find them all charming?

Last minute: if shooting schedule gets altered considerably, Peter O'Toole will be swamped in Sam Spiegel's promotional world tour of his Arabian saga. Moreover, he has been signed by Hal Wallis for an epic of Anouilh's play "Becket", starring with Richard Burton, and it might well start shooting late 1962 in Northumberland. Food for thought and worry!

Maude
_______________

*Letter from cinematographer Denys Coop to John Schlesinger

October, 1961

Dear John,

Nice to have discussed the new project. Definitely B/W, and hopefully in some Scope format (I loved the 2.35:1 in Truffaut's "Les 400 Coups").

As for labeling it "another kitchen-sink" movie of ours, it could only be for the scene with Dave preparing the toasts at the end, I would think... oh, and the meetings with Andrew at the EMS kitchen. So, let them kitchen-sink it, who cares!

Love,Denys
_______________

*Memo from Maude Spector to Schlesinger (October, 1961)

Yes John, you can count on Alan Bates and he is elated to play Laurie. As for Peter O'Toole, I am doing my best. Keep fingers crossed. Love, Maude.
_______________

*Letter from Mary Renault to Schlesinger:

October 28, 1961
Mary Challans
Camp Bay
CapeTown
South Africa

Dear Mr. Schlesinger,

I look forward to reading your screenplay draft when I get it. I wouldn't hope so much for any ancient gods to enlighten your project too glaringly though; rather keep endeavouring in your quest with conviction and driving against all odds.

Young Alan Bates I know little of but my friend Julie has seen him in some recent movie and thought that he was very sensitive. As for O'Toole, I wonder if an Irish actor is the ideal choice for Lanyon. Not much of a movie goer these days, I've come across many photos of him in glossy magazines; he does indeed look handsome enough and I understand that he has had a good start in the theatre. His blue eyes and blond hair would fit very aptly my description of the character but he must also be, above all, an English public-school specimen (turned merchant seaman).

Yours, encouragingly,

Mary Challans
_______________

*Note from Maude Spector to Schlesinger (October, 1961)

O'Toole Irish? Whatever, he keeps this a mystery. Some sources give his birthplace as Connemara, County Galway, Ireland, and others as Leeds in West Yorkshire, England. Oh, I heard he is going to be wonderful as T.E. Lawrence in David Lean's movie. Let's hope their shooting will end soon.
_______________

*Note from Joseph Janni to Schlesinger (November, 1961)

You can bet I'll reach a deal on the rights to the novel, soon. And I have drawn the contracts for your team of writers: Willis Hall and Keith Waterhouse. I know that they have been scribbling down some drafts already but I cannot compensate them for them, sorry. Let's keep this solid but humble, please! Love, JJ
_______________

*Note from screenwriter Willis Hall to Schlesinger (November, 1961)

The first chapter of TC is so wonderful. Daddy's Room as he's packing should have your artwork give us rhyming clues with Lanyon's study before he is leaving: the cap from a fountain pen the child collected and Lanyon's penknife; the papers father leaves scattered in the floor and Lanyon's rammed down wastepaper basket. "The passage perilous of the landing" and the stairs leading to Lanyon's study. All this should also be related in the decor (and lighting) somehow when Laurie inspects Ralph's room at the end and discovers the unsent letters.... etc.
_______________

*Schlesinger's (c.c.) letter to Maude Spector

November, 8th 1961

Dear Maude,

As I told you on the phone, I have secured Tom Courtney for Sandy. He didn't mind in the least that the part is relatively small. He loves it! And he will compose some superb characterization that will no doubt stun. What a fine, already so mature and wise artist!

Have you managed to contact Tony Newley? He's having such a great Broadway success with his "What Kind of Fool" romp, good for him. He will remember me though and grin. Offer him anything; he would be fabulous as Alec, or... if he hasn't much time to come to Shepperton, he should play Bim at the queer party! If so, I guarantee to get him in the can in 2 days... and keep David Merrick at bay!

Still not happy to break to Alan that we are looking for an ephebe to play Laurie at school. Why, well, because we haven't found one after all our searches! Incidentally, I was particularly taken by a stunning young stage actor: Derek Jacobi - never been before the cameras - weird, intriguing gaze. He could look quite younger (although 22) and right for Hazell. Aaah... if I could've had a good spanking try-out with him and O'Toole!

