The Man From Nowhere glues all these elements together seamlessly, with a premise that feels slightly near the knuckle these days in that it involves the twelve-year-old orphan heroine being menaced throughout by a sinister adult stranger dressed in black, who follows her everywhere she goes and eventually even manages to invade the sanctuary of her adopted home. However, John Tully’s script sees the whole escapade carried off on a healthy mixture of intelligence lightly worn and easy charm, in a film which both imitates and comments on some of the most common tropes to be found in the classic Victorian mystery literature that it in part sets out to parody. It is also the beneficiary of some leafy locations in the South of England, so redolent of prestigious BBC period costume dramas of the day (as well as the output of a certain other producer of classic British Gothic fare), that they can’t help but induce a warm glow of nostalgia for this children’s variant of a now quaint form of British horror film-making.
Tully’s background in writing for children’s television enabled him with this likable little film to fluently distil for a young audience (but in a non-preachy manner) the essence of mid-Victorian social attitudes towards poverty, and their impact on and relationship to class, as well as illustrate the way in which this often came to be expressed in forms of philanthropy and patronage that were commonly portrayed by the popular fiction of the age -- especially in the works of Dickens. It also references the frequently made observation that Victorian belief in the supernatural underwent a revolution which saw a rise in the popularity of spiritualism, coincident with the industrial revolution heralding the advent of new forms of invention centred on communication technologies like the telegraph, and new signalling systems created to facilitate the age of the steam train -- all of which were developments that helped make the claims of the paranormalists seem that much more credible than they otherwise might have been, even though material science seemed to be conquering the landscape, both figuratively and literally. This was an idea that was picked up by Charles Dickens, and played a central role in his short story “The Signalman”. It was even more evocatively sketched out in Lawrence Gordon Clark’s eerie adaptation of the same story for his BBC Ghost Stories for Christmas strand in 1976 … except that The Man from Nowhere in some respects got there first, opening on a scene set in a village train station (the significance of which will only be made apparent much later in the story) where little Alice Harvey (Sarah Hollis Andrews) arrives, clad in bonnet and shawl and looking like a perfect reproduction of one of Hablot Knight Browne’s and George Cattermole’s illustrations of Little Nell -- the tragic heroine of Dickens’ “The Old Curiosity Shop”.
Emblematic of the innocence and purity of the orphaned heroine in Victorian literature, Alice also evokes the magical world of her namesake from Charles ‘Lewis Carroll’ Dodgson’s famous 1865 work “Alice’s Adventures in Wonderland” and its 1871 sequel “Through the Looking-Glass”. This association becomes more apparent when, upon being obliged to make her own way up from the village station to the imposing nearby mansion known as Tower House – the home of her Great Uncle Harvey (Ronald Adam) – all alone after her Uncle’s housekeeper, Mrs Smee (Gabrielle Hamilton,) is held up while running errands in town that prevent her arriving in time to collect Alice off the train, the orphan encounters a mysterious threatening presence who emerges almost magically from the woodlands at the side of the winding country lane she has to traverse on her way. The figure is dressed in the imposing crape-banded top hat and sombre black suit of mourning common to one of the ‘mutes’ who would have accompanied a typical Victorian funerary procession. This ‘man from nowhere’ appears to belong to a strange supernatural realm, redolent of the woodland setting from which his voice is first heard to emanate in a disembodied form, his features gradually resolving themselves from a vague silhouette outline in the glare of sunlight glinting through the branches of woodland trees.
Spikey, Nobby (Reggie Winch), William (Shane Franklin) and Jim (Robin Keston) are the prototypical gang of friends who you’d expect to find inhabiting a CFF outing during any period in the Foundation’s history. Yet they also fulfil the stereotypical Dickensian roles required of them in this particular period piece, acting as disenfranchised ragamuffin representatives of a hidden underworld of parentless child poverty to which Alice herself also belongs – just like the homeless band of young thieves from “Oliver Twist”. Like any CFF gang, they have a secret den; but this one is secret because it’s on Mr Harvey’s land (‘he’d have us in gaol if he knew!’), and is in fact part of the wooded glade area out of which the man in black first appeared. The boys believe Alice’s claims about this figure without question, and set out to help her prosper in her new home; the adult members of the respectable small household, though, which has ostensibly taken her under its wing out of familial duty (and which only really consists of Mr Harvey and Mrs Snee, along with the family solicitor Mr Freeman) revile her "riff raff" friends from the street and increasingly fail to protect her from this dark menace, who claims at one point: ‘I know everything you’re doing, every minute of the day!’
