Double Feature: Clearwater Features's TUGS (1989) & Cosgrove Hall's The Wind in the Willows (1983 - 1988)
INTRODUCTION
It's probably best that we dial things down and finally get around to talking about something I mention in the description of this godforsaken blog: TV! Namely 80s British children's programming! There's one major reason why I've chosen this unnaturally specific arena of the small screen...I grew up on it. Through the power of the internet, DVDs, and even syndicated broadcasts in the US in some instances, I was able to experience what kids from London to Lancaster watched during the days of Thatcher and the New Wave of British Heavy Metal. And I ate that stuff right up as a tot. There was something unique about English programming in general at the time. There was a certain homeliness to it. It was as if you return to your house or flat, turn on the tube, but it was catching an episode of Last of the Summer Wine or Only Fools & Horses that truly made you feel like you were at home.
When it comes to kid's programming, I find that the UK is really one of the best. Half of it is due to the respect show runners had for the entire family unit. I honestly can't think of too many creators in the States that had the nads producers like Gerry Anderson had to produce such explosive productions as Thunderbirds or Captain Scarlet. Even Japanese special effects king Eiji Tsuburaya, the man behind not only the iconic effects of the Godzilla series and the creator of the long-running Ultra Series, wasn't keen on doing anything too "dark" in his latter-day work.
So with all of this said, what exactly are the two choices I've decided to prattle on about? The first is the short-lived 1989 program TUGS, created by American-born producer Robert D. Cardona and British producer-writer-director David Mitton, both of whom are best known as part of the production team behind the iconic Thomas the Tank Engine & Friends series. The second is the far longer-running series The Wind in the Willows, from the Manchester-based animation studio Cosgrove Hall, home of such highly regarded productions like Danger Mouse, and based off of the beloved book and characters created by Scottish author Kenneth Grahame.
TUGS
Now I'm starting with TUGS for it is one of the most unique programs I've come across. The show is set in the Roaring 20s over in the United States, and follows the adventures of the rival tugboat fleets, the Star Tugs and the Z-Stacks (pronounced Zed-Stacks, you can thank British pronunciation for that one) in the gargantuan Bigg City Port. The series lasted for 13 episodes, and was first broadcast on Independent Television (ITV) in the UK in December of 1988.
TUGS is one of those once-in-a-lifetime productions. The series's writing maintained a unique sense of maturity, showing off surprisingly complex characters and wielding concepts like death and smuggling with an admirable level of discipline. For episodes that span an average of 15 minutes, the pacing is also extremely natural and the dialogue penned is exceptionally casual, lending a certain realism to the fantastic nature of a harbor populated by talking planes, trains, and of course, boats. If there was anything to levy against the writing staff, the narration can sometimes get a hair redundant if you catch the admittedly well-integrated exposition worked into the dialogue. That, and for a program with general overtones of American culture, it couldn't be more British if it wanted to. The slang, the garden variety of accents I mentioned when discussing Martin Rosen's 1982 animated adaptation of The Plague Dogs, it's all there in all of its glory, but I wouldn't have it any other way if I'm perfectly honest.
And speaking of accents, the voice work in this series is simply impressive. All of the actors clearly give 110% in they're roles. They are convincing, and almost create the atmosphere of old radio dramas of the 30s and 40s. The work is above and beyond the call of duty and it further helps to the audience to become invested in the unique world of Bigg City Port. Notable actors include Patrick Allen as the show's narrator Captain Star. Allen was best known for his chilling narration on the Protect & Survive program that became a staple of Cold War culture. Prolific voice actors Sean Barrett and John Baddeley lend their voices to a variety of roles, namely those of the tough Scottish tug Big Mac, and the posh Top Hat respectively. Also of note is veteran character actor Timothy Bateson playing the eldest Star Tug O.J., who was best known for his final role as Kreacher from 2007 fantasy film Harry Potter and the Order of the Phoenix and his impeccable performance as Mr. Fezziwig in Clive Donner's 1984 small screen adaptation of A Christmas Carol, featuring George C. Scott's fantastic portrayal of Ebenezer Scrooge.
