HOME FIRES Series 2 Episode 1 Life on the Edge of Europe

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: FRANCESCA ANNIS as Joyce, CLARE CALBRAITH as Steph,RUTH GEMMELL as Sarah,FENELLA WOOLGAR as Alison, CLAIRE PRICE as Miriam, LEANNE BEST as Teresa.SAMANTHA BOND as Frances,FRANCES GREY as Erica and CLAIRE RUSBROOK as Pat. This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.

HOME FIRES SERIES 2
FRANCESCA ANNIS as Joyce, CLARE CALBRAITH as Steph,RUTH GEMMELL as Sarah,FENELLA WOOLGAR as Alison, CLAIRE PRICE as Miriam, LEANNE BEST as Teresa.SAMANTHA BOND as Frances,FRANCES GREY as Erica and CLAIRE RUSBROOK as Pat © ITV

 

When we left Great Paxford at the end of series 1 the villagers all stood on the street, spell-bound by the sight of hundreds of aircraft flying south. The Phoney War had come to an end and the real war was about to begin.

In fact, by the time those planes were flying south, Hitler’s troops had already invaded Denmark and Norway. The British Expeditionary Force had been guarding the Maginot Line for the last nine months but was woefully unprepared for what was to come. On 10th May 1940 two things happened that changed the course of the Second World War: Hitler launched the Blitzkrieg against France, Belgium and neutral Holland, and in Britain Winston Churchill became Prime Minister. For two weeks the BEF and its Allies fought to hold out against the German onslaught but towards the end of May it was obvious that they had suffered a humiliating defeat and Churchill ordered a retreat. The familiar story of Dunkirk now unfolded.

DunkirkHundreds of boats, ships, barges and tugs were sent to the rescue and over 330,000 British and Allied soldiers were picked up from the beaches of Dunkirk over a period of several days. My grandfather was pulled out of the water by a Thames barge pilot on 2nd June and brought back to Southampton by ship. ‘The sailors who dried our clothes pinched all our buttons and insignia but we were so relieved to be safe we didn’t bother about it.’ The following night he was reunited with his wife, Alex: ‘It was one of the strangest contrasts of the war. One night I was standing up to my neck in water with very little chance of rescue and the next I was eating dinner with my wife in the Midland Hotel in Manchester.’

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: ALEXANDRE WILLAUME as Marek. This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.

ALEXANDRE WILLAUME as Marek Novotny © ITV

Three weeks after the evacuation at Dunkirk, France fell to the Germans. Amongst the Allies who had been fighting were Polish and Czechoslovak forces who were at risk of captured and put into German Prisoner of War camps. Churchill realised that if this could be avoided it would mean he would have experienced, battle-hardened troops in Britain. So he ordered them to be rescued from southern France. In the end some 20,000 Polish and nearly 5,000 Czech soldiers and airmen were brought to Britain and proved themselves more than worthy of the trust Churchill had placed in them. The Czechs sailed into Liverpool and were put on a train to Bunbury from where they marched 8 miles to Cholmondeley Castle. The villagers along the way cheered them and the soldiers immediately fell in love with the beautiful Cheshire countryside. They camped in the fields around the Castle, which had already been requisitioned for another military use, and they remained there throughout the glorious summer of 1940 until they moved on to Leamington Spa to a more permanent camp.

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: DANIEL RYAN as Bryn. This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.

DANIEL RYAN as Bryn © ITV

The mood in the early summer of 1940 was one of agitation, anxiety and apprehension, mixed with fear. People were told that careless talk would cost lives and that they should be on the lookout for spies. Signposts were taken down or blacked out, so that moving around in the dark became even more difficult. There was a genuine and powerful fear of invasion. Even Churchill thought it unlikely that Britain could withstand a full-blown attack by the Luftwaffe and seaborne troops. The Battle for the Atlantic, which is the off-screen backdrop to our series, was about to enter troubled times. The German U-Boats had become ever more effective at targeting convoys and fears grew for the protection of passengers, especially evacuee children, who were setting out west for the safety of Canada or America. Yet once France had fallen there was a sense in Britain that, as the last man standing, on the edge of Europe, we would somehow defy the odds and emerge victorious. This mood is well-documented in diaries, letters and newspapers from the era.

