Even today, when the majority of mainstream sports have switched allegiances to the pay-per-view big bucks of subscription satellite broadcasters, Saturdays still constitute the one odds-on cert of the week when those who resent their licence fee being squandered on sport get rather hot under the collar. Step back in time three or four decades, however, and we have all sporting events spread across the two BBC channels and ITV. Even the sports that the Digger’s empire has held the live rights of for so long that it’s hard to imagine them being screened on mainstream telly now – the most obvious being cricket – had to be assimilated into rather crammed schedules alongside the non-sporting shows. Makes you wonder how they managed it within such a narrow window, but they did.

And let us not forget that every Saturday, spanning the almighty broadcasting chasm from lunchtime to teatime, both BBC1 and ITV handed over roughly five hours to non-stop sport. ‘Grandstand’ and ‘World of Sport’ had complete control of that time slot, as fixed and set in stone as the school broadcasts were on weekdays. If it was one of those drizzly, dreary afternoons that kept the bike locked in the shed, what alternative was there on the box? An afternoon institution by the name of Saturday Cinema on BBC2 – the sole alternative; if you didn’t like sport, you were provided with a glorious cinematic education.

There was a rigid rule in place up until around the middle of the 1980s that kept films with a shorter vintage than five years away from TV screens – ‘Cabaret’, for example (released: 1972), didn’t receive its British television premiere until 1978. The way that British TV dealt with this embargo was to give the kiss of life to the Golden Age of Hollywood. At a time when monochrome shows from the 60s were being junked because nobody in television believed the public, who had forked-out small fortunes for colour TV sets, would tolerate black & white broadcasts anymore, Saturday afternoons on BBC2 were a sanctuary for movies that spurned Technicolor in favour of a lush cinematography that manufactured a unique illusion of the real world in fifty shades of silver, one unlike anything on offer in the expensive disaster blockbusters at the local fleapit.

For those of us who hadn’t lived through the realities of the 30s and 40s, the interpretation of it that we garnered from Saturday Cinema was of fire escapes on the sides of buildings, hats on every head, Art Deco automobiles, raincoats, tuxedos, cigarette holders, Bourbon-on-the rocks, neon lights flashing through venetian blinds, shoeshine boys, speakeasy clubs with dancing-girls, black pianists and chanteuses in sequins, streetwise dames who gave as good as they got, and fast-talking, snarling guys who spoke in a slang that had the infectious rhythm of jazz, guys who’d shoot first and ask questions later.

The look was as startlingly distinctive as the dialogue, as was the music – stabbing strings that emphasised the intensity of the melodrama during the final scene; and someone always died in the final scene. These films opened with the credits and concluded with a simple ‘The End’; they rarely ran longer than ninety minutes; they lifted the young viewer out of the genuine horrors played out on TV news broadcasts and into a parallel past with comforting archetypes and clearly-defined boundaries that were easier to understand, not to mention far more seductive. The women were beautiful and the men were handsome because the cinematographers spent hours lighting the set before shooting actually began; this really was cinema as an art form, utterly separate from reality and re-imagining the world in a way that only the graphic novel is capable of doing in the 21st century.

The incredible on-screen presence of Cagney and Bogart or Crawford and Davis is a world away from the studied mumbling of contemporary movie icons. These were actors who had paid their dues on stage and always carried their voices to the back-row. They predated the Method, but the curious caricatures of real people they played seem just as authentic as the Method because they make perfect sense in the artificial construct of reality they inhabit – just as nobody in a comic book thinks it remotely odd that musclemen in tights engage in fisticuffs that leave their streets resembling war-zones. Who pays for the damage when the Incredible Hulk has a punch-up with the Thing? Who cares?

Children stumbled upon classic cinema in the 70s and 80s because there were no TV alternatives on a Saturday afternoon. Now there are, and it’d be interesting to see how many movie stars from the 30s or 40s any child today could name. Would they recognise Edward G Robinson or Barbara Stanwyck? Would they even recognise Laurel and Hardy? Some of these old stars were still alive when I was a child – and occasionally turned-up in a toupee on ‘Parkinson’; but a lot of them were long-dead. They were before my time, but of my time as well.