One consistent draw of TUGS has to be the visuals. David Mitton, being an alumni of Derek Meddings's "21 Century" effects crew, brings his visual effects experience to the production, and what we get is a miniature effects marvel. The model-making team working on TUGS crafted some of the most detailed models on UK airwaves. With the smallest tugs measuring over a foot in length and the lone ocean liner used for the series spanning 12 feet total, the scale and details of the production were absolutely ludicrous for the time, but they certainly pay off in terms of creating the perfect atmosphere. Series writer, director, and voice of devious Z-Stack "Zorran," Chris Tulloch, provides some exceptionally colorful yet dingy art direction, helping Bigg City and its characters to both pop off of the screen visually, and feel like the world is truly unique and lived-in. Thomas the Tank Engine & Friends art director Robert Gauld-Galliers's set design is absolutely stunning, also helping to sell the reality of the world with appropriately busy and massive sets. But what makes all of these efforts come together on screen is hands-down the stunning camera work of Director of Photography Terry Permane. Just...wow. Permane was one of the most impressive DPs of his genre. To prove it, here's a shot from the episode "High Winds," initially aired in the UK on June 13th, 1989.
It's probably best that we dial things down and finally get around to talking about something I mention in the description of this godforsaken blog: TV! Namely 80s British children's programming! There's one major reason why I've chosen this unnaturally specific arena of the small screen...I grew up on it. Through the power of the internet, DVDs, and even syndicated broadcasts in the US in some instances, I was able to experience what kids from London to Lancaster watched during the days of Thatcher and the New Wave of British Heavy Metal. And I ate that stuff right up as a tot. There was something unique about English programming in general at the time. There was a certain homeliness to it. It was as if you return to your house or flat, turn on the tube, but it was catching an episode of Last of the Summer Wine or Only Fools & Horses that truly made you feel like you were at home.
When it comes to kid's programming, I find that the UK is really one of the best. Half of it is due to the respect show runners had for the entire family unit. I honestly can't think of too many creators in the States that had the nads producers like Gerry Anderson had to produce such explosive productions as Thunderbirds or Captain Scarlet. Even Japanese special effects king Eiji Tsuburaya, the man behind not only the iconic effects of the Godzilla series and the creator of the long-running Ultra Series, wasn't keen on doing anything too "dark" in his latter-day work.
So with all of this said, what exactly are the two choices I've decided to prattle on about? The first is the short-lived 1989 program TUGS, created by American-born producer Robert D. Cardona and British producer-writer-director David Mitton, both of whom are best known as part of the production team behind the iconic Thomas the Tank Engine & Friends series. The second is the far longer-running series The Wind in the Willows, from the Manchester-based animation studio Cosgrove Hall, home of such highly regarded productions like Danger Mouse, and based off of the beloved book and characters created by Scottish author Kenneth Grahame.
TUGS
Now I'm starting with TUGS for it is one of the most unique programs I've come across. The show is set in the Roaring 20s over in the United States, and follows the adventures of the rival tugboat fleets, the Star Tugs and the Z-Stacks (pronounced Zed-Stacks, you can thank British pronunciation for that one) in the gargantuan Bigg City Port. The series lasted for 13 episodes, and was first broadcast on Independent Television (ITV) in the UK in December of 1988.
TUGS is one of those once-in-a-lifetime productions. The series's writing maintained a unique sense of maturity, showing off surprisingly complex characters and wielding concepts like death and smuggling with an admirable level of discipline. For episodes that span an average of 15 minutes, the pacing is also extremely natural and the dialogue penned is exceptionally casual, lending a certain realism to the fantastic nature of a harbor populated by talking planes, trains, and of course, boats. If there was anything to levy against the writing staff, the narration can sometimes get a hair redundant if you catch the admittedly well-integrated exposition worked into the dialogue. That, and for a program with general overtones of American culture, it couldn't be more British if it wanted to. The slang, the garden variety of accents I mentioned when discussing Martin Rosen's 1982 animated adaptation of The Plague Dogs, it's all there in all of its glory, but I wouldn't have it any other way if I'm perfectly honest.