This is a version of a scenario essayed countless times in a succession of thrillers penned by Jimmy Sangster for Hammer Productions in the early- to mid-sixties. Often termed ‘mini Hitchcocks’ and inspired by Henri-Georges Clouzot’s masterpiece Les Diaboliques they invariably hinged on someone -- usually a female protagonist -- finding themselves menaced by an macabre figure who may or might not be real, in what usually turns out to be a devious and far-fetched plot to drive them to insanity. As Alice attempts to adjust to her new life as the ward of a rich patron, her place in the household is put continually under threat by the unexpected materialisations of this man from nowhere, who threatens to cast doubt on her sanity while implying that the adults now looking after her are themselves suspect; for as the visitations become more frequent and increasingly threatening in nature, the intruder claims that Alice’s rich Uncle means ultimately to do her harm and to ‘get rid of her’ if she doesn’t leave the village and Tower House itself of her own accord.
While the signalling systems used by Victorian station masters in the 19th century were used as a metaphor by Dickens to explore the idea of ghostly spirit messages being carried to earth on an ineffable ether, here they play a vital role in perpetrating the illusion of the existence of an all-seeing spectral visitor from beyond, who always seems to be in possession of knowledge he could not possibly have come by through rational means. The children themselves, though, also use a piece of Victorian technology as their means to expose the plot against Alice: in this case a self-playing church organ that was actually a feature of one of the halls of the great house used by Hill for both the interiors and exterior grounds of Mr Harvey’s mansion. Finally, a traditional Dickensian conclusion is reached, in which all the former poor house children eventually find themselves in considerably better social and financial circumstances than those in which they started out. The film concludes with a theatrical flourish as each of the players take a curtain call as their name comes up in the end credits.
All these elements add up to make a modest but entertaining little picture, steeped in Gothic Victoriana’s virtues; but if there is one element that really makes a difference to the film’s successful implementation of a style and aesthetics very common to 1960s and 1970s British horror films, then it’s the marvellous locations it makes such fabulous use of. Children’s Film Foundation productions never had access to particularly big budgets, of course, and so often these films were made almost entirely on location and therefore in real buildings rather than on studio sets. Such is the case here; and indeed, horror aficionados won’t need to be told twice that the ornate exterior of Tower House is none other than Oakley Court!
Designed and built in an eccentric ‘French Chateau’ style by Sir Richard Hall Say in 1859, this grand mansion on the banks of the Thames, in the county of Berkshire near Winsor, is perhaps the most famous Gothic residence in British Horror, having appeared in countless films, particularly in the 1970s. Hammer Productions, who briefly used it as a mansion house studio from the late 1940s (when, appropriately enough, they shot The Man in Black there) up until the mid ‘50s, when they moved to their more famous Bray Studios complex at nearby Down Place, helped to make it instantly recognisable, frequently re-using it as an exterior for films such as Lust for a Vampire. But many other British movies, such as The Legend of Hell House and Norman J Warren’s Satan’s Slave, also made ample use of its striking exterior profile, and sometimes the grounds too -- not to mention the occasional appearance in Italian movies from the same sort of era, such as Sergio Martino’s All the Colours of the Dark and Lucio Fulci’s A Lizard in a Woman’s Skin.
We get scenes set on the vast staircase and balconies, and in darkening wainscoted drawing and dining rooms; also there is a scene which takes place in one of the chamber-like Gothic bedrooms and – the site of a memorably scary moment -- the house’s back kitchen, where the menacing man in black materialises in front of Alice after the door has been locked from outside, trapping her in the room with him. Particularly notable is the use made in the plot of the vast pipe organ, which was, according to former Hammer stills photographer John Jay (quoted in Wayne Kinsey’s Hammer Films: The Unsung Heroes) an offbeat feature of the residence eccentrically fitted in the main entrance hall. Writer Mark Tully mentions in the short introduction to the film he supplies for the BFI booklet, that James Hill had him incorporate this bizarre furnishing into the screenplay after they discovered it while looking over the site just before filming started. The adoption of aesthetic elements of BBC period drama, along with the British horror film’s best Gothic trappings, raise this piece well above its humble origins, and it becomes not just one of the best and most original works made for the CFF, but also a worthy if marginal entry in the annals of Britain’s heritage of horror.
