The London Nobody Knows

A thought provoking and funny (at times) documentary. James Mason makes the narration of the documentary all the better.

In this production you see facets of London life long since forgotten. Street markets and their entertainers, residential slums, you witness the toughness of what it is to be homeless in a time where financial aid was not available as easily as it is today.

The scene of the egg breaking plant was strange at first but it does show the strange sense of humour that people had in this decade. The vibrant mix of people that occupy London is shown fully in the short fifty three minutes.

It can be rather sad at times to see people at their lowest but gratifying to see some of those people trying to make their lives a little better in any way they can.

James Mason makes a valid comment on the new buildings sprouting in and around London and makes the point that the demolition of old buildings is something that should not be mourned as the same fate awaits the new buildings in years to come.

I think in this he meant to say that change is inevitable and can be for the good sometimes. Overall I think the production was excellent, I give it ten out of ten.

This is a good film to see if you're into this sort of thing: history, local culture, hidden meanings and so on. A number of people he mentioned the difficulty in accessing the film, but it can be seen at the British Film Institute on the Southbank for free, six days a week in their Mediatheque. It's well worth a visit as you can see other similar movies too, grouped by genre, location and so on. As i happens, the St. Etienne film, 'Finisterre' (2006?), was based on this film i think. It can also be seen a the BFI! Enjoy... It says I need to write some more to submit. The narration is really well done, and creates a sinister feel. However in this viewer's opinion it's perhaps a little overblown: the images and interviews speak for themselves, and don't need the colouring of his style of narration. Londoners will enjoy drawing parallels between the London of the film and the city of today, and I suppose that's one of the most enjoyable aspects of watching the film 40 years on - the opportunity to identify consistent London themes that run and run regardless of the particular fashions and stylings of the time.

Factual. This is really a film version of a guided walking tour around some arcane bits of London in 1967. James Mason plays his part very well, but the script and the locations the film makers dig out are what make this such a valuable document. Just about all the places this film mentions are massively changed / disappeared now. You'll do well to ever see this film 'though - it's a real rarity.

A time capsule that reveals what the wrecking ball in 'Withnail & I' was busy tearing down. I wonder what contemporary audiences made of it. The end credits state that the production dates from 1967 not 1969, only deepening the sense of dislocation that permeates this documentary, which shows the remnants of Victorian London being swept away wholesale by Sixties developers. The faceless modern buildings being erected at the time have themselves now been woven into the fabric of London (I think one shot is of the then new, but empty-for-years Centre Point). James Mason is our unlikely guide, and notable in his narration is both a lament for the old and lost, and the sensible reminder that it was mostly pretty dreadful in the past, that the new is the conduit for improvement. The film wisely opts to focus on the smaller scale details: The public urinals (Peeing is something of a repeated theme), a street market, a rail yard, a cemetery, a ruined music hall, a single house, a deli, an eel and mash café, a Sally Army hostel, and then adds colour to these locations by including characters for whom (in every sense) time is running out: Street buskers, market traders, the on-their-uppers flotsam for whom meths drinking has actually become an option. Hearing them speak, we hear the reality of being down-and-out at a time when National Assistance and the National 'Elf could not be relied on to turn lives around. It's the old story, rents go up, poor people suffer. Times change. And for the average Eastender, scraping a crust from selling on street markets, or another long-gone trade? Popular and bustling Mark's deli has disappeared into oblivion, following the Grand Palais Yiddish Theatre, which leads onto another aspect inadvertently captured in the timing of the film: Demographic replacement. Look at the faces of the elderly in the Whitechapel slums, or the kids in the Tower Hamlets playgrounds, and what do you see? Something you would never see today. Today, Jewish life is all but driven out from Spitalfields and Brick Lane. There is a scene towards the end where a man in a wide brimmed hat repeats that he had tried to improve things for himself, but it hadn't worked out. He then proceeds sings a moving hymn, in Yiddish, which for me was the most poignant of all the individual voices on camera, heard over scenes of children's faces and the wrecking ball pulverizing bricks and mortar, confirming, as the final sequence playfully suggests, that the End Is Nigh, but no-one cares. Note: One great song made famous in the 1930's by Leslie Sarony plays over an earlier scene of derelict Victorian graves and statuary, entitled 'Aint it Grand to be Bloomin' Well Dead?"

A brilliant and pretty obscure look at the flip side of swinging sixties London. Narrated by a rather sardonic and sometimes scathing James Mason, we are taken on a tour of the underbelly of London. The film is artfully edited and offers straight factual history with real life characters/ street performers/ vendors who seem very unaware of the camera. The documentary has extremely surreal and quite tragic scenes by turn and encapsulates a London undocumented in the media of the time. The film is too short and could easily have been extended to a series of particular areas of London. The film has occasional screenings in art-house cinemas and should be seen by anyone interested in the history of London and documentary makers.