And speaking of accents, the voice work in this series is simply impressive. All of the actors clearly give 110% in they're roles. They are convincing, and almost create the atmosphere of old radio dramas of the 30s and 40s. The work is above and beyond the call of duty and it further helps to the audience to become invested in the unique world of Bigg City Port. Notable actors include Patrick Allen as the show's narrator Captain Star. Allen was best known for his chilling narration on the Protect & Survive program that became a staple of Cold War culture. Prolific voice actors Sean Barrett and John Baddeley lend their voices to a variety of roles, namely those of the tough Scottish tug Big Mac, and the posh Top Hat respectively. Also of note is veteran character actor Timothy Bateson playing the eldest Star Tug O.J., who was best known for his final role as Kreacher from 2007 fantasy film Harry Potter and the Order of the Phoenix and his impeccable performance as Mr. Fezziwig in Clive Donner's 1984 small screen adaptation of A Christmas Carol, featuring George C. Scott's fantastic portrayal of Ebenezer Scrooge.
One consistent draw of TUGS has to be the visuals. David Mitton, being an alumni of Derek Meddings's "21 Century" effects crew, brings his visual effects experience to the production, and what we get is a miniature effects marvel. The model-making team working on TUGS crafted some of the most detailed models on UK airwaves. With the smallest tugs measuring over a foot in length and the lone ocean liner used for the series spanning 12 feet total, the scale and details of the production were absolutely ludicrous for the time, but they certainly pay off in terms of creating the perfect atmosphere. Series writer, director, and voice of devious Z-Stack "Zorran," Chris Tulloch, provides some exceptionally colorful yet dingy art direction, helping Bigg City and its characters to both pop off of the screen visually, and feel like the world is truly unique and lived-in. Thomas the Tank Engine & Friends art director Robert Gauld-Galliers's set design is absolutely stunning, also helping to sell the reality of the world with appropriately busy and massive sets. But what makes all of these efforts come together on screen is hands-down the stunning camera work of Director of Photography Terry Permane. Just...wow. Permane was one of the most impressive DPs of his genre. To prove it, here's a shot from the episode "High Winds," initially aired in the UK on June 13th, 1989.
This friends, is the stuff that dreams are made of. Masterfully composed shots, great tracking work aided through the "Clearwater Periscope Lens System" designed for use on productions such as TUGS to capture the models in perfect detail at set level, and effective angles are key facets of Permane's work. The results are likely one of the most impressive productions on television at the time. The scale, scope, and detail of TUGS was simply something that could only compare to the contemporary work of Gerry Anderson, such as Terrahawks.
The music, composed by musicians Mike O'Donnell and William "Junior" Campbell, is equally grand. The scores were all orchestrally-inclined, but created with synthesizers. However, the mixing makes these compositions more than serviceable for broadcast. Most episodes scores feature traditional/stereotypical sea-faring woodwind and percussion motifs, some affable and jaunty compositions that highlight the pair's great rhythmic sensibilities (the opening to the episode "Up River" being one of my personal favorite cues), and an impressive array of dramatic and near-cinematic string-laden cues for some of the more suspenseful moments in the series. The only scores I can imagine being larger than this are ones actually recorded with a live orchestra, such as Mike Batt's scores for programs in the 90s like The Dreamstone and Watership Down. Now the icing on this cake is the opening theme. Think of the most 80s thing you can think off, and this theme will likely top that. Aiding in that vibe isn't just the soft rock sensibilities and string-heavy orchestration, but American multi-instrumentalist Pete Zorn blowing everything away on saxophone. I mean this man went to town with this tune, and it is just glorious.
Overall, TUGS is a downright incredible piece of television. With an immaculate sense of scale, ambitious effects and writing, suitable and enjoyable scores, and a committed cast, this is a highlight of what British television and visual effects can be capable of. My personal favorite episode of the series is the harrowing "Munitions," one of the darker episodes that, for my money's worth, is the late David Mitton's masterpiece, an explosive masterpiece at that. It is truly unfortunate that this program broke the bank for the production companies Clearwater Features and Television South, for this show had much to offer in the grand scheme of things. A show of this scope is certainly nothing to turn your nose up at in my books, and I do wish that the conundrum of the division of distribution rights for this show are resolved so we can have proper release of this marvelous production for future generations to enjoy.
THE WIND IN THE WILLOWS
And now for something completely different. While TUGS is more in line with the action-packed ways and maturity of Gerry Anderson and stylistically in line with Clearwater Feature's own Thomas the Tank Engine & Friends, Cosgrove Hall's award-winning television film and series based on the book and characters of Kenneth Grahame was one of the most meditative and thoughtful programs on the airwaves at the time. The program followed the adventures of the timid Mole (Richard Pearson), the river-loving Rat (Ian Carmichael & Peter Sallis), the gruff-yet-sage Badger (Sir Michael Hordern), and the eccentric Toad (Sir David Jason) in the countryside of Edwardian England. Imbued with a pastoral aura that recalls the works of English painter John Constable and the music of early 20th century icons such as Vaughn Williams, Finzi, and Holst, The Wind in the Willows is a delightful and charming program that has yet to be matched for its unique atmosphere and pure homeliness.