In a fragmented television landscape where anything other than talent contests, quiz shows, antique treasure hunts, house conversions and ‘maverick detectives’ hunting down serial killers have been reduced to niche interests and ghettoised via specialist channels, a child would have to seek out these movies now; I didn’t. A paucity of choice actually brought the viewer into contact with programmes only the converted would make the effort to track down today. I welcome the theoretical availability of choice in terms of channel numbers, but I’d like there to be a little more choice within the channels I can receive, not a schedule designed solely to give me more of what I’m already familiar with.

Hope has appeared, however, in the shape of a newcomer to the overcrowded digital TV landscape called Talking Pictures TV, which specializes in precisely this kind of celluloid entertainment; it’s already collected quite a cult following, which is encouraging. The world of ‘Double Indemnity’, ‘White Heat’, ‘The Roaring Twenties’ and ‘Mildred Pierce’ remains as entertaining an alternative to what’s outside the window as any the 20th century invented. And still a bloody good alternative to sport.

© The Editor

7 thoughts on “SATURDAY MATINEE

  1. It’s true that the previously limited viewing options provided the opportunity for serendipity to open our minds to areas of which we may have otherwise remained ignorant or in active avoidance-mode.
    Although I’ve never become a B&W movie-buff (although old B&W ‘buff movies’ are different!), I have had a similar experience with radio. Not being into music, all my radios are fixed on Radio4, on which I have listened to virtually all its output-types (except The Archers and The Daily Service, being a non-agricultural atheist). This non-selective process has, over the years, opened my mind to all manner of topics and interests, none of which I would have chosen otherwise and some of which stimulated me to undertake further research and obtain unexpected pleasure.

    It’s a definite downside of the current plethora of choice that, if you can always choose what you know you already like, then you’ll never get to know if you might like other things. Mcdonald’s know that only too well with their cynical marketing to kids.
    They say you should try everything in life once (except incest and Morris-dancing), but the ability to satisfy your existing preferences at every moment would now probably preclude expending your experiences by accident. That loss of serendipity is to be mourned, although those who are currently affected will not know what they’re missing and will find it hard to understand our old-timers’ view.

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    1. I think the parallel with radio is a relevant one. The minute ‘specialist’ stations started to proliferate, ones that only play a specific genre of music, I think the field did narrow considerably as to what one’s ears can be randomly exposed to. When I was a kid, the amount of music I heard was so varied – chart stuff via Radio 1, the 60s via my parents’ record collection (which also included copious amounts of classical, easy-listening and C&W), and the 40s & 50s at my grandparents’ house from them listening to Radio 2.

      The same applied to TV when I first stumbled upon ‘The South Bank Show’ roundabout the age of 13; had it been on a specialist ‘arts’ channel (as it now is) I would never have tuned in because I wouldn’t have been interested. But because it was on a mainstream channel, it opened doors to me that would otherwise have been closed – though unfortunately, there was never an edition covering incestuous Morris dancers!


  2. That phrase “maverick detective” hits the sweet spot. McCloud, Columbo, MacMillan and Wife…all the backcloth to growing up. For me, Saturday afternoons were always World of Sport, culminating in “wrestling” about 4.00 o’clock. Dad would be making tea (mum was running her shop) which meant boiled or roasted meat and potatoes, but at 4.00 he would make a pot of tea and we would a plate of Mr Kipling’s French Fancies. Because we were posh.

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  3. Serendipity – reading your piece today and reading about the Talking Pictures TV channel. Thank you!

    @ Gildas –
    We never had French Fancies ” ‘cos we was poor, innit’ ” – my Mother loved watching the “wrestling”, especially the tag-wrestling, and would never believe it could have been, shall we say, choreographed…

    I believe it’s coming back

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