Love, greedy John.
_______________

*Letter from Mary Renault to Schlesinger:

November 10, 1961

Dear Mr. Schlesinger (and I should extend this to your writers too: Mr. Hall and Mr. Waterhouse),

I won't be a nuisance with particulars or qualms on your adaptation of my book. I was intrigued with cinema's conventions as opposed to a novel's and I found it interesting to learn something about them. Curiously some of the gripping passages were the ones you have made up. You see, a screenplay treatment already seems so removed from my original work; and so it should be.

The whole sequence in Dunkirk should render well in a film. In some edition of my book its cover illustration depicts the evacuation at sea. I never found it necessary however to go into particulars on battle. Your grenade explosions, airplanes' buzzing are so much more noisy than any of my prose needed to be should your movie-house audiences get dutifully roused by it. Introducing Reg Barker in plain battle, then in the ship with bearded Ralph, the graphic history of Laurie's wounding might all be good cinematic ideas... and costly too! I am just taking it all in right now with intrigued amazement.

I observe your treatment's delicacy when approaching the love scenes. Quite apart from criminal laws on it I am ever accordant on having less for more. It spans deeper; hopefully in a film too.

And I might endure sitting through a movie about T.E. Lawrence, with luck. Whatever, if Peter O'Toole has been successful in portraying him, I reckon that he should certainly have a go at Ralph Lanyon.

I am indeed quite looking forward to our prospective meeting at Camp Bay soon enough. In the mean time could you satisfy a rather germane curiosity of mine on your choice of an actor for the part of Andrew?

Yours,

Mary Challans
_______________

*Memo from Maude Spector to Schlesinger

(November, 1961?)

So let me sum this up:
Michael York: you thought, a possibility (boxer nose a bit distracting though).
David Hemmings: "interesting. Extremely cheeky and saucy... but not Andrew." So... you definitely like Terence Stamp? And you thought of Hemmings to play Bunny???
I agree that Stamp can be gentle, tender, and also convincingly thoughtful, firm and... very manly.
Oh, and I can also picture "Alan Bates looking condescendingly at Hemmings holding his rococo tray of twee tea-things!"
Great choices! (excited!)
_______________

*From Schlesinger's notebook (approx. date, December, 1961)
Terence Stamp screentest: Eyes and eyelashes come out like an apparition!
_______________

*Note from (screenwriter) Keith Waterhouse to Schlesinger

December, 1961

I agree, the confrontation Andrew/Bunny shouldn't be even shown partially during Andrew's account of it (say, avoiding Bunny's head, etc, as if it could be Ralph's). But what about if it is shown, enacted in its entirety, interpolated with the scene between Laurie and Alec in the doctor's room, i.e. after Alec says: "Only it wasn't Ralph, you see. It was Bunny"? It could start after we are concentrated in Laurie's reaction. Logical, now, to have Andrew meet Bunny, posing as Ralph. It also gives Bunny another scene; short but juicy; and Andrew punching him should look nice 'n butch.
_______________

*Letter from Maude Spector to Schlesinger

December, 1961

OK, some fresh news: had a good chat with Albert Finney about playing Reg Barker and he seemed rather sore that he wasn't considered for Laurie or Lanyon, I must say. (After he turned down the role of Vic Brown! Oh, well, there you go). Tony Richardson is organizing his shooting of "Tom Jones" where Finney will play the lead. Shall I look elsewhere? I remember you mentioning Stamp's suggestion of his flat-mate Michael Caine as a possibility. I've met Michael; he has a very natural, broad South London accent, by the way!

Oh, did I tell you how much I admired your film "A Kind of Loving"? Well, I'll say it again. And Alan Bates!

I can see that Trevor Howard for Rev. Straike would be so perfect.... if free; believable; not at all stereotyped. But Noel Coward is still your main choice, no? If we can get him? (Would Noel, of all dear fruits, mind playing our own 'queer-basher'? Big laugh! I would think he'd be delighted to!)

Maude
_______________

*Postcard from Noel Coward in Australia to Schlesinger

December, 1961

Merry greetings, dear boy. And what a colourful script!

