Metadata
WORK ID: YFA 3249 (Master Record)
| Title | Year | Date |
| A POET GOES NORTH: SIR JOHN BETJEMAN DISCOVERS LEEDS | 1968 | 1968-01-01 |
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Details
Original Format: 16mm Colour: Colour Sound: Sound Duration: 25 mins 38 secs Credits: The BBC wish to acknowledge the co-operation of the Leeds Civic Trust in the making of this film. Film Cameraman Arthur Smith Film Recordist Malcolm Hill Film Editor Peter Marsh Producer John Mapplebeck BBC North Subject: Urban Life Architecture |
| Summary This is a BBC film of John Betjeman discussing the architecture of Leeds. He unfavourably contrasts modern buildings and design with the Victorian heritage, especially in relation to the skyline. Among the places he visits are the City Square, the Town Hall, terraced housing in Armley, Spenfield House, Woodhouse Cemetery, Thorntons Arcade and Seacroft. |
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Description
This is a BBC film of John Betjeman discussing the architecture of Leeds. He unfavourably contrasts modern buildings and design with the Victorian heritage, especially in relation to the skyline. Among the places he visits are the City Square, the Town Hall, terraced housing in Armley, Spenfield House, Woodhouse Cemetery, Thorntons Arcade and Seacroft.
Title - A Poet Goes North
Title - Sir John Betjeman Discovers Leeds
Opening with a jazzy version of 'Ilkley moor ba' tat',...
This is a BBC film of John Betjeman discussing the architecture of Leeds. He unfavourably contrasts modern buildings and design with the Victorian heritage, especially in relation to the skyline. Among the places he visits are the City Square, the Town Hall, terraced housing in Armley, Spenfield House, Woodhouse Cemetery, Thorntons Arcade and Seacroft.
Title - A Poet Goes North
Title - Sir John Betjeman Discovers Leeds
Opening with a jazzy version of 'Ilkley moor ba' tat', John Betjeman looks out at Leeds as he arrives by train. He walks across the City Centre Square to stop and talk about the statues, 'Morn' and the 'Black Prince'. He contrasts the Queen's Hotel with a new British Rail building, and also the Midland Bank with another modern high rise block. He talks about how the late Victorian Unitarian Church and the Post Office have more respect for the skyline, and compares this with a critical view of modern large buildings, with the example of the Norwich Insurance building, which only say 'cash'. The film then shows some more of the statues in the City Square in close up.
John Betjeman stands on the steps of the Town Hall, which he says symbolises the civic pride of the North of England. He discusses the architect, and the architecture, of the Town Hall. He quotes from an essay by Asa Briggs on the Town Hall, on how it was designed to attract people from all over, especially to the music of Leeds. The film shows in detail the lion statues outside and the organ inside.
Betjeman re-emerges, walking across the roof of what used to be a flax spinning mill, with its cone shaped skylights. It is now a mail order service, shown in operation. He discusses the Egyptian style of the building. He looks across from the roof to a chimney tower and says, "Isn't that Giotto's Campanile from Florence?" He then discusses the design of St Paul's House, with its Arabian influence, and Marshal's Mill and the other Yorkshire brick mills. From on top of the roof he points in one direction at the skyline, with the University tower and other chimneys. This is the old Leeds skyline. He then turns around and points to the skyline in the other direction, built since the War, stating that here is "the battle of the cubes". On one side an old building is being demolished.
Betjeman walks past rows of terraced housing, including one with the street sign 'Strawberry Fields', towards the Church of St Bartholomew in Armley, which he discusses before sitting on the steps of one of the back-to-back houses. A cobbled street of terraced houses is shown, with washing draped across the road. Betjeman points out some advantages of this housing in allowing parents to be able to see their children out playing, and being part of, "a kind of village life". It shows the street signs for 'Strawberry Grove' and 'Strawberry Mount'. He comments that this terraced housing is being destroyed. The film moves along showing the housing, much of which being derelict.
Betjeman goes on to discuss the alleys of central Leeds, down one of which is Whitelocks, with customers sitting outside the pub in the yard. The film shows the tiled interior and the shining bar of the pub as Betjeman discusses some of its features, such as the stained glass and the harvest festival display.
