SUMMER HOLIDAY [1963 / 2019] [Blu-ray] [UK Release] See What Happens When FOUR BOYS in a Red Double Decker Bus Meet FOUR GALS with a Single Mission!
‘SUMMER HOLIDAY’ is a brand new restoration of a fabulous 1960s Musical where Four London Bus mechanics strike up a deal with London Transport. Cliff Richard stars as Don, a London Bus mechanic who, along with his friends Cyril [Melvyn Hayes], Steve [Teddy Green] and Edwin [Jeremy Bulloch] and strikes up a deal with London Transport to convert a double-decker bus into a hotel on wheels. The gang head off to Europe for fun in the sun and adventures along the way. British filmmaker Peter Yates directs singer Cliff Richard in the starring role in this pop music romp. The cast includes the real rock group The Shadows.
FILM FACT: In April 1962, Associated British Picture Corporation of Elstree bought three used RTs (RT2305 (KGU334), RT2366 (KGU395), and RT4326 (NLE990) from London Transport. They were all converted to look like RT1881 (with a fake registration number, WLB991) so they could be used for filming different segments. The opening ten minutes was filmed at the The Aldenham Works, or Aldenham Bus Overhaul Works, was the main London Transport bus overhaul works and was located on the edge of the Hertfordshire village of Elstree and not in Aldenham and was Demolished in June 1996 and where Cliff Richard's character and friends were mechanics at the main bus servicing depot for London Transport. While on lunch one rainy day, they come up with the idea of converting an old RT bus into a mobile home. They enlisted the help of their workmates in a musical segment that uses the track “Seven Days to a Holiday.” The scenes were shot at the works in 1962, during its annual summer shutdown. Filming included large parts of the works as well as numerous actual employees were used as extras. It helped Cliff Richard to be voted by exhibitors as the most popular star at the British box-office in the same year. However it flopped in the USA, where it was released two days after the assassination of President John F. Kennedy. The majority of the numbers integrated dance with song and not merely serving as scenes to promote a number of "hit-parade" songs. Herbert Ross, an American choreographer later became a film director in his own right.
Cast: Cliff Richard, Lauri Peters, Melvyn Hayes, Una Stubbs, Teddy Green, Pamela Hart, Jeremy Bulloch, Jacqueline Daryl, Madge Ryan, Lionel Murton, Christine Lawson, Ron Moody (Orlando), David Kossoff (Magistrate), Wendy Barrie (Shepherdess / Dancer), Nicholas Phipps, The Shadows and Their Guitars, Lindsay Dolan (Dancer), Richard Farley (Dancer), Anne Briley (Dancer), Terry Gilbert (Dancer), Leander Fedden (Dancer), Ian Kaye (Dancer), Sarah Hardenberg (Dancer), Vince Logan (Dancer), Derina House (Dancer), John McDonald (Dancer), Eithne Milne (Dancer), Pat McIntyre (Dancer), Sheila O'Neill (Dancer), Leon Pomeranetz (Dancer), Joan Palethorpe (Dancer), Ben Stevenson (Dancer), Salo Gardner (Dancer), Hyma Beckley (uncredited), Brian Bennett (The Shadows) (uncredited), Hank B. Marvin (The Shadows) (uncredited), Bruce Welch (The Shadows) (uncredited), Brian Locking (uncredited), Tom Oliver (uncredited), James Payne (uncredited), Reg Thomason (uncredited) and Viviane Ventura (uncredited)
Director: Peter Yates
Producers: Andrew Mitchell and Kenneth Harper
Choreographer: Herbert Ross
Screenplay: Peter Myers (original story and screenplay) and Ronald Cass (original story and screenplay)
Composers: Norrie Paramor, Peter Myers, Ronald Cass and Stanley Black (Background Score, Orchestration and Musical Direction)
Cinematography: John Wilcox, B.S.C. (Director of Photography)
Image Resolution: 1080p (Black-and-White + Technicolor)
Aspect Ratio: 2.35:1 (CinemaScope)
Audio: English: 2.0 LPCM Stereo Audio
Subtitles: English SDH
Running Time: 108 minutes
Region: Region B/2
Number of discs: 1
Studio: Associated British Picture Corporation / STUDIOCANAL
Andrew’s Blu-ray Review: "From the first kiss to the last blush it's the craziest riot on wheels!" so promised the poster for this fondly remembered 1960s musical starring Cliff Richard and Lauri Peters. A priceless snapshot of the moment that American teen culture swept into Britain and the 60s began to swing, the film chronicles Cliff Richard's madcap scheme to take a red London double-decker bus on a tour of Europe and sing at anyone who'll listen.
With the film ‘SUMMER HOLIDAY’ [1962] follows an established pattern of turning early rockers into family entertainers and distancing them from associations with juvenile delinquency. The film's opening sequence is among the most iconic of its era. Into the grey world of early 1960s “realism” comes Cliff Richard, driving his red bus and - literally and bringing colour to those around him. The transition to colour follows ‘The Wizard of Oz’ [1939] transition that indicates that we are in fantasy territory and in folklore, where Cliff Richard would bring good tidings and there never was a bus mechanic like this and his over-enthusiasm immediately sets him apart.
Here Four British mechanics embark on a fun-filled trip across Europe on board a double-decker London bus, and enjoy all manner of romantic adventures with three young women who hitch a ride on their way to Athens. However, an unexpected stowaway causes a few surprises. Musical comedy, starring Cliff Richard, Lauri Peters, Melvyn Hayes, Una Stubbs, Teddy Green, Pamela Hart, Jeremy Bulloch, Ron Moody and The Shadows.
