Film ID:
NEFA 9071



Visitor Tabs


The film element of an edition of the Tyne Tees Television 'Access' programme transmitted 11 November 1976 and presented by Bob Woodhouse who looks at some of the historical and cultural highlights in the Cleveland area. The film asks the question why is Cleveland being ignored by regional and national tourism agencies.

The opening shot pans from left to right showing  Cargo Fleet(?) or South Bank(?) steelworks. As the shot continues to pan right it takes in the blast furnaces and cooling towers. In the middle distance some single storey wooden buildings come into view. Bob Woodhouse, the presenter speaks to camera against the backdrop of the steelworks just seen. He outlines the case for Cleveland as a historically important area and should be promoted as such rather than perpetuating the view of the region solely as an industrial area. He asks 'where are the historic buildings?' and 'who's looking after them?'

A panning shot from right to left shows the Halfpenny Bridge at Saltburn, and Mr Woodhouse states that it was a structure listed by the Department of the Environment. The footage continues showing the bridge being blown up in 1974. A long shot from a high angle shows a view of Saltburn beach with Huntcliff in the background. Mr Woodhouse to camera gives a brief history of Saltburn, in the background the distinctive pale coloured brick buildings on Marine Parade. The film cuts to the Ship Inn. On the beach in front of the inn are fishing cobles. A low angle shot shows the former Zetland Hotel. The shot pans from left to right, again showing Marine Parade. The film cuts to an old promotional poster for 'Saltburn -by-the- Sea'. The poster shows local landmarks including Cat Nab and the pier. Photographs are shown of Henry Pease and the founders of Saltburn, who built the modern town as a resort.The camera zooms in on this photograph and then the film cuts back to the poster seen earlier, the camera panning left to right showing poster details. There follows some stills of old photographs showing Saltburn pier and the old vertical cliff lift which was in operation before the current funicular railway. Another still photo' shows the building of the Halfpenny Bridge, which cuts to a still of the Italian Gardens in the valley below the bridge. Another still shows Victorian holiday makers playing croquet. Another photo shows the Zetland Hotel and other buildings along the cliff top. A closer still photo' of the Zetland Hotel follows. The film continues with a shot of the terrace along Marine Parade with the distinctive pale coloured facade of parts of the terrace. The film cuts to streets named after precious stones, Ruby Street followed by Emerald Street and as the camera pulls back we see one of the distinctive glass and iron awnings that appear in the front of some older shops and businesses in Saltburn, this time in front of a wine shop. A Volkswagen Beetle is parked in the foreground. The film cuts to a shot of Saltburn Railway Station's portico, followed by a long shot showing  the old railway platform which runs into the back of the Zetland Hotel in order that passengers could leave the train within the hotel. The camera zooms in on the hotel sign which appears at the rear of the hotel. The film cuts back to the street sign for Emerald Street. Again the camera pulls back to show an iron and glass awning. A shot follows looking down Station Street showing the railway station portico in the distance.

Bob Woodhouse and two students(?) look down into the valley from a fenced off access point to what would have been the Halfpenny Bridge. The camera pulls back, showing clearly the iron barrier fence and the valley floor growing wild below. Bob Woodhouse asks the students whether they remember the gardens, which they don't and he uses this sequence to emphasise the danger of what the region has lost and might lose if intervention or protection for buildings, gardens etc. isn't forthcoming. The film cuts showing a shot out to sea where the broken iron stanchions of the collapsed section of the pier can be seen. Two figures walk along the beach, the pier in the distance. The film cuts to the buildings at the promenade end of the pier, at the entrance warning notices regarding the current state of the pier are on display. The camera pans from left to right showing the extent of the remaining pier. Figures on the beach look on. A close up follows of the pier. the camera pulls back showing Bob Woodhouse looking out from the promenade towards the pier. The film cuts to a shot looking out along the length of the pier showing the complex ironwork taken from a point below the pier's promenade buildings. A high angle shot from the top of the cliff shows the promenade buildings at the pier entrance and the full extent of the pier as it reaches into the sea. The camera zooms in on the damaged end of the pier.

A shot follows showing the two carriages of the funicular railway at the bottom of the cliff railway. The camera pulls back to show the full length of the railway. The next shot is a low angle shot from the bottom of the cliff lift looking up, where the carriages are parked at the top of the cliff. The next shot shows Bob Woodhouse speaking to camera with the students seen earlier.

The film cuts to two swans on a pond with reed beds. The camera pulls back showing a landscape of ICI's installations at Wilton in the distance.

The film cuts to a shot of Kirkleatham Almshouses. A shot follows of a still photo of Kirkleatham Hall, then a view of an estate drawing (possibly by the Dutch artist Kipp). Bob Woodhouse speaks to camera. He explains that the hall was demolished in 1955. The camera pulls back showing one of the surviving buildings from the original hall, the stable block. The film cuts to an area near the stable block showing an untidy and neglected part of the building. The film then cuts to show an area of surrounding parkland which is due for re-planting.