Then on to show the stained glass windows at Spenfield in Weetwood Park. He points out that no expense was spared on it, and shows some of the features, such as the inlaid wood on the staircase, the brass lamps and the marble pillars at the bottom of the stairs. At this time it is under the care of the City Waterworks, who have kept it intact. He goes into the Ladies' Drawing Room, and discusses at length the design, especially the fireplace.
He leaves Spenfield and turns up at Woodhouse Cemetery, walking past the tall grave stones, reading out some of the names. He stops at one stone, 'to the memory of a fisherman', William Taylor, and shows the headstone in detail, with his fishing basket at the bottom. He points out that the cemetery is now part of Leeds University, who have preserved part and turned the rest into a new landscaped park; and he turns to look at the new Leeds University building.
Next Betjeman is in Thorntons Arcade, with shoppers, including a West Indian couple walking by. The film shows some of the architectural features in close up. It then shows some old public clocks in Leeds, including Dysons Clock, and then a digital one at Seacroft. He walks around the new shopping centre at Seacroft and points to the tower block. He states that these were built with the best intentions, but wonders whether if one were living in one, you wouldn't look back with regret to the old terraced housing and feel a bit lonely. Walking through the shopping centre Betjeman says, "Speaking personally, I feel it is rather like compulsory shopping, compulsory pleasure, compulsory leisure, compulsory art"; as he stops to look up at a modern statue.
The film closes with Betjeman making his way back through the gates of Leeds Railway Station.
End Credits
The BBC wish to acknowledge the co-operation of the Leeds Civic Trust in the making of this film.
Film Cameraman Arthur Smith
Film Recordist Malcolm Hill
Film Editor Peter Marsh
Producer John Mapplebeck
BBC North
Context
John Betjeman Discovers Leeds, otherwise known as A Poet Goes North, is the only film donated by Leeds Civic Trust to the Yorkshire Film Archive. It was made by the BBC in 1968. The film was produced by John Mapplebeck, who produced several documentaries for the BBC; A Poet Goes North was the first in his producing career, a career which would continue to 2007 and included programmes such as The South Bank Show.
As it happens A Poet Goes North was never actually shown on the BBC, and was...
John Betjeman Discovers Leeds, otherwise known as A Poet Goes North, is the only film donated by Leeds Civic Trust to the Yorkshire Film Archive. It was made by the BBC in 1968. The film was produced by John Mapplebeck, who produced several documentaries for the BBC; A Poet Goes North was the first in his producing career, a career which would continue to 2007 and included programmes such as The South Bank Show.
As it happens A Poet Goes North was never actually shown on the BBC, and was forgotten about for decades. Mapplebeck has since admitted that he never knew the film did not air, saying, "unfortunately it also coincided with changes in my own life, and to be honest I didn't realise it had never gone out. I went to London and it was initially due to be shown in the north. I must have assumed that had happened and got on with the next film". Similarly the film appears on no list of John Betjeman’s work. The story of how the film was ultimately found and given to the archive is arguably just as interesting as the film itself. A Poet Goes North was eventually found in a cupboard in Leeds, it had managed to slip through the scheduling of the BBC, mainly due to changes in the BBC’s regional structure. Dr Kevin Grady the Director of Leeds Civic Trust found the film, and both he and the BBC found barely a mention of it. Dr Grady said this about the film to The Guardian in 2009, "They paid 200 guineas to make the film happen, which would have bought you a Leeds terrace house in those days. There are various references in annual reports saying 'It still hasn't been shown' and we've a file of some rather pained but inconclusive correspondence. Apart from our copy in the cupboard, that's it’’. Fortunately the film is now a part of the Yorkshire Film Archive, and has now been shown on the BBC, although it was 40 years late. Sir John Betjeman was a well-loved figure, not only in the poetry world, but to the general public, since he released several albums of his poetry as well as performing on television and hosting documentaries such as this one. His charisma, wit and discerning style won him many fans, but Betjeman also had huge respect for the past. A founding member of the Victorian Society, he had a lifelong passion for Victorian architecture, which is evident throughout the film. The Victorian Society is a charity concerned with the conservation of classic Victorian and Edwardian buildings throughout England and Wales, a cause close to Betjeman’s heart, but also incredibly relevant