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: ALEXANDRE WILLAUME as Marek and CLAIRE RUSHBROOK as Pat. This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.

CLAIRE RUSHBROOK as Pat ©ITV

So, for our village of Great Paxford, the sense of anxiety about the future is very much there. The incoming Czechoslovakian soldiers add a fresh element to the drama, as does the permeating anxiety about foreigners, spies and Nazi sympathisers. However, life did go on during the war and it will go on in Great Paxford. The everyday lives of the characters are of course affected by the external influences but themes of love, loss, suspicion and excitement are constants. We pick up where we left off with Laura Campbell named in the divorce of her lover, Richard Bowers; Alison Scotlock is still in trouble with the police over accounting and Claire Hillman is as in love with Spencer as she was at the end of the last series. Bryn the butcher is typical of the kind of man who is determined not to be cowed by the threat of invasion. He has a business to run, a pregnant wife to protect and a missing son to worry about. Pat, on the other hand, is once again knocked down: not by husband Bob, this time, but by a brawl outside a pub. For her the war is about to change her life but in a wholly unexpected way. Meanwhile Jenny is busy in the telephone exchange taking the government’s message to ‘trust no-one’ very much to heart.This episode opens with the farmer going about her business and the army going about theirs. After all, this is wartime…

Home Fires airs on Sunday 3rd April at 9pm on ITV. It is created and written by Simon Block and inspired by my book Jambusters which tells the true story of the WI on the home front from 1939-1945.

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Home Fires Series Two

Home Fires series 2 begins on Sunday 3rd April at 9pm on ITV. It is so exciting to be going back to Great Paxford to see what will happen to the characters that we were introduced to in 2015. Many people have asked me over the last few months whether I have had to write another book for series 2. I have not: Jambusters is a non-fiction ‘biography’ of the Women’s Institute covering the entire Second World War. Simon Block, the creator and writer of Home Fires, used and continues to use the book and my research as the inspiration for his drama. Inspiration is the key word here. Home Fires is not based on Jambusters per se but rather set in a fictional version of the same era that I describe in my book. Some of the stories that you will come across in series 2 of Home Fires have evolved directly from Jambusters, others have been the result of research, conversations and other lines of inquiry. From my perspective this is fascinating and exciting. The link to history of the Second World War and life on the Home Front in Jambusters anchors the series in the 1940s but leaves Simon Block free to let his characters grow and develop in Great Paxford.

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I have to be a little careful not to give anything away about series 2 because I might spoil people’s enjoyment of the drama. However, what I can say is that it takes place against the extraordinary summer of 1940. Series 1 set the scene for what happened in rural Britain during the early months of the war in the period known as the Phoney War. The unnatural calm of the winter and spring of 1939-40 was about to be shattered by the Blitzkrieg when Hitler’s army marched into the Netherlands, Belgium and France. The British Expeditionary Force, who had spent the winter guarding the Maginot Line, was suddenly called into action against a furious, implacable, overwhelming foe. This began on 10 May and by the end of the month over 330,000 Allied troops had been evacuated from Dunkirk.

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Little Stan (Brian Fletcher), Steph (Clare Calbraith), Stan (Chris Coghill) practising the ‘Farrow Frown’, November 2015 © Julie Summers

A month later France fell to the Germans and Britain stood alone on the edge of Europe waiting with baited breath for an invasion. It was a summer of high drama and danger; a summer when thousands of families opted to send their children abroad to the USA, Canada and Australia. It was also a summer of bountiful harvests, glorious weather and prodigious activity by the WI on the food production front. Britain was never invaded, as we all know, but everyone, even Churchill himself, thought it the likeliest outcome at the time. Elaborate emergency plans were laid to and a secret guerilla army was built up throughout the country and trained to carry out acts of sabotage behind enemy lines. It was the moment in the war when Britons realised that it was up to them to fight; to resist whatever threat might be around the corner and it proved the making of many on the Home Front. Far from panicking, people resolved to be calm and brave and it is this extraordinary stoicism which became defined, later, as the Blitz spirit.

