Metadata
WORK ID: YFA 3516 (Master Record)
Title | Year | Date |
CARELESS SECURITY | 1952 | 1952-01-01 |
Details
Original Format: 16mm Colour: Black & White Sound: Silent Duration: 24 mins 32 secs Credits: Ernest Taylor Huddersfield Cine Club |
Summary This is a fictional film made by a Huddersfield based filmmaker Ernest Taylor. It is based on the career of a petty thief who operated in the Huddersfield area during the 1940s. The actors include friends and family who helped in the production. |
Description
This is a fictional film made by a Huddersfield based filmmaker Ernest Taylor. It is based on the career of a petty thief who operated in the Huddersfield area during the 1940s. The actors include friends and family who helped in the production.
Titles: ‘None of the characters in this film relate to any living person, any resemblance is purely coincidental. Grateful thanks are extended to the Chief Constable Borough Police and all ladies and gentleman who have assisted in any...
This is a fictional film made by a Huddersfield based filmmaker Ernest Taylor. It is based on the career of a petty thief who operated in the Huddersfield area during the 1940s. The actors include friends and family who helped in the production.
Titles: ‘None of the characters in this film relate to any living person, any resemblance is purely coincidental. Grateful thanks are extended to the Chief Constable Borough Police and all ladies and gentleman who have assisted in any capacity.’ ‘Characters: The Criminal – Norman Royson. Police Inspector – Norma Woodcock. Ex-National Serviceman – Geoffrey Sutcliffe. Policewoman – Shirley Taylor’ ‘Produced by Ernest Taylor.’
The film opens outside Huddersfield Police Station where a man dressed in military uniform stops and talks to a police officer who has just driven up in a car.
Intertitle: ‘After completing my National Service I would like to join the Police Force.’
They enter the station, and a group of police officers, including three women officers, gather around a notice board to look at a notice going up. It has the headline ‘Stolen’. One of the women officers takes some papers into a police chief who is joined by the army man and the police officer.
Intertitle: ‘Arrange for Police Training … when discharged.’
The army man leaves and the police officer and sits down to talk with the chief.
Intertitle: ‘This safe breaking looks like the work of one man.’
The chief hands some photos to the officer, and some women officers leave the police station.
In the next scene, two men are inspecting some demolished buildings. They look at plans in relation to the site and then walk off. On a sunny day a woman comes out of a house with two children, and they are joined by a little girl who has just greeted her returning father (one of the men at the building site).
Intertitle: ‘The plans are finished dear and I’ll soon have enough money to start building.’
The family return to their house before the man leaves again. He walks past a graveyard and up an empty street. The church clock shows 6.30. He stops at a corner, peers around, waits until someone has passed, and then hastily makes his way into an office. Wearing white gloves, the man takes the key for the safe out of a box and opens the safe. He takes some money out before leaving, trying to avoid being seen. He hides behind a wall waiting for a police officer to pass by.
Sign: ‘Pannal Ash Police Training Centre’.
At the training centre the new recruit from the army is in a class. Later he is with a group of recruits doing exercises in a gym. The instructor demonstrates an arm lock and other manoeuvres on the new trainee. Then all the new recruits eat in the canteen, smarten themselves up in the dormitory, and then marching on parade. They line up for inspection, and the police inspector stops to talk to the new recruit from the army.
The new recruit is directing traffic. At a nearby pub, a man demonstrates a rope trick to a group of men and women sitting around a table. At this point the safe thief enters the pub, takes a seat, lights a cigarette and has a drink. He offers a light to the woman next to him, an off-duty woman police officer, and leaves. Back at his house he joins his two sons feeding chickens outside. They take a bucket full of eggs back to the house. The man goes into his workroom where he takes a key from a large selection hanging above his bench and files it down. He leaves the house and makes his way across a field. His journey is intercut with a view over Huddersfield from a hill. He enters a building, with the church clock again showing 6.30, rifles through a filing cabinet and a writing bureau before finding the safe keys and robbing the safe.
Next two policeman, one of them the new army recruit, emerge from a police box in the city centre. A man is carrying a bag walks along the street. He is watched by a group of men sitting on the side. Back in the pub the safe thief again drops in for a drink, and offers a drink and a cigarette to the woman he offered a light to before. He then flashes a bundle of money when he pays, which the woman notices. After he leaves, the woman mentions this to her friend. When the police officer, wearing civilian clothes, comes in for a drink the woman tells him what she has seen and they depart. Outside the newspaper hoarding states, ‘Safe Breaker Strikes Again’. The police officer and woman stop to ask the new recruit if he has seen the man, and then enter the police box.
Intertitle: ‘A few days later.’
The safe thief is walking along with the surveyor and they meet two women pushing cycles, one of them the woman police officer.
Intertitle: ‘Hello, do you live about here.’
