Film ID:
YFA 4249



Visitor Tabs


Prolific Yorkshire filmmaker, G.W. Gillott, comprehensively documents a journey through Northumberland.

Title - 'Orford films presents' -

Title - 'North to Northumberland' -

Title - Our first halt is at high force in Tesside, England's finest waterfall.

The film opens with a shot of water rushing down a river bed over sporadic rock formations, with trees and hills in the background. In the next shot, water with a significant brown tint cascades down a smallish fall. From an observation deck, the filmmaker captures the high force waterfall, meanwhile on the deck; a visitor pulls a man out of shot. In final part of this sequence, two women dressed in woollen coats ascend a set of stone steps.

Title - Over the hills lies Alston, highest market town in England.

On a street situated in the heart of Alston, the filmmaker captures cars and people as they traverse the sloping roads, and beyond this urban scene lies the penines. Following this, there are several shots of the town of Alston; a stone gazebo erected by the side of the road, and on another road, a man unloads a truck laden with hay bales.

Title - The Mountains of Cumberland are not far distant.

An expansive shot shows a man walking along the sandy banks of a lake set against the backdrop of Cumberland Mountains. Next, the man in the preceding shot climbs up a Mountain through dense foliage. Now at the summit, the man, wearing a back pack, sits on the grass with the mountainous landscape spread out before him.

Title - New Eastlands to the lovely Tyne town of Hexham.

In Hexham, an archaic stone building surmounts a busy street populated by cars, people and a row of shops. Cutting away from this scene, the filmmaker captures a fruit and veg market below a canvas canopy. Next, beneath the Hexham cathedral, people mill around a pedestrianized square. In the final shot of this sequence, the filmmaker shows a rather grandiose stately home, and a gardener using a lawnmower to maintain the pristine lawn.

Title - Further north Alnwick is a gateway to beauty.

In this sequence the filmmaker films Alnwick in some detail; cars and busses drive under an old stone gate, various shots of people strolling down a busy high streets lined with caf?'s, shops, and a hotel called the 'white swan'. Next, a shot shows the exterior of Alnwick castle taken from the pavement below. Cutting to the castle entrance; a steady stream of visitors walk through a narrow stone arch, before the filmmaker captures the castle rest grounds in some detail, and this includes shots of stone walls, cannons, turrets and grand archways.

Title - Shores of great beauty stretch away northwards.

An expansive view displays a couple walking across the sand of a wild looking beach. Following this are a myriad of shots of showing different stretches of beach with boats moored in the shallow waters, waves, and houses dotted along the coastline.

Title - Beadnell Bay. Delightful for the beach holiday.

On Beadnell bay, a concrete pier stretches out into the sea, and boats are tethered along the sandy plains. People stroll along the beach while a group of kids prep one of the tethered boats. Cutting to the pier, a group of people watch as various row boats drift in to dock.

Title - Seahouses a paradise for the artist.

A woman sits by the sea painting a watercolour of the boats moored along the pier, while passers-by stop to watch her artistry. A view of the bay shows industrious fishing boats moored by the banks, with stone built terraced housing making up the background. Along the pier, motor boats full of sightseers pulls up along a set of stone steps, which allow the passengers to disembark. Fishermen, wearing highly typical attire, prepare their nets and cages on dry land. Following this are moreshots of fisherman working on their boats; fixing netting, transferring crates of fish onto shore, sorting the crabs, tying their claws and other manual tasks. Cutting away from this scene, the filmmaker focuses on the exterior of 'The Ship Hotel'.

Title - A few miles off shore lie the Farne Islands.

With clear skies and good visibility, the camera, now on board a motor boat, captures the journey towards a rock formation; most probably part of the Farne Islands. Now in close proximity to the rock formation, it becomes apparent that large quantities of birds have nested amongst the various echelons of the rock. Next, there is a shot of several motor boats full of tourists approaching the shore, followed by more shots of the birds perched on the rocks. Off in the distance, Longstone lighthouse is just visible, and on another rocky island, seals can just be made out on the bank.

Title - From the Longstone light William and Grace Darling made their heroic recuse in 1838.

The motor boat approaches the shore where Longstone lighthouse is perched, and another boat; more resembling a catamaran than a traditional row boat, is already moored on the bank. From the bank, the filmmaker captures the other tourists boast leaving Longstone island, this shot is then superseded again by further shots of islands and birds.