Once your financiers bite the bullet and let you film it, there will no doubt be a "Carry on Camping" to follow!

Yours, Noel
_______________

*from Schlesinger's note book (Approx. date, January, 1962)

Prologue and school scenes: contrast. More nostalgic; Cocteau-like. The school scenes (meeting in the study): ashen, pallid, a hint on looking at old photographs, which should recur in the love scene by the fire after the wedding ("in the bleaching lye of the moonlight, washed of their distracting colours..." "Laurie stood casting his long shadow on the room behind him.") The grading: quite marmorean - a classical air ("pale palladian metal") a feel of 'liebestod'.
_______________

*Note from Maude Spector to Schlesinger

January, 1962,

Now, about Rev. Straike: No Trevor Howard I'm afraid. Coward still non committal. Should we look for some other possibilities? How about John Le Mesurier or Harry Andrews, that is if Andrews doesn't play Major Ferguson? By the way, Hawkins' agent wasn't very optimistic; Jack is simply too busy in the near future, including some American film to be shot in the Malaysian jungle!

Nurse Adrian: I noted your suggestion of June Ritchie who you are friendly and worked with recently. You also mentioned Shirley Anne Field who I very much like too. What about Sylvia Syms, though? (Sylvia, born in 1934, is looking ever youthful and rather sick of playing housewives!)
_______________

*Letter from producer J.J. to Schlesinger

January 1962

Dear John,

I appreciate Maude Spector's good efforts on the casting. If we cannot get Hawkins or John Mills, I will be happier with some other young English name that is popular in America; advisable to secure our backing deal there. How about Jean Simmons as Nurse Adrian? Ask Spector to contact her American agent. Couldn't you enhance a little more the romance scene between them, maybe? Essential for me to get some extra zeros in the budget for your vintage airplanes and their battle scenes. Sent the project and estimated budget to my colleagues at Columbia Pictures. I think they'd be happy to distribute any movie starring O'Toole. Good thing this!

JJ
_______________

*Letter from Denys Coop to Schlesinger

January, 1962

Finally got the last screenplay draft. The actual story is very introspective, though it should be set very effectively within the England blitz: hospitals, black-outs, darkened urban landscapes, etc. I would do my own hand-held camera in the war scenes, also in the ship. The vast sea evacuation long shots, I trust, could be miniatures (cheaper but time consuming). Whatever, no ties with absolute realism ever, right! allegories, fantasy spells, dreamy flashbacks et al. A big, wonderful challenge this and a bold, risky project too, considering the subject matter and its subtle delicacy. (Oh I'm in!)

As for the wedding sequence, yes, absolutely: gentile - provincial England (an a hint of Arno drawings) also Laurie's 17th Cent. cottage's mysterious, nostalgic allure; (as you say, a sense of loss here). We must look for a location for the exteriors of this soon!

Love, Denys
_______________

*From Schlesinger's notebook:(probable date, February 1962? maybe before?)

a scene with Ralph and the boy Mervyn, as Ralph smuggles in the ward outside visiting hours and chats with the boy --endearing Ralph, with the worshiping child-- (very tight shots on Ralph's eyes) at the end he gives Mervyn a copy of the East Africa Pilot. Details of various book covers here and there throughout the film.... I love child Mervyn!
_______________

*Letter from Maude Spector to Schlesinger

February, 1962

Dear, a quick word:

About Cyril Cusack for Dave. I agree that he would be a wonderful choice. He is busy but possible. I will keep on trying. What about Lucy O'Dell? Kay Walsh should definitely be free.

I have been doing a list of suggestions for some other supporting roles: (bracketed some ambitious/expensive suggestions)

Nurse Sims: Mona Washbourn (Wendy Hiller)

Matron (EMS): Flora Robson (Edith Evans)

Sisters (EMS): Joan Plowright / Thora Hird

Aunt Olive: Irene Handl

Miss Haliburton: Joyce Grenfell

Neames: Roger Livesey, Leonard Rossiter

Derek: Murray Melvin

Willis: Dudley Sutton

Mrs. Chivers: Margaret Rutherford

Mr. Jepson: Eric Portman, Jack Warner

Tell me what you think. Love, Maude
_______________

*from John Schlesinger's notebook (probable date: Febr. 1962)

Lucy O'Dell: Brenda de Banzie DEFINITELY (blend of pathos and flippancy, good-natured, sensible and decorous English mother, also rather absent-minded, funny and endearing.)