Haunters of the Deep is set on the Cornish coast in the 1980s and has a charmingly accented young hero called Josh (Gary Simmons) who appears to be exactly the same kind of adventure-minded, bike-riding, scruffy-haired young tyke as would have been found in any of the classic period CFF adventures, except for his localised accent and a clearly less well to do background than his middle-class predecessors of old. Both this and the following Out of the Darkness -- the second offering from the CFTF on this disc -- involve boy protagonists with regional accents who come to develop a special sort of affinity with a long dead child of an equivalent age, who emerges from out of the murky depths of a mythologised local folklore. Here, young Josh plays among the ruins of Edwardian era mine shafts on the Cornish headlands, enjoying a half-term holiday in a romantic, windswept summer landscape of sandy bays, fishing harbours and rugged cliff crests from which the remains of old mining chimneys poke like blackened fingers amid the empty shells of abandoned engine houses, themselves suggestive of a long vanished era as they totter against a backdrop of waves pounding and crashing on jagged rocks that host hidden cave entrances from which, even further back in time, pirates and smugglers once plied their murderous trades.
These elements are all authentic components of the shooting location’s true history, the landscape of the Penwith Peninsula dictating both the atmosphere inspired by such picturesque Cornish scenery -- which director of photography Ronald Maasz (an experienced camera operator and second unit DP who’d been working in the industry since the 1940s) manages to capture so convincingly -- and the very subject matter itself, which story creator Terry Barbour and director and co-writer Andrew Bogle co-opt from local legends and myths attached to this evocative place -- where a documented history of industrial development and working class poverty share space in the imagination with folk beliefs about spectral lights in disused mine shafts, and the sound of ghostly tappings echoing through abandoned tunnels.
In the story, a tragic past involving the dangerous work that once used to be carried out in local tin mines by children as young as Josh is now, amid tunnels which stretch hundreds of miles below the surface of the sea, is reawakened when Bill Roche, the divorced American CEO of Aminco Mining (Bob Sherman) -- who happens to be holidaying in the region with his daughter Becky (Amy Taylor) -- finds his free time cut short after the discovery of a rich seam of tin ore in the infamous old Stranglers Head mineshaft compels him to investigate on behalf of the company. As he contemplates reopening the mine for business, the local community consider the prospect of more work coming to the region, in an area struggling with declining prosperity.
One family potentially affected by the news are the Holmans: Josh’s older brother Daniel (Peter Lovstrom) considers augmenting the living he and his father (Brian Osborne) have been making as fishermen and volunteers to help clear the rubble which has built up in the old shaft over the intervening decades since work originally stopped. Meanwhile, Josh is reluctantly drafted by his mother (former Hammer star Barbara Ewing) into spending the day with Becky while her dad is shown around the tunnels and shafts of the potentially profitable mine by a local employee of Aminco, accompanied by Daniel, and Jack (Patrick Murray – better known for his character Mickey Pearce in Only Fools and Horses) -- a friend of Daniel’s who’s also looking to find employment as a mine-clearing labourer. But the very suggestion of operations starting up again at the Strangles Head mine brings local ‘eccentric’ Captain Tregellis (Andrew Keir – Dracula Prince of Darkness) out of the woodwork with dire warnings of what might happen if this site “which is owned by the Devil” is ever reactivated. “Too many souls have been lost in pursuit of its treasures,” old Tregellis warns the bemused American; “there are spirits entangled in its depths. Disturb them at your peril!”
The film plays up a contrasting imagery of light and darkness, as evinced by gorgeous summer coastal views that Bogle and Maasz conjure from Cornish cliff-top pathways and hills which gaze down on dramatic vistas and rocky coastlines, setting this bucolic vision against the dank, dark, clammy tunnel-ways stretching under the sea and now explored by Roche and the mine experts. Above ground is a region of play and exploration for the two child protagonists; below, the memory of a benighted past of industrial exploitation and poverty lies buried but ready to be exposed at any moment with the opening up of the mine for work once again. The link between the two worlds is Josh – who is the only person able to see the ghost of Billy Bray (Philip Martin): a child worker who perished during a mining accident in the early part of the 20th century, and who now returns with whispered messages in an old Cornish dialect, and haunting visitations that warn of another disaster about to occur in the present. Bogle stages these ghostly sightings with real sensitivity and skill, bringing the blindness and disorientation of the circumstances surrounding the boy’s demise into the picturesque daylight world inhabited by his contemporary equivalent. Billy’s ghost often appears dimly set in a swirling bank of fog that partially envelopes him, creating imagery very reminiscent, in the mise-en-scène it establishes, to John Carpenter’s 1980 film The Fog.
