Metadata
WORK ID: YFA 6639 (Master Record)
Title | Year | Date |
THE HOSTELLERS | 1965 | 1965-01-01 |
Details
Original Format: 16mm Colour: Colour Sound: Sound Duration: 23 mins 39 secs Credits: Jack West – Cameraman David Worley – Assistant Cameraman, Josie Edwards, Gregory Harris – Assistant Editors Don Jackson – Unit Manager Bill Le Sage – Composer Gloria Sachs – Director and Editor Edgar Anstey – Producer The Hostellers were: Brian Cotton Ken Moody Made By British Transport Films In association with the YHA of England and Wales And the Scottish YHA Technicolor Anvil Sound Subject: Environment/Nature Entertainment/Leisure Countryside/Landscapes |
Summary Two keen hostelling youths, Ken Moody and Brian Cotton convert a boat in their native Selby into a youth hostel and get the chance to air their views on the direction that hostelling is taking in the mid-1960s. They argue that youth should have more control in running hostels, urging the retention of their traditional rough and ready style. They tour hostels around the British Isles extolling the virtues of hostelling, especially the opportunities for meeting young women. |
Description
Two keen hostelling youths, Ken Moody and Brian Cotton convert a boat in their native Selby into a youth hostel and get the chance to air their views on the direction that hostelling is taking in the mid-1960s. They argue that youth should have more control in running hostels, urging the retention of their traditional rough and ready style. They tour hostels around the British Isles extolling the virtues of hostelling, especially the opportunities for meeting young women.
The film opens as...
Two keen hostelling youths, Ken Moody and Brian Cotton convert a boat in their native Selby into a youth hostel and get the chance to air their views on the direction that hostelling is taking in the mid-1960s. They argue that youth should have more control in running hostels, urging the retention of their traditional rough and ready style. They tour hostels around the British Isles extolling the virtues of hostelling, especially the opportunities for meeting young women.
The film opens as dawn’s light gradually reveals the outline of a boat, and a light appearing at one of its windows as an occupant greets a new day in a boat which is also a youth hostel.
An interior view follows of a communal kitchen as one hosteller fills a kettle at a sink.
Outside three young people study a map on the deck of the boat. Named Sabrina, the vessel is a former grain barge moored at Selby in Yorkshire but now functions as a youth hostel, the first floating hostel in Britain.
One of the hostellers brushes down the deck, as another emerges from beneath the deck carrying a cup of tea. The film cuts back to the communal kitchen as a hosteller takes some eggs from a cubby hole on the kitchen wall. Another places a frying pan on a two hot-plate electric cooker.
Outside a woman emerges on deck carrying her backpack, followed by a young man who locks the entrance canopy. He walks down steps at the side of the boat and joins others on the bank, then they walk off.
The film cuts to a view of the prow of the boat. Off camera the two main Youth Hostelling Association members associated with the boat’s conversion talk about hostelling and what it means to them. The film shows general views of the boat.
Title: Hostellers – A BTF Production
One of the hostellers Ken Moody speaks over footage of him buying a railway ticket. He outlines his background and his job as a clerk for British Waterways. He collects his ticket and walks across the foyer to the platform area.
The other hosteller Brian Cotton appears on camera walking towards a shipyard which specialises in building trawlers and tugs where he works as an apprentice draughtsman. General views follow of the shipyard of Cochrane & Sons. We follow him as he leaves the yard, past a pub and enters Station Road, as he explains how he became involved with the Sabrina project.
He makes his way to Selby railway station and onto the platform, where he meets Ken they then leave the station.
As he and Brian walk along the street Ken explains off camera why he felt there was a need for a youth hostel in the area. He then outlines the processes required to get the Sabrina converted.
The film moves back to the lock and to the nearby mooring of the Sabrina. On the way to the boat the two men pick up a short ladder which is leaning against a small square building, they use it to climb aboard.
Brian Cotton off camera continues the story of commissioning the new hostel. He explains that the conversion was helped by local hostelling groups from the West Riding region.
The film cuts to group members putting up wooden partitions inside the boat. Ken continues his narrative about the Youth Hostels Association as he helps with the construction work. The two men look over the work done so far as Ken talks about the social side of hostelling.
The film moves to a narrow country lane as Brian walks up a hill towards the camera. Off camera he provides commentary about the popularity of hostelling. Overviews of a fast flowing river amongst trees both Ken and Brian off camera provide an overview of hostelling.
