FIELD Marshal Lord Montgomery could probably tell you offhand just how many people are required to keep one soldier on the field of battle, and it is very much the same in television.

To get one programme broadcast requires not only the men and women in the studio, but thousands of ‘back-room’ workers.
Many of the Programme Producers are women. Among them are Lorna Pegram, responsible for BBC’s Wednesday Magazine, and Yvonne Littlewood, whom we associate with This is Your Life. Elizabeth Cowley is acknowledged in the ‘Radio Times’ as an Associate Producer of Tonight.

Some have very specialised jobs. There is Miss G. M. Miller, who is Head of the Pronunciation Unit that clues-up the News Readers on the correct way of pronouncing proper names and places in foreign countries, and tongue-twisters nearer home. To mispronounce Kirkcudbright in Scotland, or Llanfaircaereinion in Wales (it is Kurrcoo-bree and Thlan-furr-kurr-enyen) would provoke the natives of both nations to bombard the BBC with complaints.

Miss Anna Instone, whom we associate with that popular Sunday series Music Magazine, is the woman responsible for building up the BBC’s record department, starting in the old days at Savoy Hill.

One of the penalties of popularity is the well-meaning criticism of many viewers, as BBC News Reader, Richard Baker can tell you. He is sometimes referred to jokingly, among his colleagues at Alexandra Palace, where the news comes from, as ‘the heartthrob’ because of the amount of fan mail he receives. He once returned from holiday wearing a moustache. When he read the six o’clock news the switchboard was jammed by angry viewers demanding that he shave it off. When he reappeared, to read the later bulletin, he was clean shaven.

Many of his fan letters contained proposals of marriage, till he settled that problem by getting married himself, to Margaret Martin, whom he had known since childhood.

Well in the forefront of a new generation of television personalities is David Dimbleby, who was acting as Chairman of a Quest programme and reporting for the What’s New? series within months of his coming down from Oxford in 1961. After leaving Charterhouse, David spent four months at the Sorbonne in Paris, and another three months in Italy, at Perugia, polishing up his languages. Then to Christ Church, Oxford, where he read Politics, Philosophy and Economics, and edited ‘Isis’, the University periodical.

He considered the Bar as a career, and is young enough to change his mind about television and aim for the Woolsack.

‘But,’ he says, ‘TV has been part of my life, always talked about and pulled to pieces. It provides some of the things I wanted -variety, travel, different people, different work each day, and the personal freedom I value.’

To secure that freedom he opted to become a free-lance rather than a staff man.

‘In a strange way, too,’ he explains, ‘I suppose the Father-Son pull, a need for some sort of continuity, may have played a part, though of course in television you are very much on your own.’

Among the girls whose faces we see on our screens, let’s take a look at Judith Chalmers. She began broadcasting in Children’s Hour when she was 13, from the Manchester studios, and in 1956 became the first regional announcer in Manchester. She was born in Cheadle, Cheshire, and has a keen north-country sense of humour. She loves travel and takes her holidays abroad, hunting out interesting places not mentioned in the highly coloured brochures issued by tourist agencies. Our Judy would rather go by local bus and train to the Dordogne, talking to everyone she meets, than fly in a luxury aircraft to Nice, there to lie on the beaches and have the skin burned off her shoulders!

Her longest working stint as a television announcer was Christmas Day, 1961, when she was on duty from the morning until close-down at night.

‘I had to be in make-up all day, and only had time to change my dress and put on a fresh lot of make-up while Michael Aspel was reading the news,’ she recalls.

Her Christmas leave came at New Year, when she went home to spend it with her family in Cheshire.

With thanks to Ian Fryer.

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Bea plays the talkative hotel proprietress Kate Bradley in Petticoat Junction (tonight, Wednesday, 6.5 on Granada).

And this means a “Star” dressing-room for the woman who has been around Hollywood a very long time.

It wasn’t that she was never considered for a starring role. It was just that she has been virtually indispensable as a supporting actress in so many successful radio and TV shows.

It was while she was in the “Burns and Allen” radio show in America that she first met Paul Henning, one of the programme’s writers.

Henning fulfilled that promise. After launching the highly-successful Beverly Hillbillies comedy show he became very interested in Bea’s performances.

