Waves of Disappearance: cinematic topographies of the North Eastern frontier

This is an article I wrote at the end of 2006 for University of East London’s Journal of East London Studies – Rising East 6. Tonight’s Ian Bourn programme at Close Up seems a good time to republish.

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“Geographically Leytonstone is just a case of in one end and out the other. It’s not the end of the road like Whitechapel, nor is it the beginning of the end like Southgate. Leytonstone, if it’s like anything it is the urethra of London.”
—Lenny’s Documentary’, Ian Bourn (1978)

Leytonstone Houses

Not long after I moved to Leytonstone I found myself transfixed by the view from the small window in my bathroom. It was a fairly non-descript panorama of the red-tiled rooftops of terraced houses, chimney pots, and in the distance, poking out from behind a tree, a large slab-like tower block. At times I found myself gazing at it for long periods. It felt somehow both exotic and familiar at the same time. Eventually the penny dropped.
John Smith’s film The Black Tower charts a man’s mental collapse as he believes he is being pursued around his neighbourhood by an ominous black tower that seems to appear looming above the roof-line as he goes about his daily business. A detail in the landscape leads to an odyssey, an obsession, and ultimately oblivion. As his tries to escape we traverse the streets of workaday Leytonstone. The humorous, laconic narrative guides us through the man’s psyche whilst we see the seasons change on the street outside, hear ice-cream vans, kids ride tricycles along the pavement, tree surgeons lop a lime tree. Smith establishes a steady rhythm of locked-off shots, lush and perfectly framed. The tower ultimately consumes the narrator, trapped inside its black walls.

The film is a testament to the power that fine details in the landscape can have over the imagination. As a filmic dérive, it achieves the aim identified by Greil Marcus of revealing “the unknown facets of the known, astonishment on the terrain of boredom, innocence in the face of experience”. The Black Tower’ produces a mental topography of Leytonstone that colonises your imagination.

John Smith is one of the most widely screened British artist film-makers, and as one-time drinking buddy, artist Cornelia Parker noted, “Most of John’s films have been shot within a few hundred yards of his front door, or inside his house.” In fact the house itself became the centre of one of Smith’s most poignant films Home Suite, a video love poem to his home of 12 years.

Composed of three thirty minute single take video monologues Home Suite presents us with an intimate anatomy of Smith’s home in Colville Road prior to its demolition to make way for the M11 Link Road. The first two parts of the film examine in detail the toilet, then the bathroom, comically describing the life of each room, unpacking its history, zooming in on a crack in the toilet bowl, panning across an eccentric Artex job on the walls. The house seems to be coming apart from the inside out, slowly giving up the ghost, merging with the landscape as Smith shows us where the Russian Vine has forced its way through the window frame in the kitchen and has snaked its way across to the gas pipes.

In the final third we emerge from the respectful silence of the condemned house and step out into the street where the mass ranks of police move in with bulldozers to evict the die-hards camped out in Claremont Road. Smith passes by with his video camera, shaken by the scenes he has witnessed, before crossing the road to walk around the corner to his new flat in Twickenham Road where all is calm and as Smith notes, where you’d probably never realise what upheaval was happening over the road.

All that remains of the side of the street where Smith lived in Colville Road is a long brick wall half-heartedly buffering the deafening drone of the Link Road. At one end the motorway signboard showing the way out to Chelmsford, casts a shadow over a row of newly built hermetically sealed bungalows of the sort that would make John Prescott beam. Claremont Road exists only as a street sign where a large billboard above advertises the new Ford Ranger 4×4 as if to rub the road protestors’ noses in their defeat.

Colville Road Leytonstone

Colville Road Leytonstone

The dying days of Colville Road are also captured in a more formal piece of work, Blight. Still using the style of lushly composed static shots, Smith collaborated with composer and fellow Leytonstonian Jocelyn Pook to create a soundtrack of residents’ reminiscences. We watch the house next to Smith’s being carefully, almost gently demolished, as bricks are dislodged by hand, wooden beams lifted off, the house is forensically dismembered.

This act of disappearance offers a brief moment of revelation as exterior walls are removed to lay bare a private realm, an Exorcist mural revealed on a bedroom wall. The pile of rubble that is left is reminiscent of images of wartime bomb damage – this peacetime blitz accounts for more houses in Leytonstone than the Doodlebugs that landed here. With the mood music this film becomes an elegy for a dilapidated dwelling, a more meditative form of protest than the barricades and tree camps in Claremont Road round the corner.

