Home Fires Last Word

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.

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

I know that I am opening myself up to criticism by writing a blog about ITV’s decision to axe Home Fires after two series. However, I am determined to have my say. First I want to express my immense thanks to everyone who has shown support for the show on Twitter, Facebook and to me personally by email and phone. ITV’s decision came out of the blue to me and I was very sad.

The reason given yesterday was expressed by Janice Troup, head of publicity at ITV. She said: ‘We are incredibly proud of what Home Fires has achieved, but the ITV commissioning team continues to refresh the channel’s drama portfolio, hence the decision not to commission a further new series.’

Home FiresThat is obviously a bitter disappointment to everyone who loves the show but it does at least give us a reason. There are wild rumours flying around the internet and most of them make me smile. However, there is one I want to stamp on with the biggest pair of jackboots that I can find: History. I have read this morning that the reason ITV has axed the show is because the history is inaccurate. That is categorically not true. I cannot emphasise that enough. The history is the skeleton on which the drama is constructed. I’m talking about the dates, storylines and facts. There are two historical consultants, Terry Charman, and me. Terry worked at the Imperial War Museum for decades and is the leading expert in the country on the wartime Home Front. He was a consultant on Foyle’s War and his eye for detail is second to none. But he, like me, only advises on scripts. My background is also steeped in the history of the Second World War. I’ve been working in the field for 15 years and my specialist interest is in the Home Front from the women’s perspective. Believe me, the historical backbone to the scripts is solid.

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

The story of Miriam Brindsley leaving her son’s name off the National Registration form in September 1939 is based on fact. The Office for National Statistics confirmed with me that some 60,000 women left their sons names off the list in order to avoid them being conscripted. Not out of cowardice but out of fear for the slaughter they had witnessed in the last war. The Czechs in series 2 are completely authentic. In the summer of 1940 Churchill welcomed nearly 5,000 Czech and over 20,000 Polish forces into Britain as battle-hardened fighters with far more experience than the BEF. And deliciously for us, the Czechs landed in Liverpool, were sent by train to Bunbury and marched to Cholmondeley Castle in Cheshire where they spent the summer. As followers of Home Fires will know, Bunbury is the village where the fictional Great Paxford is set.

ITV STUDIOS PRESENT HOME FIRES EPISODE 5 Pictured: LEANNE BEST as Teresa. This image is the copyright of ITV and must only be used in relation the HOME FIRES on ITV.

LEANNE BEST as Teresa looking stunning as ever ©ITV

I will concede that there is a question to be answered about the use of language. It would be impossibly faux to make the actors use words and speak like my grandmother did in 1940. She had clipped consonants and very odd vowels. Really was pronounced ‘rarely’ and country sounded as if it had a deep sounding ‘unt’ in the middle followed by ‘tree’. I am not going to try and spell that out using a ‘c’ at the beginning. The script writer has to have the freedom to use dialogue which will not jarr with a twenty-first century audience but which will sound sufficiently accurate to match the period. It is a juggling act and I think by and large it works well.

The production team do a marvellous job at creating a wartime feel and I particularly want to single out Lucinda Wright who was the costume wizard for the first series. I think she created an outstanding wardrobe. The hair and make-up teams are also excellent, even though they did put me in a grey wig when I made my one and only cameo appearance. Bunbury dressed up in its wartime garb looks magnificent. So much so that when my eighty-seven year old father drove through the village  one day after filming he could not tell what had been altered to take it back in time. There are people in the audience who point out little inconsistencies, such as maize in Cheshire in 1940 or the D-Day markings on a Spitfire but sometimes there is no other possibility. The Spitfire question is one that gets some people hot under the collar but let me say that there are less than 50 Spitfires still in one piece. I know, I saw them at Goodwood last year and they are breathtakingly impressive, still. It is nearly 80 years since the Battle of Britain and given how many sorties the RAF was involved in between then and 1945 it is not surprising that there is such a small pool of planes to choose from. Unfortunately for us, no one in 1940 thought of tucking one away in a hangar for 75 years so we could film in 2015. And the maize. Well, there was maize grown in Britain in 1940 but not in Cheshire. However, when it came to filming there was no other crop available to be picked. Sometimes you just have to go with what is there.

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Farrow Farm in its wartime garb. I photographed this on my first set visit and was moved to tears by its authenticity © Julie Summers

Everyone on the series does their very best to get things right and historical inaccuracy is definitely not the reason for the show going. ITV is a commercial broadcaster and they will have probably made their decision for commercial reasons.

I would like to celebrate Home Fires. It has been the most thrilling experience of my career being involved in this wonderful series. And although I am sad that there will not be a third series on ITV, I would like to think that the show will live on in people’s memories as a great example of period drama. The cast have loved being involved and are as sad as the audience are. They were the first to spring onto Twitter and thank their six million loyal fans for their support. It has been heart warming and uplifting to hear so much passionate praise for them and Home Fires.

When I spoke to the Executive Producer, Catherine Oldfield, yesterday, she told me how sad she was and she apologised to me. Why apologise? I can’t thank her and her team enough for taking my book Jambusters and creating something of such sparkling brilliance. When I asked her whether she thought there was any future for Home Fires she said. ‘It is unlikely. But this is television. Never say never.’ So we can but hope.