The writing, mainly handled by lauded dramatist Rosemary Anne Sisson and Cosgrove Hall regular Brian Trueman, are truly works to behold. The dialogue is causal and realistic, like TUGS and unlike most of The Wind in the Willows's contemporaries, and yet still maintains a poetic nature. The pacing also maintains a natural sensibility, never hurrying and always allowing for the tone of the episode to sink in. Sisson and Trueman are absolutely terrific, whether they are tackling Grahame's ideas or their own. It is of interest to mention that Sisson was often the more dramatic voice of the series whilst Trueman gave the program a comedic edge.
The acting, considering the aforementioned talent, is superb. Character actor Richard Pearson's Mole is an absolutely lovable performance, rich with the modesty and charm of the character. Ian Carmichael's and Peter Sallis's Rat are both fantastic, energetic portrayals of the thoughtful author and boater. Carmichael was, however, best suited for his role as narrator in the series, for he has that wonderful, rich alto that makes for a fine storyteller. Sallis handles the role of Rat even better in my opinion, simply considering how well he tackles the drama presented in the Season One episodes "Wayfarer's All" and "The Piper at the Gates of Dawn," two episodes based on elements of Grahame's novel that were nixed from the 1983 pilot film. Sallis has his heart in this role and its all present in his brilliant stabs at the complexities of Rat's character. A veteran of stage and screen, Sir Michael Hordern affords Badger the powerful and booming voice the man was known for, the voice he brought to such classic films like 1951's A Christmas Carol, the 1963 Joseph L. Mankiewicz epic Cleopatra, and the 1967 war film Where Eagles Dare. And of course, his role as the narrator of Ivor Wood's beloved mid-70s adaptation of Paddington for the small screen. His stern, yet amiable take on the character is a treat and Hordern helps to bring Badger to life. And then there's "Del Boy" himself, Sir David Jason as the outlandish Toad. Jason was made for these bonkers roles, and he gives Toad a childlike playfulness as well as a touch of vanity for a man, or toad as it were, of his wealth. It's a rich and uproarious take on the character that solidifies Jason as a marvel of children's entertainment, right up there with Danger Mouse and Count Duckula.
The animation is likely one of the show's more iffy areas. The character design, much of it helmed by producer Brian Cosgrove, is a perfect approach to anthropomorphism. The characters have realistic features regarding their species, but also boasted a somewhat human stature. The set design and backgrounds are lovely feats of pastoral work, capturing the spirit of the countryside and becoming the perfect setting for these stories to unfold. The costuming by Nigel Cornford is also of note, for the man has a firm handle on Edwardian dress, both of the upper class eccentricities of Mr. Toad and of the more plain ways of characters like Mole, Badger, and Rat. To better appreciate all of these wonderful aesthetic qualities, here's a still.
So the production design and the art direction here are thoroughly effective, amiable, and admirable. But then it starts moving. By way of Cosgrove Hall being a television-based company, the animation suffers from the typical hindrances of TV stop motion. Ever-wavering frame rates are the main issue. Some shots are impeccably fluid, and others are left staggering like a Rankin/Bass special. But in a welcome change of affairs, as the series progressed from the pilot film, this problem was mostly remedied. Yes, the TV animation IMPROVED upon the film's animation. In spite of this drawback, the character animations are full of life and personality, and the variety of activity in the backgrounds are also admirable. Its all dripping with the passion that makes for great stop motion, but is hindered only by its stature as a televised children's production that likely had the average budgets and tight schedules of such a program for the time.