In the prologue: mother's arms and torso with child Laurie in tight shots (otherwise, Lucy in the background, soft focussed, while father packs.) WARN DENYS

Alec????????? Peter Sellers or Newley, out. What about Robert Stephens! Would he agree to do it? PHONE MAUDE SPECTOR.

Nurse Adrian: Sylvia Syms (good idea!) June Ritchie could try Madge. Dora Bryan, too old for Michael Caine; although Madge could be older.... Diana Dors would also be fabulous. PHONE SPECTOR!

Shit! If I could be sure of my shooting dates once and for all! I WANT TO DO THIS MOVIE
_______________

*Letter from Keith Waterhouse to Willis Hall (screenwriters)

(February, 1962)

Greetings, Wil,

Sorry that I have been out of touch. I have been brewing, though, on the 2 last letters in TC as I journeyed for hours on a train yesterday. So: Laurie reads Andrew's letter --Andrew's voiceover-- combined mute shots of Andrew within the landscapes of their idyll: orchard, limbo, the EMS kitchen meetings (up to John to alternate with Laurie reading the letter.) The situation with Laurie smuggling the letter inside the newspaper, the boy Mervyn being a nuisance, the sister interrupting, all that too.

As for Ralph's (suicide) letter, similar, only more dionysian; voiceover heard as spoken right into L's ear (the voice of Andrew's letter having been more afar... mythical), alternate images of the reader with Ralph composing the letter with eyes blue (sic) and sombre; finally camera details (as L notices) the cleaning rug soaked in gun oil in the wastepaper basket. No, he says stupidly. Then (as "at the higher-barbarian phase of adolescence, it comes as unwanted, dismaying news that the gods feel pain"): reminiscences of their scene in the study at school, Laurie holding Lanyon's steady gaze ("with tightened muscles") saying the lines ending with "...I'd as soon do it now as ever. Sooner." (after a pause) "I don't think things ought to be let happen like this"; all of this, alternating with or going back to Laurie watching the papers burning in the fire as Ralph voice is heard talking to the landlady in the hall, etc.

Funny, I also went through the looking glass here, saw myself as a young brat at school imagining how to make a film of "A la Recherche..." (oh yes, the whole of it!) Cheers-Keith
_______________

*Undated memo from Willis Hall (est. January or February, 1962)

Good show! I will proceed to write all these ideas down for us three to analyze and comment.
As for the very last shots, after Laurie says: "But I should have come anyway. I should have had to come back" I propose: framing Ralph reacting to Laurie, then X-fade to Andrew and his mates leaving for work, bleak London morning, A holding the Phaedrus - stops - glances at the book with wonder - the camera goes slowly for a detail of the hand holding the soiled Plato --with his name in Laurie's recent handwriting.
_______________

*Schlesinger's (c.c.) letter to Joseph Janny

February 20, 1962

Dearest Janny,

I had chatted with Richard Rodney Bennett about my obsession to film The Charioteer a few months ago and he already gave me some stunning ideas of how he would tackle his task. Apart from a Bartokian percussion ensemble for the Dukirk scenes, the music should constantly evolve around the Mozart Oboe Quartet's texture, even having some relation with its motifs. And he is so right: No big score, no big Symphony Orchestra here, you'll be happy to hear! Of course we'd compile a series of vintage recordings (the BBC's syrupy organ song requests, the Glenn Miller at the pub, the Handel oratorio through the gramophone with the conchies, etc.) but there would be a main theme sang by an oboe and strings. No leitmotifs. And not a lot of music. Oh, he could be so right for it!

Well... I do wish you luck in America. At least tell them I can now boast my Berlin Golden Bear which is a good start, I should think, for all of us upcoming and angry Brit film rascals.