Title -The Inner Farne is the largest of all the islands.

The motor boat travels round the coast of the inner Farne, and the initial shot shows the islands white lighthouse perched high atop of steep cliffs. Continuing round the coast, the filmmaker shows various shots of the islands landscape, and there are several buildings built on this exposed land. Now on the island, the camera captures children playing near the sea and adults with luggage standing around. Then, the tourists board the motor boats and leave the island via a small stone pier.

Title - Bamburgh castle towers above this fairy coast.

An expansive view of a long stretch of beach is dominated by the imposing Bamburgh Castle, which sits atop of a section of raised land. A sweeping pan shows the castle wall and the area below in considerable detail. Following this, various shots show tourist groups exploring the castle grounds; entering through the high stone arches and walking along the castle walls, which are lined by canons. The final shot in this sequence shows a panoramic view of the castle as the sun sets behind it.

Title - In this cottage, the heroine Grace Darling was born.

On a street with several cottages, a house centre frame is the former dwelling of Grace Darling; a major celebrity in the 19th century, who was well known for her heroism after saving nine people from SS Forfarshire with assistance from her father, William. Cutting away from Grace Darling's birthplace, the filmmaker shows Grace Darling's grave. Her grave reflects the status of her historical significance, as it is opulently decorated by a stone statue of her sleeping in a four poster bed. Next, the filmmaker shows a road in Bamburgh, and above, a sign reads 'Grace Darling museum admission free'. Final shot shows a young girl leaving the entrance of the Grace Darling museum.

Title - 'A drive across several miles of sand at low tide brings us to Holy Island (Lindisfarne).

A car is parked by a sign that reads 'Caution - Holy Island Causeway - This causeway may not be fordable during a period of 2 hours before and 4 hours after high tide'. Another sign reads 'Warning - 1? miles over sand at the end of the causeway'. After this the filmmaker shows an expansive view of a car driving across the causeway, which is marked out by white pillars.

Now on the island itself, various shots show some of the streets on Holy Island. Away from the streets, the filmmaker captures a wide shot of Holy Islands 16th century castle, and three women wearing floral dresses walking along a path towards it. With the camera situated within the castle grounds, a group of women wearing woollen coats and brightly coloured head scarves stand underneath a stone archway. Following this, the filmmaker captures a religious ceremony taking place within the castle.

Title - Near the Cheviots, at Chillingham, roams a herd of wild white cattle.

A panoramic view shows the Cheviot Hills and rolling countryside. Next, the filmmaker focuses his attention on the Wild white cows grazing in grass.

Title - Three noble bridges span the Tweed of Berwick.

From an elevated position, the town of Berwick stretches out as a seemingly endless canvas of rooftops surmounted by the clock tower of Berwick town hall, and on the far left, the red sandstone 'old bridge'. Cutting to the next bridge; undoutedly the most modern of the three, known as the 'Royal Tweed Bridge'; cars can be seen driving across this bridge. Finally a low angle shot of the 'Royal Border Bridge' captures a steam train making its way to the other side of the river Tweed. In the final part of this sequence, the film maker shows the clock tower of Berwick town hall from different positions.

Title - The harbour yields a daily harvest of salmon.

In this sequence, the filmmaker captures the thriving fishing industry in Berwick; fisherman row out to sea deploying a fishing net as they go, another group of fishermen pull the net in, remove the caught fish, and kill them with the blunt side of a knife, before they pack up their nets and head home.

Title - Famous trains link this border town to Edinburgh.

A passenger locomotive passes the camera, and in the background, the 'old bridge' of Berwick can be seen disappearing into the horizon. Now in Edinburgh, the filmmaker captures various shots of the cityscape taken from Edinburgh castle, and there are several shots showing tourists walking along the castle walls.

Title - Our journey ends amidst the delights of Princes Street.

A heavy stream of traffic travels down Princes Street and on the pavement a group of people wait at a bustop. Cutting away from this street scene, a flower display with words and symbols created with multi-coloured flowers. Following this, people enjoy a public garden; a man stops with his family to take a picture of the floral displays, a woman feeds the pidgeons, and the film ends with a shot of an extremely well groomed poodle.

Title - The end.