John Smith’s films not only capture this uncelebrated landscape in loving detail but are also a product of the spirit that prevailed in Leytonstone at that time. Cornelia Parker met Smith in 1984:
“Leytonstone at that time was a great place to be. A thriving community of artists lived in dilapidated houses that were due to be demolished for the promised M11 Link Road…..The cheap rents and abundance of space created a fertile breeding ground for ideas. Cross-pollinations and collaborations abounded, ground-breaking works given birth to – creativity thrived under the threat of imminent eviction.”

Northcote Arms Leytonstone

The hub of this E11 avant-garde was The Northcote Arms on Grove Green Road. Whilst similar bare-knuckle boozers were the haunt of East End ‘faces’ and Saturday football firms, The Northcote played host to Smith, Parker, Graeme Millar and Ian Bourn.

Like Smith’s, Ian Bourn’s films are rooted in the psychogeography of Leytonstone. His first major work, Lenny’s Documentary, is an acerbic, drink-fuelled monologue on the nature of the area. The film opens with the caption: “11pm, Leytonstone…..” Lenny lines up a row of beer cans on his desk, cracks one open and slurs out: “Gateway to the East”. He abuses imaginary people off-screen. Captions read “5 minutes later…”, “2 minutes…..” Each time he appears progressively more drunk. He talks of taking pot-shots with an air-rifle at old ladies and arseholes from the top of his high-rise block. “This is where my friends and I have tolerated our existence for far too long. Where small changes have devastating effects”. Pre-empting Smith’s tale of E11-induced insanity, Lenny informs us: “…people here are always cracking up, after which they go to Claybury Hospital”

Lenny finally escapes; we share his windscreen view as he drives up the High Road to the strains of Sinatra singing ‘I’ve Got You Under My Skin’, and fades out at The Green Man Roundabout.

Eaton Park

Eaton Park 2006

The theme of change, decay, and disappearance is always with us. The next wave is on the way with the Olympic redevelopment just over the border in the Lower Lea Valley. The moment of calm before the storm is being captured by a new breed of topographical film-makers.

Following the success of their debut full length film, Finisterre, Paul Kelly and Bob Stanley set their follow-up in the Lower Lea Valley on the day after the announcement that London would host the 2012 Olympics. Kelly has described the film, What Have You Done Today Mervyn Day?’, as being like an obituary to the birthplace of the 20th Century. Stylistically it is similar to many of John Smith’s works, a style that influential born-again flaneur-film-maker Patrick Keiller has identified in the city films of the early years of cinema, “ – the single, long takes; static camera or the phantom ride – “.

What Have You Done Today Mervyn Day? uses the fictional device of a paper boy doing his rounds who allows his sense of curiosity lead him on a journey through the ruination of an area that gave the world plastic and petrol. A radio news bulletin establishes the time and place, 7th July 2005, a day of national celebration and disaster. “The Lea Valley. A river runs through it. You can catch a Kingfisher if you’re lucky. Catch it while you can, it’s all gonna go”, narrates Canning Town’s David Essex.

Paul Kelly’s camerawork frames this blighted landscape in all its rusting glory. The wide skies calling to mind more epic landscapes of Russia and Outback Australia. Aerial shots of the Stratford skyline predicting the mini-City that is to come. A Geoffrey Fletcher-esque recording of small features such as letterboxes, drainpipes, and graffiti (Fletcher was fond of gas lighting and the fittings in public lavatories). Quick flashes of street signage – Pudding Mill Lane, Marshgate Lane Industrial Area. Derelict red-brick factories manage to look like the ruins of ancient Rome as Mervyn cycles past on his rounds; paperboys themselves being an anachronism.
Mervyn Day’ neither condemns the Olympic dream in the name of misguided nostalgia, nor does it bury the past.

As Mervyn gazes across the Thames at the Millennium Dome the warning is clear enough, but as the narration reminds us “The Lea Valley has always been about change”. In calling forth the memory of the Bryant and May Matchgirls’ strike that arguably gave birth to the Labour Party, it also reminds us that these brick and corrugated tin behemoths were engines of oppression as much as technological progress. Ultimately it is left to the viewer to decide whether London’s last wilderness would be better off without the Olympic circus.

These films are united in being subjective responses to the changing topography of the city. Sympathetic witnesses to banality and dereliction; almost dutiful in their logging of the endangered landscape and culture of this end of East London.

Another instalment in the cinematic topography of the north-eastern frontier is currently being created as the towers of the Beaumont Estate that I see from my bathroom window, are now the stars of their own film; captured 24 hours a day on webcam – a real-time documentary of decay into regeneration, as they too slowly join the catalogue of disappearance.