But Britons were not entirely alone. Canadian troops had been in the country since December 1939 and immediately after the fall of France Churchill welcomed a large number of battle-hardened troops from the continent. Nearly 5,000 Czechoslovak and 20,000 Polish Forces would turn out to offer immeasurably valuable support during the Battle of Britain when the German Luftwaffe tried, but failed, to gain air superiority over the Royal Air Force. This is the backdrop for series 2 of Home Fires.

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WI Members at a market c. 1940 © EPSON MFP

One of the aspects of Home Fires which I found most rewarding was the bonds of friendship that grew up between the actors when they were on set for filming. It mirrored closely the extraordinary bonds that developed during the Second World War when women were thrown together in a wholly unfamiliar situation, put upon by every department in government imaginable and expected to cope. They coped and with humour.

Nothing could have delighted me more when I read Samantha Bond’s reply to a question asking her what it was like to reunite the cast:

‘It was absolutely glorious. I’m afraid we are appallingly happy and we relish each other’s company on set and off. I can’t remember ever having been in a company so happy and so funny and so full of love. All immensely supportive of one another. I adore them. And our men. All brilliantly written by a man. Simon Block has done a fantastic job.’

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCES GREY as Erica Campbell, CLAIRE RUSHBROOK as Pat Simms, and SAMANTHA BOND as Frances Barden. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.

Erica Campbell (Frances Grey), Frances Barden (Samantha Bond), Pat Simms (Claire Rushbrook) Home Fires Series 1 © ITV

I made three visits to set in the autumn and each time I was aware of the great atmosphere on set and the mutual support and respect the actors had for each other’s performances. I watched a wonderful scene filmed in the church when Sarah Collingbourne (Ruth Gemmell), the vicar’s wife, makes an emotional speech about coping at this difficult time. Samantha Bond said of this outstanding performance: ‘It’s just stunning. I was sitting on the front pew trying to be the grown-up big sister, sending your little sister waves of support. And I just kept crying. We were all in pieces.’ So was I.

But a film set is a place of work and one of the striking aspect of set visits from the point of view of someone who spends their working life with her nose in a book or an archive, is that there are so many people involved. I have said this before: there are more people working in the Make-Up truck at the unit base for Home Fires than are involved in the production of one of my books. Well, on the editorial side at least. On set everyone is so professional, clear-headed and confident in what their role is. For me the fun is in the detail. I’m often described as a scratch and sniff historian because I like tiny snippets that tell me something about the minutiae.

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Stockings drying November 2015 © Julie Summers

So this photograph of stockings drying in a trailer is one of my favourites from series 2.The actors wear real stockings, not tights. The wardrobe is authentic to the last inch and I love that. The clothes are hired from Angel Costumes and all date from the 1930s and 1940s, shoes and underwear included according to Melissa Cook, who is in charge of the wardrobe. It is as important for me as making sure the lettering used on the war memorial is of the era (it is) and that the cows are the right breed (they are). The telephone exchange, the cars, the tractor are all minutely observed. Even the ration books look authentic.When details like this are correct but don’t get in the way you can trust the rest of the drama, which I do.

 

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The magnificent Austin – one of only a handful still on the road in this country © Julie Summers

The filming was done in Cheshire, where fictional Great Paxford is set, and it is a stunningly beautiful corner of the North West which is still relatively unknown. Although the phone signal is poor and one Cheshire lane looks very like another – imagine what it was like for incoming drivers when all the signposts were removed – everyone in the cast speaks very fondly of the area around Bunbury. Claire Rushbrook, who plays Pat Simms, said recently: ‘You do have to pinch yourself that you’re working. Because it’s just stunning around there. . . I hope the viewers enjoy it as much as we enjoyed making it.’

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The non-fiction book that inspired Home Fires

 

Weekly blogs will appear here to introduce each episode. No spoilers, just a little background historical information for anyone interested in knowing a bit more about the war. And of course there’s history, sticky jam and plenty of laughter in Jambusters. You won’t meet Frances Barden or Pat Simms but you will meet their true historical counterparts: Edith Jones, Clara Milburn and Ruth Toosey, whose stories are equally fascinating, although their hair and make-up might not have been quite so beautiful…

Curves and Corsets


stockings compressedWhenever I give a talk about wartime fashion I get a host of memories from audience members who recall parachute silk dresses, Make-Do-And-Mend shirts, thrice darned stockings and coats made from blankets. Some people remember the era with pleasure and tell me about how they loved their Liberty bodice or their Land Army uniform. Others recall patched jumpers and empty department stores. But almost everyone has something to say about underwear. I suppose it is the most intimate detail and it is endlessly fascinating but if someone were to ask me what kind of undies I wore when I was growing up in the 1970s I would be pushed to know. There is something that is very ingrained in the collective memory about wartime knickers, bras and, above all, corsets.