The film goes on to show walkers arriving at a large house amongst trees, which is a more conventional youth hostel.
At another hostel, a large notice on the entrance gate outlines the ethos of the YHA: ‘This Youth Hostel is one of many, both in this country and abroad, where young people, regardless of race or creed, may spend the night. The buildings are diverse in character but they have a common purpose, to help all, especially young people of limited means, to a greater knowledge, love, and care of the countryside. Y.H.A. National Office, Trevelyan House, St Albans, Herts.’ Brian off camera provides his personal view of some YHA wardens.
Brian enters the hostel and takes off his backpack and boots in the hallway. Some younger hostellers are in the communal kitchen as Brian greets two adults who are sitting near the door.
Back in open country, a walker engages in climbing down a precipitous rock face with a gushing waterfall nearby. In the foreground Brian smokes a cigarette and in voiceover provides the reason for choosing a particular hostel when walking or climbing. Ken is the climber who has just come off the rock face and he runs to meet Brian. They pick up their backpacks and walk towards the camera with the backdrop of Goredale Scar behind them.
A high angle view shows the two friends walking along by a stream as they walk towards open countryside. A group of young walkers pass a sign to Gordale Scar, Ken and Brian pass in the opposite direction through the entrance gate.
The two friends walk by a stone wall, while Brian off camera talks about aspects of local history. Close views follow of dry stone walls as Brian outlines some of their features and history.
The film shows the two friends walk across a hillside towards Malham Cove in the distance. The camera shows views of the local countryside crisscrossed by the familiar dry stone walls.
The view changes to one overlooking open water with hills in the distance. Ken watches a boat traverse the water. In voiceover Ken talks about the rules regarding hostelling, no private vehicles, public transport if you have to, but arrive at the hostel preferably by foot, bicycle or canoe. The rule doesn’t apply to Scotland because of the greater distances between premises.
The view shows a large inlet or bay where boats or ferries operate. On the quayside, a girl walks with a bicycle across wooden boards. Ken crosses her path and we next see him on the deck of a boat at sea enjoying the view of hills in the distance. He takes a seat on deck next to the girl and they chat.
At the ferry terminal at Tobermory on the Isle of Mull, both Ken and the girl with their bicycles. They walk down the corridor of their next hostel and book in at the reception window. Ken, off camera says collecting the stamp with which each hosteller’s membership card is marked, is a bit like stamp collecting.
The film shows a hostel notice which reads, ‘Anyone (including women and children), passing this point wearing big boots, will be torn apart by berserk warden...you have been warned!’
Ken makes his way to the men’s dormitory carrying his boots. He walks over to the window to look at the scenery. Overlooking the bay Ken sees boats anchored in calm waters. The view alters to show the picturesque houses that make up the main street in Tobermory.
A change of location as Ken parks his bike near the entrance to a large church or cathedral. Off camera Ken talks of his interest in the architecture of old buildings and describes a memorable visit to Wells Cathedral in Somerset. The film shows views of the exterior and interior of Wells Cathedral.
At another location, Brian looks through a shop window which sells textiles. Off camera he talks of the hostels he likes to visit, preferably those occupying older historic buildings that are of the basic or simple classification of the hostel.
Brian walks past a bed and breakfast sign outside a house, and another sign offering meals. He then is seen walking towards a waterfall where he scrambles across the nearby rocks and stops to take a photograph.
The film cuts to a grey stone house overlooking a river with hills beyond. A group of walkers make their way along a path next to the river and head away from the camera. Brian in voiceover talks of the value of hostels to school parties, who often use them as a base for outdoor lessons and activities.
The film joins the walking party as they follow the camera. Students and their teachers explore the undergrowth next to the path. Back indoors a field study group inspects the items they’ve collected on their walk in a special schoolroom which is part of the hostel.
Ken stands and takes in the view from a high point overlooking hills and mountains. Off camera he expresses an interest in the geology of areas he visits. A view follows showing a valley going off into the distance.
He reminisces about an early walk he did with his sister in North Wales when he was a young teenager. The film shows Ken climbing across large outcrops of rock.
The film goes on to show large tracts of moorland and grey mountains, as Brian sits on a rock looking at the wild countryside that surrounds him.
