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Ken Loach's Spirit of 45: Britain's turn to Labour after the war

What ever happened to Timothy? He was perhaps the embodiment of gentle English civilisation.


Image: BFI

Watching Ken Loach’s most recent film, The Spirit of ’45, reminded me of a letter I received from my fellow film director Lindsay Anderson, written in the last week of his life in August 1994. Anticipating Ken Loach, I had tracked down the surviving cast of Humphrey Jennings’s seminal documentary A Diary for Timothy, described by his biographer as “the best evocation, in film or any other medium, of the reasons why the country ‘went Labour’ at the 1945 elections”, and I had asked Anderson if he would like to direct the sequel, in which the cast contrasted Thatcher’s Britain with their hopes and fears of 50 years before.

Anderson told me that Jennings’s vision had long gone and he could think of nothing to replace it. He concluded, “Things have turned out so very differently from the way Humphrey Jennings hoped. I feel too discouraged by the way things have gone and are going to be. I’m sorry about this.”

Anderson called Jennings “the only real poet British cinema has yet produced”. You may remember A Diary for Timothy (incidentally, it has just been re-released by the BFI). Filmed in the last six months of the Second World War, it is a poetic representation of Britain breaking out of fear into hope, out of darkness into light, out of war into peace. News of the progress of Allied forces comes from radio broadcasts, but the film is really about the lives of four characters on the home front which capture the national mood.

There’s Peter the Typhoon pilot, recovering in hospital from injuries sustained over D-Day. His improving health symbolises national recovery. Geronwy the communist coal miner is determined to maintain wartime improvements: “Once, miners with broken backs were dragged to hospital in flat carts. We’ve got our own ambulance cars now, and nursing services and canteens and pithead baths: nothing at all will stop us after the war.” Alan the gentleman farmer, whose land represents continuity with the past, is digging for victory. Bill the train driver unites the others in the war effort. In the words of the scriptwriter, E M Forster, he is “carrying the miner’s coal, the farmer’s crops and the fighting man’s munitions”. Cut to a gurgling baby, little Timothy Jenkins, born five years after the declaration of war on 3 September 1939, and the words of the narrator, Michael Redgrave, “All these people are fighting for you.”

Contrary to this optimism and, indeed, to the euphoria on the home front at the end of the war, recaptured in the newsreels shown by Ken Loach, a mood of anxiety pervades the film. The narrator puts a prophetic question to Timothy:

“What are you going to do? Will it be a world of greed, unemployment and then another war, or will you make the world a more decent place? You will have the power to choose, the right to criticise, so life in a way will be more dangerous. You will have the difficulty of growing up free. What’s going to happen during the next years when you are here and we are not?”

This is the question that lingers in the mind and must make everyone who has seen the film wonder: what happened to Timothy? How did he cope with being a symbol of the New Britain? I have the answers.

His mother, Betty Jenkins, told me that Timothy’s stardom began when she received an unexpected visitor at her bedside in the Queen Mary’s Maternity Home, then at Eynsham, near Oxford:

“Sister hurried in and placed my baby in my arms without any explanation. Then a thin, artistic-looking young man came in and strode about the room looking at us from all angles. After a while, he turned to a young woman I got to know as his production assistant: ‘Well. I’m satisfied, Di, if you are,’ he said. Then he left. He was quite abrupt.”

And then, according to the New Statesman film reviewer writing in November 1945, “a baby begins to grow up knowing even less than we do of the world into which it has thrust itself”. It is interesting to realise that during the making of the film nobody knew how the war would end nor, of course, what would follow. The NS reviewer, William Whitebait, was prophetic in another way. Placing A Diary for Timothy in his top ten films of the year together with The True Glory and Burmese Victory, he opined that the documentary and semi-documentary had now come into their own with, “it may be supposed, lasting effect”.

“Will you make the world a more decent place?” “Decency” was the word that got the surviving cast of A Diary for Timothy going in 1994/95, and as Lindsay Anderson had chosen not to direct the film I wrote up my research for the New Statesman (“Glory traps”, 12 May 1995).