With the spectral figure of Billy often inhabiting some haunted-looking landscape tableaux, and a memorable sound design of eerie wailing by ‘the Spriggins’ (dead miners whose souls have been trapped in the shafts they perished in), Haunters of the Deep contains plenty of chills to give its young viewers nightmares, but it also draws poignant parallels between the present and the past through Andrew Keir’s character Tregellis. He turns out to be a former mining Captain who started work in the tin mines as a young boy. As Josh and Becky bond over their fascination with Tregellis’s knowledge of the minerals to be found in the region as well as the history of Cornish mining (“the definition of a mine is any hole in the ground with a Cornish man at the bottom of it!”), overcoming the vast differences in their backgrounds while they discover this buried store of local lore (Becky’s is privileged but marred by the divorce of her parents; Josh’s family are poor but extremely close-knit), Josh notices a photograph on the wall of Tregellis’s cottage, depicting the spectral boy whose gravestone he earlier found himself facing, after having been somehow led to it through eerie mists until he arrived at a graveyard adjacent to a cliff-top chapel. It emerges that Billy was Tregellis’s boyhood pal.
The old mine Captain, consumed by survivor guilt for not having been able to rescue Billy, is able to assist in the translation of the dialect still being used by the boy for his whispered warnings, but is unable to see his former best friend now; he remains cut off from his boyhood past by the intervening years of adulthood. It is Josh who must in the end venture into the mine and confront the pain of the past in order to rescue Becky’s father and his own older brother, after a rock fall in one of the tunnels traps the mining party deep underground, just as Billy Bray and the Spriggins predicted. The second half of the film takes us into standard adventure/rescue CFF territory, yet is imbued with a sense of tragedy linked to the past as Josh experiences further encounters with more long-dead ghostly visitors, which become ever more intense as he and Becky (rather irresponsibly encouraged by Tregellis) venture down a tunnel they’ve been led to earlier by Billy which leads to a shaft that might eventually provide an escape route for the trapped men.
Haunters of the Deep effortlessly combines the history, folklore and superstitions of the actual region it was filmed in with a typical tacked on uplifting positive CFF message, in which young people are show to overcome their fears and in the process display moral fortitude and a spirit of adventure. Although there are pompous or cowardly minor characters in the film, unusually, there are no real villains portrayed -- with even the CEO of the mining company coming across as likable. And the Spriggins, initially set up almost as demonic spectres, intent on causing mayhem and disaster, are eventually proven to have been merely emissaries from a realm that brings only a warning from the deepest recesses of the landscape’s past about what the future might hold if one does not pay heed to what has been before.
The same potent mixture of folk horror that includes strong Gothic undertones continues with the third and last of the trio of tales included with this set. Out of the Past is yet another story rooted in a corner of history intimately tied to a surviving landscape in which many of the narrative’s events actually took place in some form. This time CFF veteran and TV director John Krish presides over one of the CFTF’s most haunting tales, based on the novel “The Ivy Garland” by John Hoyland. Tom (Gary Halliday) accompanies his best friend Mike Neil (Michael Flowers) and his family -- which is made up of Mike’s mother (Jenny Tarren) and his sister Penny (Emma Ingham) -- on a trip to the Derbyshire village of Stonewell, where the Neils have bought an old cottage in need of renovation as a possible holiday home.
They are intrigued to learn from local museum owner, folklorist and part-time paranormal investigator, Julian Reid (Michael Carter), that the cottage was once a 17th century plague house, which had a particularly dark role to play in a piece of local lore which has haunted the village of Stonewell for three hundred years: an entire family who once lived inside these unchanged stone walls during the plague years of the 1660s were buried within its confines, in the back garden, after succumbing to the Black Death, to try to halt the further spread of the disease – a common practice at the time, which is the reason why so many gravestones are scattered all over the villages of the Derbyshire countryside, so close to places that are still used today as residences. However, their deaths occurred soon after the family had taken in an orphaned boy: the son of friends in the neighbouring village of Eaym, who had been secretly sent to live with them by his parents just before they too fell to the infection decimating the population of their own village. The local history books tell that, fearing this lad to be a carrier who now risked condemning Stonewell to the same fate as that which had befallen the quarantined Eaym, the entire village turned on him, and forced him out into the woods, after having first commissioned the local blacksmith to forge an iron collar with a bell attached to it which they forced him to wear in order to warn them if he ever tried to venture back into populated areas of the village at night. When, driven to by starvation and the cold, the boy did finally attempt to come back, the entire community gathered once more as a mob … and murdered him.