The music, composed by Malcolm Rowe and former "Herman's Hermits" member Keith Hopwood, is one of the strongest aspects of the show. A fusion of contemporary synth work and idyllic orchestral compositions performed by members of the Hallé Symphony Orchestra, the soundtrack is absolute bliss, creating the warm atmosphere of the English countryside in the ways of the previously noted Vaughan Williams and Finzi, and even in the spirit of Ernest Farrar to a degree. It is a soundtrack of unbridled pastoral bliss that supports the series exceedingly well. The doses of period music, such as a fair amount of ragtime and swinging big band tunes, are lovely choices that aid in the immersion. The main theme was written as a song, and recorded with the voice of folk icon Ralph McTell. The other songs, too numerous to name, are equally charming numbers performed by the actors themselves that don't feel too out of place, but do sometimes feel a bit peculiar as they are often irregular. But beyond the occasionally perky synth work (and fauxchestral work in later seasons), this is an outstanding piece of work that enhances the rural air exuded by the scripts and production design.
On the whole, if there ever was a production that was able to not only tell the classic Kenneth Grahame tale with such charm and personality, but adequately expand upon the its world, Cosgrove Hall's adaptation takes the cake. With a marvelous cast, exquisite artistry, admirable animation, and a heavenly score all supported by robust teleplays, this is a breath of fresh air in comparison to the hyperactive, borderline obnoxious ways of contemporary children's programming.
CONCLUSION
So there you have it, two brilliant pieces of children's entertainment that stack up exceedingly well in retrospect. And now you also realize why I called this site the Offbeat Marquee. I'm the kind of film and television fanatic that can find merit and pleasure in programs well beneath my demographic and, as an aspiring filmmaker, learn from these productions in a variety of ways. But also, if I ever have children, I would love for these to be formative programs in their youth. They have an edge most modern programs lack, but leave nary a single member of the family unit out. These programs can be found on both video platforms across the web, and in physical form, with TUGS having seen its entire series released on video back in the 80s in the UK, and The Wind in the Willows seeing several releases on video and DVD, with your humble author being the owner of all of A&E's Region 1 releases, chiefly the pilot film, Seasons 1 & 2, and the special "The Tale of Two Toads" which served as an interlude between the 4th & 5th seasons. Highly recommended for fans of the people behind these programs, British television, and families looking to expand their library of home entertainment for their kids. "They don't make 'em like they used to" has never been truer.
The music, composed by Malcolm Rowe and former "Herman's Hermits" member Keith Hopwood, is one of the strongest aspects of the show. A fusion of contemporary synth work and idyllic orchestral compositions performed by members of the Hallé Symphony Orchestra, the soundtrack is absolute bliss, creating the warm atmosphere of the English countryside in the ways of the previously noted Vaughan Williams and Finzi, and even in the spirit of Ernest Farrar to a degree. It is a soundtrack of unbridled pastoral bliss that supports the series exceedingly well. The doses of period music, such as a fair amount of ragtime and swinging big band tunes, are lovely choices that aid in the immersion. The main theme was written as a song, and recorded with the voice of folk icon Ralph McTell. The other songs, too numerous to name, are equally charming numbers performed by the actors themselves that don't feel too out of place, but do sometimes feel a bit peculiar as they are often irregular. But beyond the occasionally perky synth work (and fauxchestral work in later seasons), this is an outstanding piece of work that enhances the rural air exuded by the scripts and production design.
On the whole, if there ever was a production that was able to not only tell the classic Kenneth Grahame tale with such charm and personality, but adequately expand upon the its world, Cosgrove Hall's adaptation takes the cake. With a marvelous cast, exquisite artistry, admirable animation, and a heavenly score all supported by robust teleplays, this is a breath of fresh air in comparison to the hyperactive, borderline obnoxious ways of contemporary children's programming.
CONCLUSION
So there you have it, two brilliant pieces of children's entertainment that stack up exceedingly well in retrospect. And now you also realize why I called this site the Offbeat Marquee. I'm the kind of film and television fanatic that can find merit and pleasure in programs well beneath my demographic and, as an aspiring filmmaker, learn from these productions in a variety of ways. But also, if I ever have children, I would love for these to be formative programs in their youth. They have an edge most modern programs lack, but leave nary a single member of the family unit out. These programs can be found on both video platforms across the web, and in physical form, with TUGS having seen its entire series released on video back in the 80s in the UK, and The Wind in the Willows seeing several releases on video and DVD, with your humble author being the owner of all of A&E's Region 1 releases, chiefly the pilot film, Seasons 1 & 2, and the special "The Tale of Two Toads" which served as an interlude between the 4th & 5th seasons. Highly recommended for fans of the people behind these programs, British television, and families looking to expand their library of home entertainment for their kids. "They don't make 'em like they used to" has never been truer.
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