Category Archives: Railways and culture

The White Stuff

Well, folks, as you’ve no doubt already realised, the UK is gripped by snow. As ever, we can expect transport difficulties and suchlike fun. Yr. Humble Chronicler, paid as he is by the hour, basically has to go into work chiz chiz.

A Collett 0-6-0 shows us how it's done.

However, in the meantime, here’s a nostalgic look at snow on British Railways circa 1963 – http://www.youtube.com/watch?v=cl4pJwcE7JI. It’s a narration-free, slightly artsy collection of documentary footage set to a delightfully ’60s soundtrack.

57xx pannier and Toad brake van finish clearing the line.

As you might imagine, there’s plenty of snow-clearing footage, mostly on the Western Region as far as I can see. Other highlights include some prestigious diesel services featuring a Warship, a Western and the Blue Pullman (all of which was probably, again, filmed on the Western Region). The filmmaker has spliced in some old footage of LMS engines for variety and there are lots of evocative shots of day-to-day operation in what are now termed “adverse weather conditions.” Also for some reason we are treated to film of a gentleman eating his breakfast. All in all, a great resource for anyone planning a snow-set railway.

Seriously, who is this guy?

I’ve often thought I’d like to do a snow-based steam-era railway. It offers a lot of potential for unusual operations. For instance, the snowplough workings that you see in the film would be a good short train to model. 0-6-0s were preferred due to the fact that all their weight was concentrated on the driving wheels, making them both powerful and stable – you could hit those drifts at a heck of a speed, and they might not be willing to move. It was common, as you can see in the film, to pair an engine with a tool van or brake van, which I presume carried a crew in case they ran into trouble. It was also common for two locomotives to be coupled back-to-back, sometimes with the tool van between them.

There are also lots of other interesting operating possibilities – double lines singled, diverted express trains, breakdown trains called out to derailments. Perhaps you could even have a whole train stuck in the snow, being dug out. I’ve seen footage of this at the National Railway Museum, and apparently the way to free up frozen motion was to wrap oily rags around it and set it on fire (good luck recreating that). Even so, it might take days to get the train out.
I’ll leave you with a photo from New Year’s Day 2009. Not exactly in period, but this is what the water tower at Didcot looked like that day:

Are they allowed to do that?

Well, I’m pleased to say that my predictions for this year’s Hornby range were, to a man, entirely wrong. I refer you to the official Hornby website for this year’s releases. Briefly, the things I’m getting most excited about are the LNER L1 and B17s. The 4-VEP multiple unit is to be introduced, which will be a nice addition to the expanding number of Southern multiple units available (as well as being units that operated locally to me), although I do wonder if it’s perhaps a bit too similar to Bachmann’s 4-CEP. Having said that, I would imagine there are plenty of people who will buy both – I recall them often working alongside one another, sometimes coupled together. And by changing the interior, they could produce the 4-VEGs that were used on the airport service to Gatwick.

Speaking of airport services, a train pack that has piqued my interest is the ‘Imperial Airways’ pack. This consists of a T9, a Pullman composite, a Maunsell brake coach and a bogie utility van, all in Southern livery. This replicates the service that ran out of London Victoria, serving the Imperial Airways airfield at Southampton. Due to the lightly-laid track, the T9 was about the only express engine capable of using the route. I’ve often thought it would be an interesting service to model. AND I WAS RIGHT.

The Railroad range has a number of new additions this year. The GWR County and LMS Patriot have been added, as have the old Lima Class 40 and Class 33. One that rather caught my eye, though, was this:

It’s a freelance 0-4-0 finished in the livery of the London, Brighton and South Coast Railway. A neat little model and rather appealing. It appears to be based on the LBSC E2, which was an 0-6-0. But I do wonder how this works in terms of copyright.

Allow me to explain. Bachmann, as I have explained before, holds the licence to produce Thomas the Tank Engine characters for the North American market. A few years back (2005 I believe) they introduced the Junior range in the UK. The locomotives for this were an 0-6-0 side tank and an 0-4-0 saddle tank, both rather freelance-looking but nice enough in their way (I own both, and crude though they are, they have a certain charm). Unfortunately, the tooling they used to make these was developed from the Thomas range. As a result, they got into a bit of trouble with HIT Entertainment, who own the copyright for Thomas. They have since withdrawn those original Junior engines and introduced a generic 0-6-0 saddle tank and diesel shunter.

The problem, you see, was that Bachmann’s tooling was specifically developed for the Thomas range. Hornby can get away with using the same tooling for, say,  Oliver the Western Engine that they use for the 14xx in their regular range because the 14xx was developed first. Now, the engine you see above was originally developed for a battery-powered starter set in Hornby’s Thomas range. That is to say that it was specifically developed as a Thomas character. This, I think, might cause them to fall foul of the same problems as Bachmann. I hope they don’t, as it’s a delightful little engine.

Further Reading

http://www.semgonline.com/steam/e2_class.html – The E2

North West Frontier – A Coarse Scale Review

This is, to my mind, something of an underrated classic. Not just of railway cinema, although it is that, but of cinema in general. Outwardly, it appears to be a standard stiff-upper-lip Boy’s Own adventure film. However, it quickly reveals itself to have a conscience, balancing action and philosophy beautifully.