to Leeds. It’s well known that Leeds was an industrial powerhouse through the Victorian age; this in part led to the creation of grand buildings, such as the Town Hall, Marshal’s Mill and Thornton’s Arcade. Throughout the film, Betjeman laments the loss of Leeds’s classic buildings, whilst praising those which still stand, like the tower of the Town Hall, or the building which is being demolished right behind him in one scene. He also takes offense at the new brutalist architecture which is popping up around the city, calling the new skyline ‘battle of the cubes’, as well as dismissing the Norwich Insurance Building, with a witty remark about how it says‘cash’ on the side. Despite being filmed over 40 years ago, the film is arguably very pertinent, considering the often had debate about Leeds’s Victorian heritage, and whether or not it should be torn down to make room for more modern buildings. This is a problem Leeds has often had however, for instance the film ‘Everything Must Go’ in 1987 shows the conflict arising over the modernisation of Leeds’s Kirkgate market. Moreover, the film contains several scenes where Betjeman is critical of housing projects such as Seacroft, and the demolishing of old back to back terrace houses; he has since been proven to be wrong about the latter, as many back to back terrace houses still stand in Leeds. As mentioned before, the film is still relevant to Leeds today, with many of the buildings featured in the film still standing. For example the Temple Works, or Temple Mill, and its Egyptian inspired style still remains in Holbeck, although instead of a mill these days it is an art centre. Likewise the classic Town Hall still stands, complete with its stone lions and steps, and yet instead of being the seat of the council, in recent years it has mainly been used for civic events such as concerts. Thornton’s arcade, with all its bombast, despite been built at the height of the industrial revolution, has yet to be torn down and replaced, and is still full of shops. Spenfield House plays a large role in A Poet Goes North: Betjeman points out the grandiose elements of the house, as well as giving the viewer a history lesson. The house was built in 1875-1877 by George Corson the famous Victorian architect who also designed the Grand Theatre. In recent years there have been plans to convert the listed building into flats, although this has been met with opposition. Whitelocks, the pub visited by Betjeman, is a part of Leeds’s historical heritage. The pub, described by Betjeman as the ‘heart of Leeds’, was 300 years old in 2015, yet the exact date it was opened is unknown. When it first opened in 1715 it was the haunt of market traders and merchants, and the pub has seen the industrial revolution come and go. The detailed ornate decorations, with marble tops and etched mirrors, as seen in the film, were put in the pub in the 1880s by John Lupton Whitelock. When the pub originally opened the city was up and coming and by the time John Whitelock re-decorated it, the city had been forever transformed by the industrial revolution. No doubt the reason why Betjeman was inspired to take part in this documentary (other than the pay-check) was Leeds’s rich architectural heritage, a heritage that spans back to the industrial revolution. As mentioned before, Leeds’s contains many examples of classic Victorian Architecture; however Leeds is far more diverse, architecturally speaking, than people often give it credit. In A Poet Goes North, John Betjeman bemoans the constant sound of falling Victorian buildings, as well as criticising modern buildings such as the British Railways House, which he said had no architecturally merit, was a testament only to money, and blocked out the sun from the city square. The house was designed by the now disgraced architect, John Paulson, who also designed Leeds International Pool, and who was eventually sent to prison on corruption charges, and was described as a ‘megalomaniac’ by even his own barrister. Paulson’s style was a distinct departure from the Victorian grandeur that had dominated the Leeds’s skyline earlier, containing hints of Brutalism that has become synonymous with the post-war period; the International Pool is a good example of this. Other examples of Leeds’s brush with Brutalism are the Merrion Centre’s offices, parts of the University and the Hunslet Grange Flats, and of course the Yorkshire Post building. Leeds’s architecture has evolved throughout the 20th century, whilst Brutalism was preferred in the post-war period, as the century moves on so does different styles. A major stand-out of Leeds’s architecture is Seacroft. Ostensibly a council estate and billed as the ‘town within the city limits’, its architecture is pseudo-brutalist, and as seen in the film, Betjeman is clearly not a fan. Whilst the estate is not wholly brutalist (for instance it contains several churches earlier than the 19th century), its buildings are of varying styles, and are a good