Once again, although the legend related above is fictional, the makers of this drama were tapping into real events from the 1660s, when plague did indeed sweep many areas of the country, shaping in the process much of the character and feel of the Derbyshire locations shown throughout this evocative film. The story resonates historically because the village of Eaym is indeed remembered for choosing to isolate itself from the outside world rather than spread the plague elsewhere; and the scenery so evocatively caught on film here by director of photography Ray Orten -- the dry stone walls crisscrossing escarpments between pasture land and the unchanged 17th century face of much of the village architecture itself (not to mention the numerous old gravestones seen sprouting up in unusual places) – suggests how the past envelops and dominates the present in this region; and this, indeed, is made the central theme of the film. It is as if the collective consciousness of the present population of Stonewell is unknowingly trapped in a time-warp of ancestral guilt over the actions of its forebears, preserved by its local legends for historical posterity.
The film makes good thematic use of the standard motives often used to embellish many traditional ghost antecedents -- both literary and anecdotal – providing them with a reason for their manifestations upon this earthly plane: namely, a need to be remembered by somebody living, and for the site of their death to be discovered so that their remains can be properly laid to rest, thus allowing them to move on. The problem of memory and the means by which we discover and commemorate historical events, and what the experiences of our ancestors is capable of saying to us about ourselves in the present, are themes which are particularly prominent in many ghost stories, and nowhere are they more evident than in this one. Tom also has vivid and disturbing visions of the experiences that were endured by the Eyam boy during his ordeal, and he feels the full onslaught of the fear and anger the boy inspired in the villagers of three hundred years past. But the film’s most haunting sequence comes during a supernatural experience that, in fact, happens to Penny when the three youngsters spend the day at the cottage by themselves: after falling asleep in a windowsill, the young girl has an out of body experience that seems to take her back three hundred years to witness through semi-blinding light and fog, from the top of the cottage staircase, the small coffin of a child being removed from a room that she and her peers were minutes earlier happily playing in, borne by a cloaked figure wearing one of the age’s characteristic wide-brimmed puritan black hats.
The unbroken line of ancestry connecting the past to the present becomes noticeable in the very faces of the villagers Tom witnesses persecuting the unfortunate boy during his own visions of the 1660s, experienced when the family visit what seems to be a perfectly picturesque hillside to soak up some history,that also turns out to have been the site of one such instance of mob injustice. The faces of the mob are the same as those possessed by the apparently benign figures Tom encounters in present day Stonewell: the local garage mechanic (Roy Holder) looks the same as the blacksmith who made and placed the collar and bell around the lad’s neck and then led the fearful villagers on its terrible hunt; and that mob is itself also made up of a lot of the same faces we see elsewhere in the present day community, such as the mute cleaning lady from the guest house (Hilary Sesta) and the lady at the counter of the local corner shop – a visual metaphor to emphasis the museum curator Mr Reid’s point that the 17th century atrocity might seem remote to contemporary eyes, but that it was carried out by ‘ordinary good people’ who were turned into savages by fear.
Reid’s interest in the village's past and its vestigial ghost turns out to be the result of his determination to find out if one of his own esteemed ancestors also took part in the villagers’ actions that day all those years ago, or whether he attempted to stop the tragedy, but failed. Ghosts offer us the promise of being able directly to perceive a past which is otherwise liable to become obscured by myth and legend; they bring with the contradiction of their non-corporeal bodies a sense of the past’s resistance to full exposure, while holding out the possibility of our untangling the mysteries of its circumstances and bringing resolution to the problems of the present through remedying and laying to rest the pain and legacy that lingers on as a bequest of an obscured history. Here, that idea is combined with a traditional CFF adventure-type approach to the final act, in which Tom finds himself literally transported through time and trapped in the 17th century after becoming lost in the very woods that the Plague boy was himself banished to just before his death. He takes the place of the victim, experiencing directly the events which led to his demise and risking re-enacting the same fate while he is being pursued by the same torch-bearing villagers -- unless his two friends and Mr Reid are able to reach him in time.
The synergy that’s formed between that 17th century hunt and the attempts of the village mob’s present day ancestors to organise themselves into an equivalent search party -- but this time with the objective of saving Tom rather than condemning him -- helps put a positive spin on some dark material. Tom’s literal re-enactment of the past enables him to discover the site of the ghost boy’s remains, and in doing so he also helps to partially lift the shadow of shame which has blanketed the village of Stonewell for centuries; for it transpires that the boy’s death was in part accidental rather than a deliberate act of collective murder. Out of the Past succeeds in taking on a sensitive area of history and turning it into an engaging ghostly adventure that, while ticking all the adventuring boxes demanded of any CFF or CFTF story, delivers some effective, atmospheric imagery which takes place in a compelling pastoral landscape emblematic of the region’s folkloric history.