Northcote Arms Leytonstone

Northcote Arms Leytonstone

References
1. Wanderlust: A History of Walking, Rebecca Solnit


2. John Smith: Film and Video Works 1971-2002, Cornelia Parker, A.L. Rees, Nicky Hamlyn

3. In short: a guide to short film-making in the digital age, John Smith p.77-86


4. John Smith at www.luxonline.org.uk


5. Ian Bourn at www.luxonline.org.uk


6. London Calling, Frieze.com, Brian Dillion


7. Hymn to the East End, Daily Telegraph 26.11.05, Sukhdev Sandhu
© John Rogers 2006

Leytonstone A12

Long Live The Heathcote Arms 


The Heathcote Arms on Grove Green Road, Leytonstone is closed once more, two years after it reopened following its initial closure in September 2014. The pub was bought by property developers Equity Estates whose plans to part-demolish and build Flats was thwarted by the pub’s status as an Asset of Community Value and Waltham Forest Council’s pub protection plan. I’ve been told by people in the industry that a number of pub operators offered to buy the Heathcote from Equity Estates but were quoted unrealistically inflated prices.

The Heathcote has the potential to be a great pub once more, Waltham Forest can ill afford to lose any more pubs. Let’s hope the Council continue their policy of opposing pub conversions and this building returns to the community as soon as possible.

Old & New Hackney and the triumph of Lyle Zimmerman

Riding the W15 west over the marshes to Hackney is like traveling on an old time stage coach. This was the forest road in and out of London. It still feels that way to me. Tonight I’m on my way to a screening of London Overground at The Institute of Light – a new cinema + restaurant in a railway arch just off London Fields. I’ll be introducing the film with Iain Sinclair and revisiting the year we spent walking the Overground circuit.

Wandering through New Hackney to the venue it surprises me how much of Old Hackney survives given all the hype. I lived on an estate here in the early 90’s. The BBC shot a documentary on the nearby Kingshold Estate during my first summer in Hackney – Summer on the Estate – I recognised many of the residents in the film from my rounds canvassing alone for the local Labour Party. There were only 7 of us who attended ward meetings and 2 of them were barely mobile so door-knocking was a solitary task.

Institute of Light Hackney

I only seem to pass through Hackney these days – or travel directly to a meeting or an event – I never really hang around there or dwell for long so my sense of the New Hackney comes mostly through popular chatter and reports from the flood of middle-class property seeking Hackney refugees who have poured into Leytonstone and Walthamstow.

The vibe around Morning Lane isn’t so different to what it was 20-odd years ago. The end of Well Street also strikes a familiar tone. Pemberton Place is timeless. The Hobson’s Choice is still a pub but under a different name. The main difference I can see is that now there appear to be some people around who have money, whereas back then everybody was skint. I consider going for a pint and stopping for a while to sample the ambience some more, but no, I don’t particularly want to go searching for that Hackney of the early 90’s and hop back on the W15 to Leytonstone instead.

I drop into the brilliant Whats Cookin ‘rockin country-fried music’ night in the Ex-Servicemen’s Club and catch the end of The Verklempt Family’s set. The lead singer is playing what looks like a curious bass mandolin, and it’s difficult not to become transfixed by it. Their set ends and is met with loud applause and a couple of people give them a standing ovation.

As I’m leaving a friend calls out from one of the outside tables to tell me that the lead singer, the fella playing the curious bass mandolin, was the person who was attacked with a knife in Leytonstone Tube Station last December in what was reported at the time as a ‘terrorist incident’. Lyle Zimmerman had his throat cut with a knife in the attack, his life being saved by a GP who happened to be passing through the station. I’d been outside the station underpass with my family stopped from walking into the scene by a police officer.

I remembered the description of the, at that time unnamed, victim as carrying an instrument – the curious bass mandolin. I don’t know if Lyle Zimmerman was on his way to play at What’s Cookin’ that evening, but on Wednesday night his performance was a real triumph of courage – and he really country rocks that bass mandolin.

Edgeland stumble – Leytonstone to Picketts Lock

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There’s a light patter of rain on the tree canopy along the edge of Leyton Flats as I head out on a Sunday morning walk – a rarity for me as I usually start in the afternoon and walk into the sunset. But today I have to introduce a secret film at Close Up in the evening.

The rain makes gentle circles in the Birch Well – a Victorian drinking spot for the grazing cattle who wandered this way until the BSE outbreak in the 90’s. This first narrow section of forest offers little opportunity for aimless wandering nor allows you to surrender to the woodland spirits because you encounter a road crossing about every 300 yards.