He had the programme played back dozens of times, then set about creating a completely new show just for her. Bea first appeared in the Hillbillies show as Pearl Bodine, the man-chasing cousin. She really wanted to play Grannie but was told she was “too buxom.”

No one is more pleased now than Bea that she didn’t get the part.

“Just think,” said Bea. “if I had got that part I would never have come to Petticoat Junction. But, of course, Henning and that little train, the Hooterville Cannonball, are the real stars of the show.”

That may be so, but now everyone is busy giving Bea the big-star treatment.

“It means working a 14-hour day, starting at 5 a.m. I’ve never really been the star type… it takes some getting used to.” she insisted.

“When I was 11, I played my first part as an old man in a school play. I’ve played mature roles ever since.”

Roles like Blanche Morton, whom she played for 20 years with Burns and Allen on radio and television. Or more outlandish characters like Gertrude Gearshift, the switchboard operator on “The Jack Benny Show.”

“I also provided the voice for Betty Rubble in The Flintstones.”

Bea and her family (her husband and children, Jack, 23, and Maggie, 16) now live in a rambling, ranch-type house 25 miles from Hollywood in the San Fernando Valley.

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RIGHT..! IT’S PETER SELLERS
BUT does he really exist…?

Some time ago we had an afternoon photo session with Peter Sellers when he wasn’t quite the star he is today. We shot him in a string of guises and we thought “What a brilliant character actor he’ll make.” Well, he turned out to be just that, although, to our knowledge he’s never appeared, as we shot him that afternoon, in the film role of a rock ’n’ roll singer. Perhaps, for some people, the character would be too close for comfort!

Peter Sellers ceased to exist shortly after making a phone call in 1948. At that time he was an unknown, hard-up ex-R.A.F. man who was trying to land a job in show business. On an impulse he rang a variety producer at the B.B.C. and in the assumed accents of Kenneth Horne (the “Much Binding” man, not the author) told the producer, in words something like this, “I’ve just seen a frightfully brilliant chap… you must pop along to see him… name of Sellers.” The producer fell for the deception and, strangely enough, was not a bit annoyed when Sellers admitted the hoax just before ringing off. Peter Sellers was given his chance in a broadcast and from that minute he became the man who never was; he lost his own voice… and he started to lose his own features.

Now, twelve years later, Peter Sellers is firmly established as a number of people — of both sexes and varying nationalities — gathered in one body. Even when he was presented with the British Film Academy’s Award as Best British Actor of 1960 by the Duke of Edinburgh, Sellers could not find his own voice to express his appreciation; when he opened his mouth to speak out came the nasal tones of a teenage boy: “I would like to say on behalf of my mum and dad that I am very pleased to return to the villas triumphant with the prize.” Let’s go back over the career of this composite and bewildering character. 1960 was easily his best year in films, delighting both public and critics in offerings like The Mouse That Roared, Battle of the Sexes, I’m All Right Jack, and Two-Way Stretch.

In the first-named film — also a great success in America — he took three roles: a glorious peach melba of a Duchess, a suave, charmingly continental Prime Minister and a rather shy, inarticulate young man. For this last character Sellers assumed no make-up, hardly altered his voice. It’s the nearest he’s got to playing himself on the screen… and the character was generally thought to be the most uninteresting he’s ever portrayed! A colourless, faceless man with no spark at all. Sellers as Sellers was a bit of a flop.

Being “faceless” is something he shares with that other great actor Alec Guinness. Sellers admits he doesn’t know who he really is, underneath. Guinness is in the same quandary; he, too, doesn’t know his true identity.

But perhaps it’s too harsh to say Sellers doesn’t exist at all. To his pretty ex-actress wife, Anne, he is alive… and his children occasionally see him at weekends. Anne knows him as a husband who rarely loses his temper at home, as a worrier, a perfectionist, a man always in a hurry, a man who wonders why the tulip bulbs he planted yesterday haven’t come up today. But Sellers the actor is liable to do battle with B.B.C., I.T.V., film companies, and Uncle Tom Cobley and all if their views don’t agree with his.

Peter Sellers still remembers the American producer who said that he (Sellers) couldn’t speak Cockney, and that he (the American) would teach him. For the creator of the glorious “Mate” character, this was too much. He walked out of the show.

Another of his pet hates: the long-run part. It would — and did — bore him stiff to go on stage night after night portraying the same character. In his West End venture Brouhaha there was a terrible brouhaha when Sellers decided to quit the show after seven months. He had had enough.