Love,

John
_______________

*Postcard from Joseph Lanny (March, 1962)

Berlin? Golden Bear? All the bears they know of here are the ones in their parks! "Lawrence of Arabia" opened to huge profits so far, roused by their mammoth promotion! Let us continue being hopeful. (I keep telling them that you are Jewish as well!! It helps. Oh, I know you attended an Anglican boarding school, but that won't sell as much...)
______________

*Fragment of letter from Willis Hall (March, 1962)

Yes, I thought the Americans would start getting itchy with JJ on this. OK you might not go to prominence in the US with this film. And, yes, they mightn't even give it a certificate there, the dear old prude sods. But I do agree that we need a film like this now.

Let's keep fingers crossed. (or whatever)
______________

*Post Card from Joseph Janni (March 12, 1962)

A not so auspicious meeting with Columbia executives this morning. Little affinity with your script, I'm afraid. But I am still pestering them one by one, ever stubbornly. Oh, the Ralph/Laurie scene towards the end, which eventually dissolves to them talking as they put their clothes back on... definitely needs toning down!
_______________

*Letter from Mary Renault to Schlesinger

March 14, 1962

Dear John,

When are you getting to us here? Give us your definite dates.

Andrew? I agree that he should be as poignant and alluring as Ralph Lanyon; Andrew could bear any truths about himself; never disregard this. I do wish you luck with your choice of the young actor to portray him who I found very moving in Ustinov's Billy Budd.

We also caught O'Toole chatting on the radio the other day and he sounded charming and attractive; his natural English accent, perfect.

I wish we would be nearer to talk about all this charming and intriguing nonsense.

I remain, expectant,

Yours,

Mary
_______________

*Letter from J.J. to Schlesinger

March 15, 1962

My dear John,

I have now no alternative but to admit defeat. With no deal in America I cannot possible venture into this project on my own, with its high costs and risquÈ subject matter. The only way out (and not to break their 'Production Code') would be, presumably, to turn Laurie into a female role and, as some big-shot puffing his cigar suggested to me (having thought that Laurie and Sandy were both chicks, Nurse Adrian, a bloke) make it an Audrey Hepburn/O'toole... or Liz Taylor vehicle! It seems that the times are, as ever, not ripe enough for us to come out into the open with a romantic movie about same-sex, no matter how sensitive and poetic the screenplay reads. For all its awards and exposure, our New British Cinema still, and ever more, relies on financial backing, promotion and distribution deals with its Big American top dogs.

I am as devastated as you are. As you know, I had suffered some bad patches in my youth (under Mussolini's Manifesto) and am well worn on prejudice and bigotry. Believe me, for this, I have battled hard.

Yours sincerely,

J. J.
______________

END CAPTIONS

After having to abandon their Charioteer venture altogether, John Schlesinger and his screenwriters concentrated their efforts on another project of theirs: adapting Waterhouse's novel, and his and Willis Hall's subsequent play, "Billy Liar" into a movie that turned out to be one of the finest British 'New Wave' films and which made of Tom Courtney and Julie Cristie international stars.

Schlesinger eventually managed to make a film with a homosexual theme, but not until nearly a decade later: "Sunday Bloody Sunday" (1971), with Peter Finch playing a gay Jewish doctor in a contemporary London setup. It was one of the first widely distributed pictures to show two men making love.

As for Renault, who never got to meet personally or host Schlesinger in South Africa after all, we can surmise that she received some sad letter from him about the aborted project, although we ignore what her reaction was; whether of disappointment, relief, or a combination of both.

***********************

(FINAL SCROLL)

All correspondents quoted here
are real people;
some are still with us,
others have departed decades ago
or fairly recently.
The saga of their endeavours
to make a film of 'The Charioteer'
in the early 60s
--for all we know--
never ever happened.
These journals were concocted
for your amusement
and as a heartfelt homage
to their talents and legacy.

With many thanks to my_cnnr for the invaluable guidance on formatting and publishing this fic.

Nurse Sims:	Mona Washbourn (Wendy Hiller)
Matron (EMS):	Flora Robson (Edith Evans)
Sisters (EMS):	Joan Plowright / Thora Hird
Aunt Olive:	Irene Handl
Miss Haliburton:	Joyce Grenfell
Neames:	Roger Livesey, Leonard Rossiter
Derek:	Murray Melvin
Willis:	Dudley Sutton
Mrs. Chivers:	Margaret Rutherford
Mr. Jepson:	Eric Portman, Jack Warner