A giant fallen tree lies across the path leading out of Gilberts Slade. I’m feeling the effects of a viral cold, heavy legged, sore feet, wondering how far I’ll make it.

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The long wet grass by the gypsy stone at Woodford soaks my trousers to the knee. I pause for a moment under a tree at Highams Park Lake. The broad shade on the far side and the meander of the River Ching is a favourite spot in the Forest, it has a middle earth like magic even though BBQ smoke and the sound of playing children waft over from the back gardens of surrounding houses.

I stop at the Royal Café in Chingford Hatch for sausage, egg, and chips with tea so strong you could stand a spoon upright in it. Hunger must be dealt with first before assessing whether I have the desire to push on with the walk. I’ve been waiting for this walk to claim a narrative. I can pinpoint almost every other forest schlep with some event or association – even minor excursions like the one that ended here one wet day and I left my walking stick propped against a bench over the road and felt like I was abandoning an old friend. Maybe this stop in the Royal Café will provide that narrative hook.

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The Café sits on the ground floor of a block of flats – there’s a decorative tiled relief set into the wall showing a vase brimming full of flowers in bloom above the letters of the London County Council 1949.

The profusion of peddle-dash along the side of New Road Chingford, the nearby Harvester, these are some of the great signifiers of the London fringe – you find the same motifs heading west through Greenford and Northolt.

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At Chingford Mount I buy a two-pack of socks from Poundland and put both pairs on sat on a bench near the clock tower. With food in my belly and dry socks on my feet I feel like a new person ready to pursue the quest.

Lower Hall Lane offers up a classic slice of Lea Valley edgeland. Men sitting in parked cars in this deadend road – cabbies waiting for the next call. Suburban husbands escaping bungalow wives. Newbuild housing abuts the Grade II-listed Victorian pumping station. A grand brick pile built in 1895 by the East London Water Works, the local paper reports arrests made in recent years for planning violations. Permission to convert to site to residential use was granted by Waltham Forest Council in 2007 but now appears to be under review.

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19th Century excavations in Lower Hall Lane unearthed a series of Bronze Age Cremations – one of many such sites that line the Lea Valley. Further archaeological investigations in Lower Hall Lane revealed a medieval brew house, barns, moats, walls, and ditches. It’s a site of continuous human usage stretching back thousands of years. Today it’s just me and the dog barking at the gate of the deserted pumping station. A shiny new thick chain and padlock adorn the adjoining cottage gate. Perhaps someone is inside watching me from behind the curtains.

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I sauntered past London Waste up the cycle track on the opposite side to the towpath. From the bridge I spot the polythene of a temporary home flapping in the thick undergrowth – makeshift settlements scatter the fringes of London, like Harvester restaurants. A shrine suspended on a pylon pays tribute to ‘RIP Hasan 1987 – 2011’.

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I loiter in the foyer of the Odeon of Picketts Lock  before getting the train back to Stratford from Ponders End.

The campaign to Save George Tomlinson School

On Monday a delegation of pupils from George Tomlinson School in Leytonstone gathered outside the school gates to deliver our petition to the Town Hall in Walthamstow. In a matter of weeks over 4000 people signed a petition both online and on paper, calling for the Lime Academy Trust to be removed from the school and a non-Academy aligned Headteacher appointed. It now looks as though our campaign has been successful with a new Headteacher and Senior Leadership Team to be appointed soon.

This is a video I made at the start of the campaign that highlights the central issues.

It’s important to note though that when I asked the Portfolio leader for Children and Young People at Waltham Forest Council, Cllr Grace Williams, to back a call against all future academisation in the Borough, as neighbouring Labour-led Redbridge has done, she merely said it was the Council’s policy to allow Governing Bodies to decide what is best for their school.

The battle for the future of George Tomlinson could be just the latest of others to come in Waltham Forest.

Leytonstone byways to Old Leyton

Be guided by your feet – or a river, road or canal. With the rain lashing down crossing the footbridge over the Link Road the prospects for a stroll did not look good so I fell upon old territory, some of the first streets I walked when I arrived in London as a callow 18-year.

Then the sun broke out over Upper Leytonstone and I followed the old byways along the Leytonstone/Leyton border to Abbotts Park, past the new Exchange development to Leyton Cricket Ground where I imagined I was watching Essex play Australia in 1905. Squinting you can see back to the workers excavating the remains of a Roman villa in the grounds of Leyton Grange back in the 18th Century, until of course the cars come hooning round Church Road.

 

Download the audiobook of This Other London here (excerpt in the video above)