He tried to make the part different each night; on one occasion when the audience was a bit dull he loped around the stage like Groucho Marx; another time he got slightly tipsy, told the audience he was sloshed, and did they want him to appear? They said yes and he played magnificently.

Over the past few years Sellers has concentrated almost exclusively on his film career. When he started appearing in films his aim was: “to become so successful that I can name the parts I want… and play them the way I want.”

Probably it was The Naked Truth, in which he played six roles, which was the turning point in his film career. The public accepted “Goon” Sellers as an actor after this. He was in demand. The same film company that made The Naked Truth tried to rush him into another multi-role epic. Sellers said no, probably remembering Alec Guinness’s advice always to do something different.

Sellers, having “arrived,” was going to dictate the pace and plot the route he was to take from now on.

☆ ★ ☆

At thirty-five he need never work again, could probably retire to that dream island he was so fond of a few years back when he was making only £17,000 a year. With probably double that amount now flowing into the Sellers account he finds that the dream island is rapidly fading; he can’t slow down, finds it hard to relax. The treadmill’s turning faster.

He lives in a ten-bedroomed mansion in Hertfordshire and has a garage for two cars — his and hers. He has changed his car so often — he had owned 60 at the last count, ranging from bubble cars to Bentleys, some he kept only a few hours — that he has got around to changing hers. Sellers also loves electric trains, gadgets and photography.

☆ ★ ☆

He worries about everything: his looks —
he reckons Spike Milligan is much more handsome — his career, his popularity. Two bad films on the trot he reckons could mean the great British public forgetting him.

It would appear that the next step in the Sellers career is to become internationally known. Already has a toe-hold in America but he’ll find the going tough. International stars are personalities… easily recognised as themselves in whatever role they appear… like the Cary Grants, the Gary Coopers. But who — if Sellers sticks to his formula of always being someone else — will recognise Sellers? Again, international stars are usually romantic; Sellers has fought shy of romance on the screen. True, he did kiss Jean Seberg in The Mouse That Roared… but appearing in love scenes with pretty girls terrifies him.

I predict that 1961 is going to be very important to Peter Sellers. Very important indeed.

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During the summer ATV signed Chevalier for two shows which gave British viewers the opportunity of seeing again the restrained charm of this internationally acclaimed artiste.

In September, Chevalier reached his 75th birthday. For over 50 years he has been on the stage. He made his theatrical debut in 1906. In 1914 he joined the French Army and was wounded in an early battle of the First World War. He was captured, and spent the remaining war years in a prison camp.

In 1919 he returned to the stage. This was the beginning of his fabulous career, which has taken him all over the world. His film career started in 1929 and in recent years he has made a number of films in Hollywood. Despite his 75 years, the now silver-haired Chevalier can still put over a love-song in his accustomed masterly style. He is one of the few artistes who can hold the stage alone for hours.

The famous broken-English accent, the irresistible grin and the straw hat at a rakish angle all have become Chevalier’s own trade marks. So, too, has “Louise”, the song he made famous and the one which has become his signature tune.

All over the world the name of Maurice Chevalier has been identified with romantic songs. Even today, it is rare for Chevalier to be allowed to leave the stage without singing at least one of these numbers.

He has worked in every sphere of the entertainment world. He has appeared before royalty many times in Command Performances. His artistry has captivated world-wide audiences.

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At the moment she is working in New York, where Dick Fontaine and a television camera team spent four days following and filming her every move for World in Action, which is why she is on our cover this week.

On Tuesday you can see the results of their work in “The Face on the Cover”, which in telling the story of Jean gives pointers to success for 50,000 other models.

“Jean Shrimpton is at the top now,” Dick Fontaine told me. “I think she’s overtaken Suzy Parker, for she is wanted all over the world by the best photographers, magazines, agencies.

“And she has achieved one of her ambitions — modelling the Autumn Collections for world – famous photographer Richard Avedon.”

Dick has been to New York three times but has always been too busy to see much of it.

“The first time I saw only the inside of the United Nations building ; the second time, I saw the inside of the Plaza Hotel with the Beatles,” he said. “I’ve still no idea what there is in New York apart from taxi cabs and treble-deck sandwiches.”