The next shot shows the Sir William Turner hospital now almshouses. This is followed by one of the white statues in a niche which adorns the building. The camera pans right showing almshouses residents relaxing on benches outside. The next shot shows the almshouse clock which pulls back showing the height of the clock tower and a statue in the foreground.There is an internal view of the almshouses chapel, showing the stained glass window above the altar. A close up of the window shows a representation of Sir William Turner in his robes as Lord Mayor of London. A framed letter in the church from Charles (the Second?) officially sanctions the building of the hospital. The next shot shows Sir William Turner's death mask. Bob Woodhouse sits down with the clerk to the trustees of the Sir William Turner Foundation. They talk about the budget required to maintain the buildings. The film cuts to Bob Woodhouse standing in front of a barrier which has a 'keep out' sign on it. In the background the former free school built by one of the Turner family. The building is now know as Kirkleatham Old Hall. At the time of filming remedial work was needed on the building so that it could remain open as a museum. The next shot shows the Turner mausoleum attached to the local church, St Cuthberts. A close up follows of one of the round windows of the mausoleum. The camera pulls back to show the whole building. Bob Woodhouse speaks to camera from amongst the church's gravestones.

A change of location as the film cuts to a high angle shot outside the entrance to Middlesbrough railway station. The camera pans left to right showing the Victorian and Edwardian buildings on Zetland Road and others nearby. This sequence was possibly photographed from Zetland House (now demolished). At ground level the camera shows in a left to right pan the Royal Exchange building. The film cuts to Bob Woodhouse on Zetland Road walking with Peter Boughton (?) a local schoolboy who has taken an interest in the old buildings of Middlesbrough. They walk past the Zetland Hotel. The camera pans left to right along the front of the Philip Webb [noted Arts & Crafts architect] designed British Steel offices, originally Bell Brothers offices. A higher level shot from the railway station car park shows the finer points of the architecture of the building. Next at pavement level, the Barclays Bank building on the corner of Zetland Road and Albert Road opposite the station is, we are told, an example of a Victorian Gothic building. The camera pans from left to right showing the numerous arched windows of the building. The railway station's architectural merits are also appreciated. The Royal Exchange building is shown next designed by J.C. Adams of Stockton-on-Tees, with a panned shot right to left then in close up. Described by Bob Woodhosue as a Victorian Classical building. The film cuts to a public notice on the edge of a construction site. The notice outlines work being undertaken on a new road, 'Northern Route Stage 1B'. The film cuts to a shot of modern office be seen at the end of Zetland Road. The camera pulls back taking the length of the whole street into shot.

Another change of location, this time to the Transporter Bridge across the river Tees. A close up shows the gondola as it approaches the Middlesbrough side of the river. A low angle shot follows look up through the complex steel structure of the bridge. Another shot follows of the gondola through the steelwork as it approaches the bankside. Another public notice, this time in the centre of the road which says 'Transporter Under Repair'. Long shots follow of the Transporter Bridge.

The film then cuts to a group of men walking towards the camera. Bob Woodhouse approaches them. He talks to some of the men about the area and any interest they may or may not have in the history of their town or the area in general. One of them expresses an interest in Mount Grace Priory. Bob Woodhouse invites the man and his family on a guided tour of the priory. The film cuts to Mount Grace Priory and shows them all walking around the grounds looking at the remains of the priory buildings . Bob Woodhouse asks what his guest thinks of the priory.  A shot follows of the ruined tower and arched windows of the church buildings. The group of explorers enter the frame from the right. A closer shot follows showing the ruins of the church building. The camera pulls back to show a different view of the whole of the church building. The camera then makes a travelling shot, going underneath an arch, followed by a low angle shot of the church tower. Bob Woodhouse's guests enter an open area of the ruins, through a stone framed doorway where monks had lived in cells. Bob Woodhouse explains to his guests what the life of a monk was like. The camera cuts to a long shot of the group. An old stone wall with a view of the forest beyond feature in the shot. A close up follows of a hatchway in a stone wall belonging to one of the cells. This was used to pass meals to the monk living in the cell. Another shot from a different angle shows the hatchway again. A long shot follows of the priory wall, and the remains of individual monk's cells. An overhead shot shows the children of Bob Woodhouse's guest exploring a dark corner of the priory. They then run up some steps and walk along a grass embankment, in the distance the church tower. Bob Woodhouse speaks to camera in the grounds of the priory. The film ends with the children appearing through a stone doorway in the priory wall on the right of the shot and then running off to the left of the picture into a large open grass area of the priory, heading towards the church building in the distance.