indicator of which period the council built them in. Seacroft is also of note due to its numerous prefabricated houses, a testament to the council’s housing projects; likewise the grey, drab tower blocks that dominate the skyline. Seacroft stands as a good example of Leed’s architectural diversity, little wonder why in the film Betjeman goes there last: to give a glimpse into the future of Leeds’s architecture. In recent years, that is post 1970s, Leeds’s architecture has changed to match the financial growth of the city, as more money flowed into the city, the style of city has changed. The growth of the financial and business services sector, throughout the 80s, led to a mini-boom in the city centre, with office buildings popping up in a style unlike the rest of the city. The so-called ‘Leeds look’, which these buildings typify, is recognisable by the distinct red brickwork and grey slated roofs. Buildings such as the Magistrates court and the Yorkshire Bank offices are perfect examples of this ‘look’. The reason why this style is so widespread is because of a targeted attempt by Leeds City Council to mimic the Victorian style of Leeds’s heritage buildings, whilst trying to put a modern slant on the buildings (and the roofs). Dr Kevin Grady, the leader of Leeds Civic Trust and the man who found the film, said this about the Leeds look, “an interim response in the 1980s for architecture that had a human scale and was pleasing on the eye following some of the mistakes of the 1960s and ‘70s.” Perhaps the most notable addition to Leeds’s architecture during the ‘90s was Quarry House. The building is rather imposing, looking more like a modern fortress than a building housing the Department for Health and Work and Pensions. Small wonder then that it has been given nicknames like ‘The Kremlin’ and ‘The Ministry of Truth’. At the turn of the century Leeds’s architecture has grown increasingly vertical, with the addition of several skyscrapers. The tallest building in Leeds is now Bridgewater Place, or the Dalek as it’s more commonly referred to. Completed in 2007 the building is 112 metres tall with 32 storeys of retail, residential and office space. Other skyscrapers such as Opal 3 and The Plaza Tower have also popped up following the millennium. Other significant building projects include Clarence docks, designed to be a housing complex for wealthy metropolitans. However its development did not go unopposed, and the construction caused criticism from city dwellers to other architects. Maxwell Hutchinson, the famous British architect, in particular, described the project as a “mundane collection" of buildings and an "incredibly soulless place", and claimed that "in two or three decades these shiny new buildings will be following Quarry Hill down the spiral of decay". It would be interesting to hear Sir John Betjeman’s opinion on the recent developments to Leeds, although it would probably sound a lot like Hutchinson’s. Hutchinson especially has been vocal about Leeds’s development going into the 21st century, even going so far as to argue that the city planners are building the ‘slums of the future’. He argues that Leeds is making a similar mistake to the one London made years ago: that is not providing a stable community base, as well as key services such as doctors and education. Maxwell had this to say on the matter in September 2014, "They're forgetting to build communities at the same time as putting up these great ugly blocks". Not everyone has been critical of Leeds’s development though. Many see the building of skyscrapers as a sign of prosperity and a sign that Leeds is on the up and up. Famously Jeremy Clarkson made a comment about how Leeds looked like New York, with skyscrapers on the skyline. The point remains that many see the growth of the city centre as good for the whole of the city. However this is not fully proven, especially as in recent years, whilst the city centre has boomed, outlying areas such as the aforementioned Seacroft and Holbeck have continued to fall on hard times. A Poet Goes North is a film fundamentally about Leeds, and the difficult balance between preserving historic buildings of the city, and adapting to the modern world. References: Martin Wainwright, BBC revives unaired Betjeman film forgotten for 40 years | Books | The Guardian 2009 Jon Cronshaw, Leeds Art Scene: Temple Works: The most extreme venue in Leeds Thornton’s Arcade, www.infobritain.co.uk What we do, http://www.victoriansociety.org.uk/about/ Justin Gowers, Why John Betjeman is a true gay icon | Books | The Guardian 2008 Fury over Historic house flats plan, 2004 Allison Bellamy, Historic Leeds pub celebrates 300 years of pulling pints - Yorkshire Evening Post BBC ON THIS DAY | 15 | 1974: Architect jailed over corruption Seacroft History - Yorkshire Evening Post Adam Newton, The Brutalist Architecture of Leeds | Shlur BBC - Leeds Citylife - 1 City Square Leeds skyline looks like New York says Jeremy Clarkson - Yorkshire Post |