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For now I want to end by saying thank you to everyone. To my friend Simon Block, the brilliant scriptwriter who conceived Home Fires, and his fellow writers. To Sophie Bicknell, the script editor, with whom I have exchanged over 1,000 emails. To the oh-so talented actors and to the extras who created such a glorious sense of community. To the production team who turned out day in day out despite the appalling weather of autumn 2015, and to the directors who made Home Fires burn so brightly. Finally thank you to all of you who have followed the series with such enthusiasm.

Aurevoir? I hope so…

Home Fires Episode 3: Love, War and Housecoats

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By the end of the Second World War the British government had such minute control over every aspect of people’s lives that it governed the length of men’s socks and the amount of metal and rubber in women’s corsets. Even trouser turn-ups were banned and only six designs of underwear for women were permitted. Food was equally carefully monitored and rationed. Everything had been streamlined and controlled to help towards the war effort. The novelist Barbara Cartland was heard to lament that love was about the only thing left unrationed by 1945.

Dame Barbara Cartland in ATS uniform, c. 1942

Dame Barbara Cartland in ATS uniform, c. 1942 She spent six months of the war in Canada, evacuated with her young family, but after the death of her two brothers at Dunkirk in 1940 she returned to Britain. © Cartland family

In November 1939, however, most things were still available and all rationing, apart from petrol which had been introduced in September, was in the future. With nearly one third of the population entitled to wear uniform of one type or another, manufacturing had to turn its considerable energies to mass-producing tunics, battle-dress, bib-and-braces or nurses’ uniforms. The government recognised that controls would be necessary and not just for food but also civil industry and trade. Some planning had taken place in the Board of Trade, but this was mainly to control the import/export market. The immediate impact on civilian trade was major price rises. Unsurprisingly, the demand for goods such as sandbags, black-out material and torches or flashlights rose suddenly and the prices followed. Profiteering became a major issue and was addressed in November through the Prices of Goods Act 1939, which ‘limited the profit earned per unit of a commodity to the amount received at the end of August 1939’. The Act had only limited success, which meant that profiteering continued and inflation, much feared by the government, was an ever present concern. Clothes were particularly susceptible to substantial price rises. A woman told a journalist early in the war that she had gone into a shop to buy gloves and said to the assistant that she wanted to get them now because she feared the new stock would be dearer. To which the assistant replied: ‘Bless you!  You’re too late. We’ve put up the prices of the old stock already.’

The editors of women’s magazines tried to encourage practical solutions such as the wearing of housecoats to protect skirts and blouses. Pat Simms (Claire Rushbrook), for example, and Erica Campbell (Frances Grey), wear housecoats or aprons over their dresses. We might look at these garments today and smile at the memory of own grandmothers or aunts wearing them, but even the high-end fashion magazine Vogue considered them important enough to include designs for housecoats in the winter pattern book of 1939.

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.

Eria, Frances and Pat collecting blackberries copyright ITV

Controls of all sorts were introduced in the early months of the war. Market stalls were carefully monitored and once sugar rationing was introduced in January 1940 the Women’s Institute was no longer able to sell cakes and biscuits at their country markets. The WI found the bureaucracy of the Second World War a severe trial and one of the reasons my book was titled Jambusters in the UK was because the WI expended a great deal of energy busting bureaucratic log-jams in order to keep the countryside going. One irritated member wrote in her diary: ‘We went to Coventry this morning and I spent 20 minutes in the Food Controller’s Office getting a permit for butter and sugar for the Women’s Institute teas.’

The WI was nothing if not resourceful and positive. The government recognised the value of a huge voluntary body of women who could be marshalled with just one telephone call to their General Secretary, Miss Farrer, and it made sure that the WI was involved in the outset on food production. WI members were invited to sit on county agricultural committees and to encourage their villages to put aside as much land as possible to grow fruit and vegetables. In episode 2 of Home Fires some of the drama hinges on the determination of Mrs Barden (Samantha Bond), the WI president, to plough up the cricket pitch for vegetables. As seen, this was not popular with the men. This is something that happened throughout Britain. My own grandfather returned from the war to see that his beloved tennis court had been dug up for growing potatoes.

The autumn of 1939 brought great change and a strange sense of a new normality. As you watch episode three you will sense the heightened state of tension and emotion that the war rendered within the families in Great Paxford. It affected everyone in different ways: fear, anger, love, danger, separation but the Great Paxford WI offers its members a solid backbone as the country finds its way during the so-called Phoney War of 1939-40. One of the most successful schemes run by the WI during the war was the ‘Letter Friendship’ scheme. It was conceived in June 1939 at the meeting in London of the ACWW, Associated Country Women Worldwide, at which representatives from women’s movements from all over the world were present. Over 200 Canadian friendships were established and resulted in an exchange of letters so each could understand the other’s situation better. One correspondent wrote: ‘I listen a great deal to the radio but radio doesn’t tell me what the women do at home.’

Women needed each other as never before. The travel writer Rosita Forbes wrote in the magazine Women’s Own: ‘In these hard times, when the utmost is required of everyone, the most important virtues are courage and kindliness. Women’s courage is the valour of endurance, of standing up to endless small difficulties, of putting up with things and making things do. When you are sick and tired and frightened of the future as well, and you go on working without making a fuss, then you are quite as brave as the first person who flew across the Atlantic.’

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Home Fires by Julie Summers, published by Penguin USA, tells the true story of the wartime WI which inspired the drama series HOME FIRES: Fashion on the Ration by Julie Summers was published in March 2015.