The story is set, as you may have gathered, on the North West Frontier of colonial India in 1905. When the film opens, Hyderabad is under siege as the Frontier erupts in bloody civil war. The only hope is for Captain Scott (Kenneth More) to get the six-year-old Prince Kishan (Govind Raja Ross) and his governess (Lauren Bacall) to Kalapur. Unfortunately, the last train has gone.

Fortunately, there is one engine left – a wheezing, ancient Beyer-Peacock tank engine affectionately known as Victoria. Our heroes are joined by a crew of refugees and soldiers, including Herbert Lom as the troublemaking journalist Van Lyden.

Note that the tagline here makes the film sound far more rubbish than it actually is, and also makes no sense.

Note that the tagline here makes the film sound far more rubbish than it actually is, and also makes no sense.

And so it is that they cross three hundred miles of wilderness coming up against sabotage, ambush and treachery along the way.

What lifts this above many films of the genre is the fact that it’s highly critical of the British rule in India. It’s never as simple as soldiers versus badmashes, as is the standard for the British in India film in the west. We are given several points of view on the British rule in India, as well as the wider subjects of war, race, imperialism and politics, none of which are presented as “right”. Unsympathetic characters may make sympathetic points and vice versa – some of the likeable characters make points that these days feel somewhat cringeworthy, particularly a comment that the natives are “children” – a point swiftly refuted. Even the locomotive seems to switch sides occasionally.

The selection of characters underlines this imperial deconstruction. We are presented with a cross-section of colonial “types” – the career soldier, the critical journalist, the mercenary arms dealer, the mild-mannered administrator, the Imperial wife and the ordinary colonial subject. All are vividly drawn with a balanced amount of screen time.

The only criticism I’d make is that we don’t get much by way of the Indian perspective. Aside from the Prince, the only Indian character with a decent part is the engine driver, Gupta (played by I. S. Johar), who occasionally threatens to descend into “goodness gracious me” territory with his mangled English and eternal respect for the British. Nonetheless, Johar elevates the character beyond the caricature it could have been to give a performance that quite often steals the show. I would have liked a bit more screen time for the sepoys, two Indian characters permanently present on the train who never even get the luxury of names – I think that, as native soldiers working for the British Empire, they could have some interesting views.

J. Lee Thompson’s direction is superb, and despite being over two hours long, the film never flags. The camerawork is beautifully naturalistic, making full use of the landscape and sunlight. The sound, too, relies on naturalism for much of its running time – the silent scenes when the train comes to a stop are almost unbearably tense. It’s the sort of film that I’d love to see on the big screen.

I was somewhat surprised to discover that it was filmed in Spain, as the attention to detail in the recreation of Edwardian India is excellent. Any railway enthusiast will know how rare it is to come across accurate portrayals of railways on screen, so it’s refreshing to see the colonial Indian railway done so beautifully. The railway is well-used, too – the train is a place of safety, yet simultaneously vulnerable, a microcosm of society and even a character in its own right.

Overall, North West Frontier is a film worth watching on several levels. It’s an intelligent adventure movie that never forces its moral agendas down the viewer’s throat. Its relative obscurity is entirely unjustified, and regardless of your view on the subjects it covers, you will find something to maintain your interest.

Notes: The film was retitled Flame Over India for its US release. The film features the second-ever use of the Eton Boating Song for a train journey, the first being, of course, in The Titfield Thunderbolt.

The Rock Island Lie

Now, I’m sure I don’t need to tell you about the revolutionary impact that railways had on the world and the way people live their lives. I mean, the very fact that you’re reading this blog indicates that you’re an intelligent person, and no doubt very good-looking as well. Kudos to you.

But to recap. Railways, railroads, call them what you will, they were one of the most incredible innovations of human history. Suddenly unthinkable distances could be covered in mere days in comfort. Goods could be traded in places where it had hitherto been impossible. Travel was no longer a luxury for the rich. So it’s no surprise that railways have also had an impact on culture, inspiring works from Tolstoy’s Anna Karenina to Buster Keaton’s The General. Then there’s the song, the Rock Island Line. This was first performed by Leadbelly, but has been covered many times – Yr. Humble Chronicler has the Lonnie Donegan version on his iPod. I’d recommend familiarising yourself with it before reading any further.

What is less well-known [DISCLAIMER: Neither the author nor the webmasters make any claim to the veracity of the following] is that Leadbelly considered a different version of the lyrics before settling on the published ones. Recently-unearthed notes reveal that the original opening would have gone something like this.

Now this here’s a story about the Rock Island Line.
The Rock Island Line, she runs down into New Orleans
And just outside of New Orleans is a big toll gate
And all the trains that go through the toll gate,
They gotta pay the man some money
But of course, if you got certain things on board
You’re okay and you don’t have to pay the man nothin’.
And just now we see a train comin’ down the line
When it come up to the toll gate,
The driver, he shout down to the man,
“I got pigs,
I got horses,
I got cows
I got sheep,
I got all livestock,
I got all livestock,
I got all livestock.”
The man say, “Whoa, hold on, boy, those are clearly steel wagons.”
Then the driver look back, and he say, “Are you sure?”
And the man say, “Well, yeah. I mean, I can see exactly what’s in ’em. I mean, stock cars look significantly different to the sort of wagons you’d use to carry pig iron, which incidentally is what you actually have in there. I don’t believe you’re a real train driver at all.”
So the driver, he say, “You’ve taken all the fun out of this song.”
And that’s where the story ends.

This train isn't carrying livestock either.

This train isn't carrying livestock either.