American photographers are efficient and professional, according to Dick. Models are professional and used to working at speed—though most of them are German, English or Danish.

“They all work harder. They all get more money,” he said. “It was the top thing for Jean Shrimpton to go to America. All the best-known photographers are there, and they are not necessarily the best.”

Jean Shrimpton was well established in Europe before she went to America.

“When I was in Paris a couple of months ago, I counted eight covers of different nationality magazines with Jean’s face on the front — on just one kiosk,” said Dick. “It’s becoming the same in America now. She’s so much in demand. People recognise her in the streets.

“She is the face of this year and last year, and every woman wants to look like her. They all adore her in New York. In fact, it’s ‘the thing’ to be English in America at the moment.”

While the World in Action team in New York followed Jean Shrimpton, their liaison girl and researcher in London, Jenny Isard, was talking to Jean’s parents for more facts on the world’s most sought-after model.

Dick was worn out chasing Jean Shrimpton in New York — “she moves pretty fast,” he said — but he would like to work there. “It’s a good place to work if you like working hard, and if you like cities, and, New York is a real city.”

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“We’re a little bit sick of that ‘wherever she goes he goes, wherever he goes she goes’ bit,” declares Mr. Wagner.

“But what can we do about it? It’s true,” says Mrs. Wagner.

So they do nothing about it, which is as it should be since no pair in Hollywood are obviously as content in each other’s company.

Bob never proposed to Natalie formally.

“We were dining out, celebrating his return from Tokyo,” says Natalie. “I lifted my champagne glass and saw something glistening in the bottom. It was a ring and inside two words were engraved — ‘Marry Me.’ The rest is history.” After their marriage they began housekeeping in a boat. Before their marriage, Bob’s boat was named My Lady. They sold this and bought a larger craft, naming it My Other Lady, which they sold when they finally saw their “dream boat.” Before they could close the deal, however, their “dream ” became another’s — so they decided to buy a house.

Natalie is not sure that she likes living in a house for she feels more at home in a boat.

“When we want to get away for a weekend we just take our house with us,” she says. “ Before R. J. (she always refers to Bob as R. J.) and I were married, my knowledge of boats was confined to the Lurline over and back from Hawaii.”

She took to My Other Lady like a duck to water. “She was a good student,” says Bob with critical pride. “On our first trip out she didn’t make a mistake — until we docked, that is. Then she forgot to let go her hold on a rope and fell overboard. I saw it coming but was too frozen to do anything about it.”

Natalie even got a radio operator’s licence for the ship-to-shore telephone.

“When we would pull into the bay at Catalina I noticed all the other fellows on boats levelling their binoculars on us. That’s when I decided to put Natalie on the bow handling all the ropes. She is so tiny that it made quite a picture — and caused a mild sensation when the other boat-owners’ wives got together and protested. After watching Nat it seems the husbands demanded the same co-operation from them.”

Bob claims that Natalie’s tiny size — a slender 5 ft. 2 in. — is a distinct advantage to a boat-owner, especially when hard-to-get-at parts of the engine need repainting. This was her job on more than one occasion and once while thus engaged she attracted quite a gallery of onlookers all staring into the hold at her in disbelief.

She’s also a good cook at sea — but put her in a kitchen with all modern appliances and she burns herself.

Now they have their own house — a two-storey Colonial house in Beverly Hills, with a salt-water swimming pool — they are still managing to keep it as private as their private lives, only Natalie is willing to talk about it.

“The downstairs, with the exception of a den, is very formal,” she explains. “Marble floor is being installed in the entry hall and dining-room. The living-room has fitted carpet and is done in shades of ice blue with vivid accents. The den is wood panelled with leather furniture. This is our ‘entertainment centre’ with hi-fi, stereophonic sound, television, and a projection machine. There are three bedrooms, one an office, one a guest room, the third our room.”

When you saw them in All the Fine Young Cannibals, you saw something they vowed that they would never do — a film together.

The fact that they took their roles in it was because the film was different from others offered them — sticky comedies about young married couples and their domestic problems. These they turned down. However, they hope to make Seventh Heaven together, for they feel that its special qualities are in direct opposition to the wave of realism sweeping the world.

In addition to R. J. and Nat, the Wagner household includes two pets, both dogs. Chi Chi, Natalie’s, is a toy poodle, silver-grey in colour and small enough to fit into her handbag. Conroy, Bob’s, is a black Labrador retriever, a gift from Bing Crosby.