The safe thief points his house out to the women. The men drive off in a car, and the women cycle to a phone box and ring the police station. Dispatch radios two police cars, and the new recruit makes his way back the police station. The safe thief enters a house, finds some keys in a jacket and opens the safe, and steals money and jewellery before leaving by the back door. A group of police make their way to the squad cars, and are given instructions. The new recruit, in civilian clothes, leaves the police station with a police officer and drives off leading the other police cars. They stop by a field and keep watch behind trees. The safe thief walks past, and after a struggle with the policemen and new recruit, is apprehended. They find the stolen money on him, and the thief is taken off in handcuffs while the film shows images of the sky, clouds, and the sun setting.
The final scene of the film shows a police parade and inspection attended by the mayor. Again, the police inspector stops to talk to the new and the woman police officer. The safe thief is seen languishing in a police cell, shouting to the skies and tearing at his hair. The film ends.
Context
This film was made by local filmmaker Ernest Taylor. The YFA has ten films made by Ernest spanning ten years from 1945 to 1955, the year before his death in 1956. He may have started making films earlier in 1939, although the war made obtaining film very difficult. These are mainly family and holiday films, but he also made training films. As evidenced with this film Ernest was willing to experiment in his filmmaking. Ernest was a member of the Huddersfield Cine Club, of which he was twice...
This film was made by local filmmaker Ernest Taylor. The YFA has ten films made by Ernest spanning ten years from 1945 to 1955, the year before his death in 1956. He may have started making films earlier in 1939, although the war made obtaining film very difficult. These are mainly family and holiday films, but he also made training films. As evidenced with this film Ernest was willing to experiment in his filmmaking. Ernest was a member of the Huddersfield Cine Club, of which he was twice Chairman. He was also a member of Huddersfield Rotary Club, and this, as well as his work in business – with his own tailoring establishment – the Special Constables and the Air Training Corps, brought him contacts he could use in his filmmaking.
Ernest was also active in the local operatic societies – the Huddersfield Light Opera Society and the Huddersfield Amateur Opera Society, both performing and organising. In 1954 this resulted in a film he made of one of the Societies and their productions, Amateur Cavalcade. That same year, and the following year, Ernest took Mediterranean cruises, filming the latter, My Summer Cruise. In this film three well known entertainers at the time can be seen: the actresses Mary Clare and June Whitfield, and the singer Gracie Fields. The family of June Whitfield – who later went on to become a very successful TV comedienne – had a shop in Huddersfield, as did Taylor, so he may well have known her. Ernest had already made a similar fictional film in 1951, Service Partners, which won first prize in the Novice Competition of the Scottish Film Academy. Ernest’s son, Stephen, believes that the story for Careless Security is inspired by –but not necessarily based upon – the true story of a local petty thief in the late 1940s, named Moore. Apparently the petty thief shot and killed a police inspector. Furthermore, Stephen thinks that Ernest gave it this title in reference to the ‘careless security’ of the local companies. Although fictional films made by amateur filmmakers aren’t uncommon, there are not that many still around. What is of note in this film is, for the best part, the naturalness of the acting. And although the direction is sometimes a bit ‘stagey’, it is also quite ambitious. As to what films coming out at the cinema at that time might have influenced Ernest Taylor, we can only speculate. Certainly there were plenty of films coming out in the 1940s and early 1950s where the criminal comes undone, such as Night and the City, from 1950. But Careless Security is less like the film noirs emerging from the US than something like the British film of 1950 The Blue Lamp, with Jack Warner playing George Dixon, the police constable who gets shot by the petty crook played by Dirk Bogarde. In contrast, the hero in Careless Security is the woman police officer using her alertness and observational skills. What connects them is the fact that they each have intelligent police officers solving crimes: the writer of The Blue Lamp, Ted Willis, claims that it is the first film not to portray the British policeman as “a bumbling simpleton”. The film revolves around three central characters – the thief and the woman police officer being two, with the new police recruit being the third. Recruiting into the police force from the army is of course not unusual, and this would have been reinforced because at that time there was still National Service – Britain was still fighting in Korea until 1953 – which continued until the end of 1960. Pannal Ash College, featured in the film, is still used by the police although no longer as a training centre. Perhaps the other notable ‘character’ in the film is the large police box used in the film. Police telephone boxes go back as far as 1891, and of course became famous when one of them, on 23rd November 1963, become Dr Who’s TARDIS (time and relative dimensions in space). They became widespread from the 1930s – Walthamstow was one of the first places to get them in January 1936 – until the 1970s when they were phased out. The kiosks could come in different sizes, although the one seen in the film is much bigger than the standard. Interestingly, at the time of writing (June 2009), Huddersfield is going to reintroduce a police box at Almondbury. (With special thanks to Stephen Taylor) Further Information: The YFA has some notes that Ernest Taylor’s son Stephen has produced on the films. There are also some photos of Ernest, with his film projector and in theatre costume. Anthony Aldgate and Jeffrey Richards, Best of British: Cinema and Society form 1930 to the Present, I. B. Tauris, London, 1999. The Police Signal Box: A 100 Year History Where to see police boxes Police box in Huddersfield |