It seemed, however, an unsuitable question to put to Peggy Jones, whose father, “Gronno” (Geronwy), had died in 1973. As late as 1986, 1,800 men had laboured hundreds of feet underground in Ynysybwl, hewing out 14,000 tonnes of coal and 8,000 tonnes of slag a week. While presumably few would want back the life of a deep-pit miner, what Peggy was witnessing was the death of a community. Nothing remained of the once-mighty Lady Windsor Colliery but a memorial of fake coal in a trolley. On the surface, above the ground honeycombed with filled-in tunnels, there were a few jumps so that little girls could exercise their ponies. The pit baths had gone; so, too, had the Workmen’s Hall, the Institute and the miners’ pub, the Windsor. The cottage hospital where Ger­onwy was filmed recovering from a (fake) accident was a home for the terminally ill. It was the comprehensiveness of the destruction that was shocking. “Dad would turn in his grave if he knew what had happened to this place. He would have put a shoe up Mrs Thatcher’s backside,” Peggy said.

In 1995 both the farmer and nurseryman Alan Bloom and Peter Roper the Typhoon pilot were leading remarkably positive lives. Roper, who migrated to Canada in 1959, had become a distinguished psychiatrist specialising in space and aviation medicine. His views on decency were Blairite:

“To me, decency means responsibility, to ourselves, to our families, to community and country. This hasn’t been emphasised. You hear a lot about human rights, but you just can’t have them without responsibilities. I think that’s what is missing in Britain. It’s changed since the war. If people stood up to their responsibilities as much as their rights, Britain would be a better place.”

Dr Roper is still alive. Alan Bloom died in 2005, aged 98, a horticultural legend. According to his obituary in the Guardian, he had bred or named 170 plants, written 27 books, opened a steam museum and created an extraordinary public garden and nursery in Norfolk. In 1995 he looked like an Old Testament prophet rather than the gentleman farmer in A Diary for Timothy, who could have been played by a pipe-sucking Gregory Peck. Silver hair down to his shoulders and a ring in each ear, he toasted bread on a gas fire; by his chair lay CND and Quaker pamphlets and Jung’s Memories, Dreams and Reflections. A Diary for Timothy was “a noble concept” and he had been “full of zeal for fighting Hitler” but he refused to look back.

There was much of the modern world he found “indecent”, particlarly its materialism, so he went his own way. He kept little money (“for what should it profit a man . . .”), employed a former patient or two from the local psychiatric hospital and immersed himself in the wonders of nature. Perhaps if Jennings or Orwell had met Bloom 50 years after the war they would have recognised an eccentric British genius, and a good man.

There was no trace of Bill the engine driver. So what of Timothy?

By 1995 the gurgling baby had become a thin, asthmatic 50-year-old living in the London dormitory town of Houghton Regis. He taught at a local middle school and struggled to introduce a national curriculum to ever larger classes with insufficient resources. He had plenty to say about decency:

“Children are more assured but more selfish than when I started teaching. There’s little regard for the elderly and they seem more out for what they can get. There’s another thing, too. When I started teaching there was only one kid in my class from a separated family. Now one-third are on income support and I suspect quite a number have single parents. I think it’s the fault of unemployment chiefly. So I don’t think this world is a very decent place.”

On the face of it, Timothy seemed a promising spokesman for the New Britain with plenty to say. He read the Guardian, sometimes the New Statesman. But he was shy about A Diary for Timothy and he had not shown it to his two children. He resented being cast as a symbol; it was an unwanted responsibility. Perhaps he’d had his fingers burned by previous media exposure, in a Central TV documentary of 1985 which included an excruciating scene of him and his young children wandering round a desolate shopping precinct in Luton on Christmas Eve, with muzak carols over the Tannoy and Space Wars on the computer screens. This was intercut with footage of Timothy’s first Christmas. In the 1945 film, a choirboy’s high, pure voice sings “Adeste Fideles” and a dribbling Tim becomes, in Jennings’s symbolism, a surrogate for the Holy Infant. Across the nation, glasses are raised to “absent friends”, and a card from Timothy’s father is read: “My dear son, a very merry Christmas to you . . . May you always be happy and truly content with the life you have been given.”