Natalie prefers to have her husband with her when she shops. When she can’t make up her mind between several choices, he says, “Take them all.” He prefers her in sports clothes.

Both love surprises and gifts prompted by nothing. Chi Chi was a “nothing” gift. So was Bob’s wrist watch engraved “I love you.” Bob has a passion for cars. The Wagners are now a two-Jaguar family — but they prefer to use one at a time — together.

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On Sunday, though, in The London Palladium Show, the longest or shortest double act of them all (it depends upon which partner you are concentrating) is topping the bill.

Name of Peter Cook and Dudley Moore. Or Dudley Moore and Peter Cook if Dud happens to be your friend.

There are people who swear that Pete and Dud are the best double of the day — better even than the one on sale at the local pub. What is beyond doubt is that they are probably the best educated.

Pete went to Cambridge with a view to a career in the Foreign Office, while Dud went to Oxford.

Though not, as his partner maintains, with a view to a career in the Foreign Legion. That, in Dud’s opinion, is not even a “beau jest.”

Pete is the long, sauve, debonair one — what Dud calls 6ft. 2½in. of gangling cynicism. While Dud is just debonair and suave — sort of small, cuddly and passionate, to quote shh… you know who.

I talked to both and found it no good asking how they became partners, because they are still asking themselves that. It was just one of those things — and what a song title that would make.

They agree that TV was the marriage broker of their individual careers. Very much a “marriage” of opposites.

Dud’s a talented jazz musician and composer with magic fingers, while Pete doesn’t know his “A’s” from his “E’s.” Pete’s married and has two children, but Dud is a bachelor.

They met when that smash hit revue “Beyond the Fringe” was an idea. A London restaurant was the rendezvous and they sat there eyeing each other suspiciously.

Both thought much the same: “Heck, it’s only for one week so I’ll appear with him.” So far, that one week has lasted six years.

Pete says he couldn’t imagine teaming up with anyone else, although adding with a light laugh that he did meet Ernie Wise on holiday and jokes about a change of partners.

Dud sniffs good-naturedly at the veiled threat. “I shall be only too happy to go into partnership with Kathy Kirby. Pete’s just jealous because they asked me to take over from Roger Moore.”

Pete would like it known that, although appearances would suggest otherwise, he is the younger. “However, I am sure that the more discerning of viewers have already spotted it.”

Dud? “Yes, it’s true Pete’s younger, but the audience know I am the more experienced. Helping a lame dog over the stile and encouraging new talent.”

The banter continues on the subject of billing. Pete says blandly that he is above trite argument and like any other fair man is willing to settle for alphabetical order.

Dud’s Oxonian sophistication is equal to the occasion. He maintains that as alphabetical superiority is the only thing Pete’s got, then let him have his way.

The partners have never had a row — but like all Scouts are prepared should one happen. “If it ever comes to a punch-up,” says Pete, “I fancy my chances. Do remember, though, that he is nippy on his feet.”

“And what is more,” says Older Moore, “I would wear him down with body punching.”

Dud and Pete are the comic’s best friend. They laugh at all comedy acts. Yet the surprising thing is they know only two jokes between them.

“I can’t remember jokes,” says Pete. “But then I hope we’re more humorists than comedians. When we plan our act we think in terms of comedy situations and dialogue. Say Dud as a jockey and me as a racehorse owner.

“We switch on a tape recorder and ad-lib how the sketch might develop. We don’t actually write things down.

“This is because I can’t read my writing and Dud’s got a cramped hand.”

On Sunday afternoon, Dud will start to grow a little nervous and gloomy as transmission time draws near. Pete helps to keep up morale.

But, eventually. Pete gets affected, too, and it’s then that Dud brightens the mood. As a kind of safety valve, they spend the final minutes in the dressing room trying out a host of character parts and voices.

Soon, when Dud moves into his new house at Hampstead, they will be neighbours. Ready for that day Pete has already bought his partner a ping-pong table for a present.

“The reason for my generosity,” he whispers, “is that I haven’t a spare room in my own house. He will have to make room in his and all I have to do is stroll up the road for a game.”

“Huh,” says Dud. “What Pete doesn’t know is that when he goes on holiday I’m going to put a squash court in his bedroom.”

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