Film ID:
NEFA 20947



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This amateur student film was made by the Bede College Film & TV Department of Durham University in the late 60s. It is a fantasy film based on a boy meets girl story. A younger and older photographer meet in Durham for a press job. The two symbolise one man, as his younger self, and as the older, more experienced man he will become.

The film opens with an overhead close-up of a young woman reading a magazine. She’s sitting waiting in a doctor’s surgery. She flicks through the pages. The magazine is a copy of the photo magazine ‘Life’, a special issue titled ‘Portrait of Durham’. A voice shouts ‘Miss Pollard’ and she gets up from the chair.

Title: Bede College Film & TV Department Presents

Title: Double Vision

The opening of this section shows the townscape of Durham City, especially the castle and cathedral.

In the foreground a bearded man, assembles a camera from parts placed on the roof of his Morris Mini car. A notice on the windscreen reads ‘Press’

He puts a long lens on his camera. He places it on the roof of the car then checks his watch. He lights a cigarette. A loud car horn sounds and a Mini van drives into the area where he’s parked. The Mini skids around, the man flags the driver down. The van drives over the tip of his shoe. He shouts at the driver, ‘You’ve gone over my bloody foot!’

The driver looks at the man apologetically. The driver, a younger more trendy-looking man, gets out of the car. The older man gives him two rolls of camera film and says: ‘Take this 50 and you’d better take a 200 just in case’.

They continue with their discussion and the younger man talks about meeting a new girlfriend. The younger man clumsily drops a lens he’s been trying to fix to his camera, his mind not on the job. He picks it up and then gets instructions from his partner as to which section of the city he should concentrate on photographing.

The film cuts to a tribute to Durham City set in stone on one of the city’s bridges. A voice reads the text.

The film follows the two photographers. The older man takes pictures of a fashionable girl as she poses next to trees along a riverside footpath. The younger man waits in a doorway in the city centre hoping for a photo opportunity.

A general view shows Durham’s National Provincial Bank building and the small kiosk in the centre of the market square which was used by police to help direct city traffic. The young man looks in the kiosk window, which shows one of the close circuit TV monitors showing local traffic flow. The film cuts to one of the TV cameras mounted on a pole.

A young woman is smoking a cigarette somewhere else in the city, spotted by the young photographer through his lens. He runs up the street towards the woman, carrying a box of matches. He puts the matches away disappointed as the woman’s cigarette is already lit.

The young photographer points back up the street. The film cuts to another part of the city where the couple walk together. He asks the woman for a date, and they arrange a meeting time.

He leaves the woman and walks along a riverside path. He meets the older photographer coming from the opposite direction. They both stop suddenly, and approach each other cautiously, in the style of an old fashioned western as though they were about draw guns. They both start taking photos of each other. Eachof  them falls to the ground feigning bullet wounds as the soundtrack provides gunshot sounds.They get up, and walk off.

The younger man is now buying drinks in a pub for the young woman he's just met. He talks to her about his work, and how he likes Durham. He offers his girlfriend a cigarette.

She says there’s a good party to go to and they both leave the pub.

In a small living room, couples dance close together during a slow piece of music, including the photographer and his girlfriend.

His girlfriend invites him home for coffee. They walk to her front door and let themselves in, the woman anxious they should not wake her parents.

They sit on the sofa together. The film cuts to water being poured from a kettle into coffee cups. They drink their coffee. The woman tries to undo the young man’s shirt, and then talks about removing her clothes. He reacts by almost choking on his coffee.

He looks somewhat taken aback, as she begins to remove her sweater. He starts to remove his shirt. The film cuts to him sitting beside his girlfriend who lies on the floor, he says he’s sorry.

Back in Durham city centre, a bus passes the traffic control kiosk.

The young man walks disconsolately along a rain soaked pavement. The girl runs out of a shop and catches up with him. She then walks off ahead while he follows some distance behind. They cross Elvet Bridge, with the young man still walking behind. He catches up with her then they walk on hand in hand.

At a bookstall in a market, a close-up shows a copy of the Kama Sutra along with other guides to sex. The boyfriend is dragged away by the young woman, but she then points at some necklaces and jewellery for sale on another counter. On the soundtrack, the words ‘I’m Sorry’ echo in the background. They look at other items on sale, and the words resound again.

They walk off through the market. It's still raining. General views of the river follow, through very dull rainy weather. The film shows the very modern Kingsgate Bridge across the Wear leading to Dunelm House.

The film cuts to the photographer and his girlfriend speeding along the road in his Mini van. He is driving recklessly, frightening his girlfriend. They are travelling somewhere for a photo shoot out of Durham city. The young woman suggests they stay at a hotel somewhere as they won’t get back to Durham until late. The car passes a road sign for Bedburn. More views follow of the car speeding along the road through open countryside.

The car eventually arrives at a country hotel. They enter a bedroom, the girl lies on the bed. She then combs her hair while the boyfriend checks his camera, and changes the lens. The girl poses for photographs, and then starts undressing.

The film cuts to both of them in bed, talking to each other. They start to kiss and the view moves to the left to where the young man’s camera rests, lens upright, on a bedside cabinet.

The two lovers both lay together asleep.

Back to the place where the two cars were parked at the beginning of the film. The film ends as the young man gets into the Mini his older partner was originally driving, and drives off.

Credits: Photographer as a young man – Dick Junemann

Credits: Photographer as a man – John Sansick

Credits: Girl – Michele De Villez – Stand In – Christine Lee

Credits: Model – Alison Court

Credits: Actor’s Photographic Equipment Loaned By Finningham’s of Durham

Credits: Technical Assistants – Alan Ellison, Chris Fletcher, Ray Alderson, Duncan Brown, John Forrest, Bob Truemann

Credits: Production Assistant – Pat Stevenson

Credits: Script, Photography, Editing, Sound, Direction – Christopher Mann