I kept in touch with Timothy until his premature death in 2000. What Humphrey Jennings would have made of his old subject’s life we will never know, because he also died prematurely, in 1950. But George Orwell would have found him a typical Englishman as defined in his “England Your England”, the essay he wrote in the war, just before Jennings made his film.

Timothy personified “the privateness of English life”, to quote Orwell. He loved his little semi-detached house with garden in the Home Counties and he was “addicted to hobbies and spare-time occupations” – photography, gym coaching, gardening. He showed “the insularity of the English”, being not un-European, but not wanting to go there. Instead he took his children round English castles and museums and subscribed to History Today. He was not a flag-waving, goose-stepping patriot but he always bought a British car (Vauxhall, because its motors were made in Luton) and stood up in front of the television during the Remembrance Day silence. He did not hold strong views about the Germans. As for politics, he was not a socialist but he would never vote Conservative; nor did he and his wife, Sue, discuss how they would vote – another instance of this privateness.

In A Diary for Timothy the Jenkinses represent, perhaps in a rather smug way, the Christian and family values of the English middle class. Timothy, in the words of Orwell, was “without definite religious belief . . . but retained a deep tinge of Christian feeling”. Unlike him, his children were not baptised and no one in the family was a churchgoer, but he had a Christian burial with that fav­ourite hymn of Songs of Praise, “Dear Lord and Father of Mankind”.

Timothy personified “the gentleness of the English civilisation . . . its most marked characteristic”, as Orwell said. This may sound a bit old-fashioned now, as does the very word “decency”. But I hope it does justice to this hitherto anonymous wartime baby who unwittingly stood for so much.

CLIVE BARDA
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The lost magic of England

The great conservative journalist Peregrine Worsthorne reflects on a long life at the heart of the establishment.

In a recent editorial meeting, our subscriptions manager happened to mention that Peregrine Worsthorne was still a New Statesman subscriber. A former editor of the Sunday Telegraph and, during a long Fleet Street career, a self-styled “romantic reactionary” scourge of liberals and liberalism, Worsthorne used to be something of a pantomime villain for the left, a role he delighted in. He had close friends among the “Peterhouse right”, the group of High Tory intellectuals who gathered around Maurice Cowling at the small, conspiratorial Cambridge college. He was a frequent contributor to Encounter (which turned out to be funded by the CIA) and an ardent cold warrior. His social conservatism and lofty affectations offended lefty Islingtonian sensibilities. On several occasions he was the Guardian’s reviewer of choice for its annual collection of journalism, The Bedside Guardian, and he invariably delivered the required scornful appraisal while praising its witty television critic, Nancy Banks-Smith. There is no suggestion, he wrote in 1981, that the “Guardian ever sees itself as part of the problem; itself as having some responsibility for the evils its writers described so well”.

His prose style was Oxbridge high table, more Walter Pater than George Orwell. It was essential not to take Worsthorne too seriously, because he delighted in mischief-making and wilful provocation – one of his targets for remorseless ridicule was Andrew Neil, when Neil edited the abrasively Thatcherite Sunday Times. He ended up suing Worsthorne, who was famous for his silk shirts and Garrick Club lunches, for libel; he was awarded damages of £1, the then cover price of the Sunday Times.

“I wrote that in the old days editors of distinguished Sunday papers could be found dining at All Souls, and something must have changed when they’re caught with their trousers down in a nightclub,” Worsthorne told me when we met recently. “I had no idea he was going to sue. I was teasing. I occasionally run into him and we smile at each other, so it’s all forgotten and forgiven.”

After his retirement in 1989, Worsthorne, although he remained a resolute defender of aristocracy, seemed to mellow, and even mischievously suggested that the Guardian had replaced the Times as the newspaper of record. In the 1990s he began writing occasionally for the New Statesman – the then literary editor, Peter Wilby, commissioned book reviews from him, as I did after I succeeded Wilby. Like most journalists of his generation, Worsthorne was a joy to work with; he wrote to length, delivered his copy on time and was never precious about being edited. (Bill Deedes and Tony Howard were the same.) He might have had the mannerisms of an old-style toff but he was also a tradesman, who understood that journalism was a craft.