The film cuts to two people on a train studying a map, as mountains and hills go by. The film shows the two-car train traveling along a remote moorland railway.
The film cuts to a group of walkers cooling their feet in a fast-flowing stream, as well as sampling water they are collecting in jam jars.
The camera then follows a group of people getting a lift in the back of a lorry, as it travels along a country lane.
The film cuts to Brian as he secures a field gate in a wall, as off camera he talks about some of the wildlife he sees when he is walking.
The people getting a lift in the back of the lorry get off, as they prepare to go on a supervised walk in a nearby forest. Off camera Ken talks about how the YHA also supports the upkeep of tracks and footpaths for walkers. The walkers make their way to a waterfall amongst the trees.
The film cuts to Ken looking over a stone wall to a railway track below emerging from a tunnel nearby. Off camera he says he is disappointed in the number of branch railway closures, a valuable form of transport for many hostellers. The view looks across a wide section of river flowing past Ken’s viewpoint to rocky hills on the opposite bank.
Ken tucks into his hostel meal in a busy communal dining room. Off camera Ken outlines the options for meals available at many hostels. Brian says he mainly cooks for himself when hostelling. He opens cans of food to prepare his meal. The film shows Brian eating his meal as Ken enters the room and sits down to talk to him.
The film shows the hostel’s residents dancing as they have used the social space to organise a disco.
The film cuts to an open country lane as two cyclists make their way along it. Ken cycles alongside a girlfriend.
A traveling shot shows bracken, rocky grassland, and a small white cottage in the distance. The camera shows the two cyclists in the distance crossing a stone bridge over a river.
A brief view of Ken follows looking at a view over a sea inlet, which then cuts to a rocky stream flowing into a gentle waterfall. His girlfriend stands next to the pool at the bottom of the waterfall. The girl indicates to Ken to meet up further down the hill. He runs down the hill and crosses some rocks at the top of another waterfall to meet her. The camera moves to show open water and hills in the distance.
The film cuts back to the Sabrina at Selby, as Brian and Ken climb on board. Brian opens a hatch and both he and Ken make their way down to the accommodation area below. Brian’s commentary states that he hopes that Youth Hostels can stay the way they are, and Ken would like more input from younger people so that they can prepare for running the organisation in the future.
Ken and Brian look over some of the work being undertaken in one of the dormitories.
The open hatch is closed, and a mooring rope is taken off its secure post, as Brian and Ken leave Sabrina. A man in a peaked cap is left on board and Sabrina slowly moves off, passing other boats moored on the canal.
Title: The Film – makers were
End credits:
Jack West – Cameraman
David Worley – Assistant Cameraman, Josie Edwards, Gregory Harris – Assistant Editors
Don Jackson – Unit Manager
Bill Le Sage – Composer
Gloria Sachs – Director and Editor
Edgar Anstey – Producer
The Hostellers were:
Brian Cotton
Ken Moody
Made By British Transport Films
In association with the YHA of England and Wales
And the Scottish YHA
Technicolor
Anvil Sound
Context
Two keen hostelling youths, Ken Moody and Brian Cotton, convert a boat in their native Selby into a youth hostel, and get the chance to air their views on the direction that hostelling is taking in the mid-1960s. They argue that youth should have more control in running hostels, urging the retention of their traditional rough and ready style. They tour hostels around the British Isles extoling the virtues of hostelling, especially the opportunities for meeting young women.
A British...
Two keen hostelling youths, Ken Moody and Brian Cotton, convert a boat in their native Selby into a youth hostel, and get the chance to air their views on the direction that hostelling is taking in the mid-1960s. They argue that youth should have more control in running hostels, urging the retention of their traditional rough and ready style. They tour hostels around the British Isles extoling the virtues of hostelling, especially the opportunities for meeting young women.
A British Transport Film, produced by its head Edgar Astey, who had a long and distinguished career, starting out with John Grierson. As too did the composer, Bill le Sage, playing and composing for many well-known jazz bands. Both Ken Moody and the director, Gloria Sachs, returned to Sabrina to discuss the film for a special ‘Nation On Film: Youth Hostelling’ in 2009, based on the YHA film archive. Hostels started in Germany in the 1910s and took off in Britain in the 1930s. This film was made at a time when young members were challenging the older order. Soon after this film the rule banning cars was dropped, and subsequently hostels have become more businesslike, with fewer discomforts and restrictions. |