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A 1939 advertisement for a corset in Vogue

There is almost a whole chapter devoted to corsets in Fashion on the Ration because it was a topic that exercised not only women who wore them but the civil servants in the Board of Trade who had to guarantee their supply. And it was no easy job. Over 18 million women wore corsets in the late 1930s but wartime production dropped to just 9 million a year and this was the cause of much heartache, not to say irritation. The reason is simple: corsets were made up of three important constituent parts, all of which were necessary for the war industry. Metal was needed for aircraft production so the stays were replaced with compressed cardboard, with disastrous results. Cotton supplies dropped during the war as world cotton prices rose and the number employed in the cotton spinning and weaving industry fell by thirty percent. Rubber became a rare and precious commodity after the fall of Singapore in spring 1942 as the Japanese held the majority of the world’s rubber supplies in the Far East. Finally, the expert corset makers, with their highly skilled workforce of machine operators, often switched to making parachutes, to which their expertise and equipment was ideally suited. As a result, corsets

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Corsets designed for the Forces by Berlei

were in short supply and what was available was often very poor quality.One young mother, who had just given birth in the summer of 1944, wrote a furious letter which was published in Time magazine in which she took the Board of Trade to task, even naming Hugh Dalton, the then president, in her diatribe: ‘There should be no false modesty about this very essential article … After the birth of my second child the sight of my figure enclosed in a utility corset nearly paralysed me. True, it caused a certain amusement to my family, but I didn’t feel funny, only ill and unhappy … I found that the boning at the front consisted of three pieces of compressed cardboard. I defy even the most pugnacious cardboard to do anything but follow the shape of the figure it encloses … A band of infuriated housewives should force Mr Dalton into a utility corset and a pair of the best fitting utility stockings he can buy. I would add a saucy black felt hat for which he had to pay four guineas and a pair of those ghastly wooden-soled shoes. He should be made to walk one mile, then stand in a fish queue for an hour. By the end of this time his utility stockings would [droop] from knee to instep in snakelike coils and twists. His corset would have wilted into an uncomfortable, revolting mass of cotton and cardboard. He would find himself supporting the corset, instead of the corset supporting him. May I suggest this would be a very speedy remedy?’

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Ladies queuing at a produce stall, some of them almost certainly wearing corsets.

This glorious image may raise a smile but it was a serious matter and many women, who had been used to the support of their pre-war Berlei or Spirella corset felt uncomfortable and very aggrieved. And queuing was something that women had to do on a daily basis, often for hours on end while they waited for food to appear in the shops or on a market stall. The women’s fashion magazines did their best to advise women on ways of keeping their corsets in good order and they encouraged young women to learn to do without by practising core body exercises.

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Designed for Export is the caption for this beautiful Molyneux dress designed for the 1941 Fashion show in South America

But Fashion on the Ration was not just a story of utility corsets, grey Forces bloomers and austerity designs for skirts and coats. There was another side to the story which I had not expected to find and this was the significant role played by the haute couture houses in designing fashion for the export market. Export sales brought in much-needed currency and over the period of 1938 to 1946 fashion exports rose from £98,000 to £507,000. Paris, as the centre of the fashion world, was out of the picture from 1940 until the liberation of France in 1944 and London was quick to take its place. Shows were organised for South America, South Africa and the USA with designs by Molyneux, Hardy Amies, Digby Morton, Norman Hartnell and Bianca Mosca rising ‘phoenix-like…from our dustsheeted London life.’
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Fashion on the Ration came out in paperback on 25 March and the exhibition which it accompanied at the Imperial War Museum in London last year will be reopening, slightly enlarged, at IWM/North at the end of May 2016.