Shortly before Christmas, I rang Wors­thorne at the home in Buckinghamshire he shares with his second wife, Lucinda Lambton, the charming architectural writer. I asked how he was. “I’m like a squeezed lemon: all used up,” he said. Lucy described him as being “frail but not ill”. I told him that I would visit, so one recent morning I did. Home is a Grade II-listed old rectory in the village of Hedgerley. It is grand but dishevelled and eccentrically furnished. A sign on the main gates warns you to “Beware of the Dog”. But the dog turns out to be blind and moves around the house uneasily, poignantly bumping into objects and walls. At lunch, a small replica mosque in the dining room issues repeated mechanised calls to prayer. “Why does it keep doing that?” Perry asks. “Isn’t it fun,” Lucy says. She then turns to me: “Have some more duck pâté.”

As a student, I used to read Worsthorne’s columns and essays with pleasure. I did not share his positions and prejudices but I admired the style in which he articulated them. “The job of journalism is not to be scholarly,” he wrote in 1989. “The most that can be achieved by an individual newspaper or journalist is the articulation of an intelligent, well-thought-out, coherent set of prejudices – ie, a moral position.”

His Sunday Telegraph, which he edited from 1986 to 1989, was like no other newspaper. The recondite and reactionary comment pages (the focus of his energies) were unapologetically High Tory, contrary to the prevailing Thatcherite orthodoxies of the time, but were mostly well written and historically literate. Bruce Anderson was one of the columnists. “You never knew what you were going to get when you opened the paper,” he told me. “Perry was a dandy, a popinjay, and of course he didn’t lack self-esteem. He had a nostalgia for Young England. In all the time I wrote for him, however, I never took his approval for granted. I always felt a tightening of the stomach muscles when I showed him something.”

***

Worsthorne is 92 now and, though his memory is failing, he remains a lucid and engaging conversationalist. Moving slowly, in short, shuffling steps, he has a long beard and retains a certain dandyish glamour. His silver hair is swept back from a high, smooth forehead. He remains a stubborn defender of the aristocracy – “Superiority is a dread word, but we are in very short supply of superiority because no one likes the word” – but the old hauteur has gone, replaced by humility and a kind of wonder and bafflement that he has endured so long and seen so much: a journalistic Lear, but one who is not raging against the dying of the light.

On arrival, I am shown through to the drawing room, where Perry sits quietly near an open fire, a copy of that morning’s Times before him. He moves to a corner armchair and passes me a copy of his book Democracy Needs Aristocracy (2005). “It’s all in there,” he says. “I’ve always thought the English aristocracy so marvellous compared to other ruling classes. It seemed to me that we had got a ruling class of such extraordinary historical excellence, which is rooted in England
almost since the Norman Conquest.

“Just read the 18th-century speeches – the great period – they’re all Whig or Tory, but all come from that [the aristocracy]. If they didn’t come directly from the aristocracy, they turned themselves very quickly into people who talk in its language. Poetic. If you read Burke, who’s the best in my view, it’s difficult not to be tempted to think what he says has a lot of truth in it . . .”

His voice fades. He has lost his way and asks what we were talking about. “Oh, yes,” he says. “It survived when others – the French and Russians and so on – were having revolutions. It was absolutely crazy to set about destroying that. There was something magical . . . the parliamentary speeches made by Burke and so on – this is a miracle! No other country has it apart from America in the early days. And I thought to get rid of it, to undermine it, was a mistake.”

I ask how exactly the aristocracy was undermined. Even today, because of the concentration of the ownership of so much land among so few and because of the enduring influence of the old families, the great schools and Oxbridge, Britain remains a peculiar hybrid: part populist hyper-democracy and part quasi-feudal state. The Tory benches are no longer filled by aristocrats but the old class structures remain.

“Equality was the order of the day after the war,” Worsthorne replies. “And in a way it did a lot of good, equalising people’s chances in the world. But it didn’t really get anywhere; the ruling class went happily on. But slowly, and I think unnecessarily dangerously, it was destroyed – and now there are no superior people around [in politics]. The Cecil family – Lord Salisbury, he was chucked out of politics. The Cecil family is being told they are not wanted. The institutions are falling apart . . .

