Misadventures in Babysitting
This is a low-budget kids’ short I made for BBC Scotland and Scottish Screen’s Tartan Smalls scheme. It was fun to do Joe 90 sci-fi props and muck about with a childs’ eye view. But I guess I’ll never be Carol Reed or Alexander Mackendrick when it comes to directing kids. These boys were really good, but I didn’t know how to get the best out of them. I gained a lot of experience directing a couple episodes of a kids’ show called INTERGALACTIC KITCHEN afterwards, and feel I could do a lot better now.
But here’s how it SHOULD be done:
I like how the (very) little girl doesn’t seem to have been CONTROLLED, so much as turned loose with her dialogue. She swivels around and fidgets and she’s constantly in RANDOM MOTION, like a real kid.
It’s from THE NANNY, script by Jimmy Sangster, directed by Seth Holt. S.H. was an interesting chap whose career crosses from Ealing (he produced THE LADYKILLERS) to Hammer (he died — of hiccups — while making BLOOD FROM THE MUMMY’S TOMB). Holt was singled out by the iconoclasts at Movie magazine as representing the best hope for British cinema to escape its literary-inspired “tradition of quality” and achieve some kind of robust, authentic, home-grown cinema. It didn’t quite happen.
Holt’s NANNY star Bette Davis described him as “a tower of evil” and “the most ruthless director I have worked with apart from William Wyler,” which I assume was intended as praise, since Bette had a tempestuous affair with Wyler and made three great films with him. I wish she’d made more with Holt! Perhaps his failure to sleep with her ended that collaboration.
I can see why Movie rated Holt so highly — he’s gutsy, clever, and in THE NANNY, genuinely inventive and capable of exercising a tight grip on the audience’s emotions. TASTE OF FEAR (AKA SCREAM OF FEAR), the film Movie singled out as showing signs of real promise, is an above-par DIABOLIQUES clone with effective frissons (a corpse seated at the bottom of a murky swimming pool traumatized a young Tom Hanks when his mother mistakenly took him to see the film!). Even a piece of hokum like BLOOD FROM THE MUMMY’S TOMB has points of interest, from its frenzied character performances to its knock-out ending, which seems to anticipate Polanski’s THE TENANT.
More kidstuff: THE NANNY also features a turn from Perky Pam herself, Pamela Franklin, a Shadowplay favourite for her work in THE INNOCENTS and AND SOON THE DARKNESS.