“But there were people who had natural authority, like Denis Healey. I’m not saying it’s only aristocrats – a lot of Labour people had it. But now we haven’t got any Denis Healeys.”

Born in 1923, the younger son of Alexander Koch de Gooreynd, a Belgian banker, Worsthorne (the family anglicised its name) was educated at Stowe and was an undergraduate at both Cambridge (Peterhouse, where he studied under the historian Herbert Butterfield, the author of The Whig Interpretation of History) and Oxford (Magdalen College). “I have always felt slightly underprivileged and de-classed by having gone to Stowe, unlike my father who went to Eton,” Worsthorne wrote in 1985.

Yet his memories of Stowe remain pellucid. There he fell under the influence of the belle-lettrist John Davenport, who later became a close friend of Dylan Thomas. “He was a marvellous man, a famous intellectual of the 1930s, an ex-boxer, too. But in the war he came to Stowe and he was preparing me for a scholarship to Cambridge. He told me to read three books, and find something to alleviate the boredom of an examiner, some little thing you’ll pick up. And I duly did and got the scholarship.”

Can you remember which three books he recommended?

“Tawney. Something by Connolly, um . . . that’s the terrible thing about getting old, extremely old – you forget. And by the time you die you can’t remember your brother’s name. It’s a terrible shock. I used to think old age could be a joy because you’d have more time to read. But if you push your luck and get too far, and last too long, you start finding reading really quite difficult. The connections go, I suppose.”

Was the Connolly book Enemies of Promise (1938)?

“Yes, that’s right. It was. And the other one was . . . Hang on, the writer of the book . . . What’s the country invaded by Russia, next to Russia?

Finland, I say. Edmund Wilson’s To the Finland Station (1940)?

“Yes. Wilson. How did you get that?”

We both laugh.

***

Worsthorne is saddened but not surprised that so many Scots voted for independence and his preference is for Britain to remain a member of the European Union. “What’s happening is part of the hopelessness of English politics. It’s horrible. I can’t think why the Scots would want to be on their own but it might happen. The youth will vote [for independence]. This is part of my central theme: the Scots no longer think it’s worthwhile belonging to England. The magic of England has gone – and it’s the perversity of the Tory party to want to get us out of the European Union when of course we’re much more than ever unlikely to be able to look after ourselves as an independent state because of the quality of our political system.

“The people who want to get us out are obviously of an undesirable kind. That the future should depend on [Nigel] Farage is part of the sickness. I mean the real horror is for him to have any influence at all. And when you think of the great days of the Labour Party, the giants who strode the stage – famous, lasting historical figures, some of them: Healey, Attlee, who was probably the greatest, [Ernest] Bevin. I’m well aware that Labour in the good days produced people who were superior.”

He digresses to reflect on his wartime experience as a soldier – he served in Phantom, the special reconnaissance unit, alongside Michael Oakeshott, the philosopher of English conservatism who became a close friend, and the actor David Niven, our “prize colleague”.

“I remember Harold Macmillan saying to me, after the Second World War, the British people needed their belt enlarged; they’d done their job and they deserved a reward. And that’s what he set about doing. And he wasn’t a right-wing, unsympathetic man at all. But he didn’t – and this is what is good about conservatism – he didn’t turn it into an ‘ism’. It was a sympathetic feel, an instinctive feel, and of course people in the trenches felt it, too: solidarity with the rest of England and not just their own brotherhood. Of course he didn’t get on with Margaret Thatcher at all.”

Worsthorne admired Thatcher and believed that the “Conservatives required a dictator woman” to shake things up, though he was not a Thatcherite and denounced what he called her “bourgeois triumphalism”. He expresses regret at how the miners were treated during the bitter strike of 1984-85. “I quarrelled with her about the miners’ strike, and the people she got around her to conduct it were a pretty ropey lot.

“I liked her as a person. I was with her that last night when she wasn’t prime minister any more, but she was still in Downing Street and had everything cut off. The pressman [Bernard Ingham] got several of us to try to take her mind off her miseries that night. There’s a photograph of me standing at the top of the stairs.”

In the summer of 1989, Peregrine Wors­thorne was sacked as the editor of the Sunday Telegraph by Andrew Knight, a former journalist-turned-management enforcer, over breakfast at Claridge’s. He wrote about the experience in an elegant diary for the Spectator: “I remember well the exact moment when this thunderbolt, coming out of a blue sky, hit me. It was when the waiter had just served two perfectly poached eggs on buttered toast . . . In my mind I knew that the information just imparted was a paralysingly painful blow: pretty well a professional death sentence.”

He no longer reads the Telegraph.

“Politically they don’t have much to say of interest. But I can’t put the finger on exactly what it is I don’t like about it. Boredom, I think!”

You must read Charles Moore?

“He is my favourite. Interesting fellow. He converted to Catholicism and started riding to hounds in the same week.”

He has no regrets about pursuing a long career in journalism rather than, say, as a full-time writer or academic, like his friends Cowling and Oakeshott. “I was incredibly lucky to do journalism. What people don’t realise – and perhaps you don’t agree – but it’s really a very easy life, compared to many others. And you have good company in other journalists and so on. I was an apprentice on the Times, after working [as a sub-editor] on the Glasgow Herald.”

How does he spend the days?

“Living, I suppose. It takes an hour to get dressed because all the muscles go. Then I read the Times and get bored with it halfway through. Then there’s a meal to eat. The ­answer is, the days go. I used to go for walks but I can’t do that now. But Lucy’s getting me all kinds of instruments to facilitate people with no muscles, to help you walk. I’m very sceptical about it working, but then again, better than the alternative.”

He does not read as much as he would wish. He takes the Statesman, the Spectator and the Times but no longer the Guardian. He is reading Niall Ferguson’s biography of Kissinger, The Maisky Diaries by Ivan Maisky, Stalin’s ambassador to London from 1932 to 1943, and Living on Paper, a selection of letters by Iris Murdoch, whom he knew. “I get these massive books, thinking of a rainy day, but once I pick them up they are too heavy, physically, so they’re stacked up, begging to be read.”

He watches television – the news (we speak about Isis and the Syrian tragedy), the Marr show on Sunday mornings, and he has been enjoying War and Peace on BBC1. “Andrew Marr gave my book a very good review. He’s come back. He’s survived [a stroke] through a degree of hard willpower to get back to that job, almost as soon as he came out of surgery. But I don’t know him; he was a Guardian man.” (In fact, Marr is more closely associated with the Independent.)

Of the celebrated Peterhouse historians, both Herbert Butterfield (who was a Methodist) and Maurice Cowling were devout Christians. For High Tories, who believe in and accept natural inequalities and the organic theory of society, Christianity was a binding force that held together all social classes, as some believe was the order in late-Victorian England.

“I was a very hardened Catholic,” Worsthorne says, when I mention Cowling’s book Religion and Public Doctrine in Modern England. “My mother was divorced [her second marriage was to Montagu Norman, then the governor of the Bank of England] and she didn’t want my brother and me to be Catholic, so she sent us to Stowe. And I used to annoy her because I read [Hilaire] Belloc. I tried to annoy the history master teaching us Queen Elizabeth I. I said to him: ‘Are you covering up on her behalf: don’t you know she had syphilis?’

“Once I felt very angry about not being made Catholic. But then I went to Cambridge and there was a very Catholic chaplain and he was very snobbish. And in confession I had to tell him I masturbated twice that morning or something, and so it embarrassed me when half an hour later I had to sit next to him at breakfast. I literally gave up going to Mass to get out of this embarrassing situation. But recently I’ve started again. I haven’t actually gone to church but I’ve made my confessions, to a friendly bishop who came to the house.”

So you are a believer?

“Yes. I don’t know which bit I believe. But as Voltaire said: ‘Don’t take a risk.’”

He smiles and lowers his head. We are ready for lunch. 

Jason Cowley is editor of the New Statesman. He has been the editor of Granta, a senior editor at the Observer and a staff writer at the Times.

This article first appeared in the 11 February 2016 issue of the New Statesman, The legacy of Europe's worst battle