“Innocence” is the term often used for the film ‘SUMMER HOLIDAY,’ and it might have been made to illustrate the notion that pop music of the pre-Beatles era provides “a perpetual busman's holiday all associate with pop music with summer at the beach and images of the teenager drawn from advertising rather than reality, especially the rear of Cliff Richard's bus even has printed adverts for Fidelity radios and Dolcis shoes.
Cliff Richard has strong support: from Broadway, Lauri Peters and choreographer Herbert Ross; from the West End, writers Peter Myers and Ronnie Cass, dancers Una Stubbs and Teddy Green and Grazina Frame dubbing Lauri Peters' vocals. The appearance of Nicholas Phipps (associated with toff roles, as in ‘Spring in Park Lane’ that was directed by Herbert Wilcox, in 1948) as a British consular official is a neat acknowledgement of an earlier tradition.
The film ‘SUMMER HOLIDAY’ skilfully mixes commercial pop with mainstream show and swing numbers. Frequent opportunities for song and dance include a commedia dell' arte mime and a Yugoslav wedding dance. 'Really Waltzing' is a mass of swirling colour, while 'Stranger In Town' features a touch of the Gene Kelly’s, arranged by Stanley Black with Latin rhythms, trad jazz and blues.
The film is one of those great big, sunny 1960s musicals, in the vein of ‘West Side Story’ or ‘The Young Girls of Rochefort.’ It was choreographed by Herbert Ross, who had previously worked on the film ‘Carmen Jones’ as well as Cliff Richard’s previous film, ‘The Young Ones.’ There are lots of fun, memorable and inventive numbers, such as when the boys and girls have to quickly put on a mime show, especially with costumes and sets to convince a Magistrate [David Kossoff] that they’re actually all part of a traveling troupe of entertainers. The on-location filming also contributes to the Technicolor fun and eye-candy nature of the picture, whether it’s inside a working bus repair facility or on a sunny Grecian beach.
The “young ones cast” remain honest and decent throughout the film, but unlike Barbara's mother Stella [Madge Ryan], who is a musical-comedy American “mother from hell,” and 100% self-seeking, avaricious and prejudiced towards Don, who she calls a “hoodlum.” But being a fantasy, ‘SUMMER HOLIDAY’ ends with reconciliation between youth and ghastly middle-age misogynous dinosaurs, thus reinforcing the films theme of traditional values of successful business enterprise and marriage. Hallelujah brothers!
Despite the fun of the film, this early British “invasion” didn’t quite take hold in the United States, both the film and Cliff Richard as a star himself, despite Cliff Richard being the number one box office draw in Britain two years running. That’s partly due to unfortunate timing of the release in the US, which ended up being just two days after the assassination of President John F. Kennedy. But it also highlights the cyclical nature of audience acceptance and cultural currency; there’s just a point at which people need something drastically different and new, and Cliff Richard was being marketed to Americans as another Elvis Presley.
Whether that emulation was ever even Cliff Richard’s intention, or just the limited creativity of those in charge of selling him, doesn’t really matter in the end. The arrival of the other British invaders changed the face of rock music so drastically that everything got shaken up and anything and anyone not already firmly in place kind of slipped through the cracks. Despite this, the film still remains popular with British folk memory, and there was even a 1997 stage production.
SUMMER HOLIDAY MUSIC TRACK LIST
SUMMER HOLIDAY (Written by Bruce Welch and Brian Bennett) [Sung by Cliff Richard, The Shadows and played by The Norrie Paramor Strings]
SEVEN DAYS TO A HOLIDAY (Written by Peter Myers and Ronald Cass) [Sung by Cliff Richard, The Mike Sammes Singers and played by The Associated British Studio Orchestra]
SUMMER HOLIDAY (Written by Bruce Welch and Brian Bennett) [Sung by Cliff Richard, The Shadows and played by The Norrie Paramor Strings]
LET US TAKE YOU FOR A RIDE (Written by Peter Myers and Ronald Cass) [Sung by Cliff Richard, The Mike Sammes Singers and played by The Associated British Studio Orchestra]
LES GIRLS (Written by Hank B. Marvin, Bruce Welch and Brian Bennett) [Played by The Shadows]
ROUND AND ROUND (Written by Hank B. Marvin, Bruce Welch and Brian Bennett) [Played by The Shadows]
FOOT-TAPPER (Written by Bruce Welch and Hank B. Marvin) [Played by The Shadows]
STRANGER IN TOWN (Written by Peter Myers and Ronald Cass) [Sung by Cliff Richard and played by The Associated British Studio Orchestra]
ORLANDO’S MIME (Written by Stanley Black) [Played by The Associated British Studio Orchestra]
BACHELOR BOY (Written by Bruce Welch and Cliff Richard) [Sung by Cliff Richard, The Shadows and The Mike Sammes Singers]
A SWINGING AFFAIR (Written by Peter Myers and Ronald Cass) [Sung by Cliff Richard, Grazina Frame and played by The Associated British Studio Orchestra]
REALLY WALTZ (Written by Peter Myers and Ronald Cass) [Sung by Cliff Richard, The Mike Sammes Singers and played by The Associated British Studio Orchestra]
ALL AT ONCE (Written by Peter Myers and Ronald Cass) [Sung by Cliff Richard and played by The Associated British Studio Orchestra]
DANCING SHOES (Written by Bruce Welch and Hank B. Marvin) [Sung by Cliff Richard and The Shadows]
YUGOSLAVIA WEDDING (Written by Peter Myers and Ronald Cass) [Played by The Associated British Studio Orchestra]
THE NEXT TIME (Written by Philip Springer and Buddy Kaye) [Sung by Cliff Richard, The Shadows and The Norrie Paramor Strings]
BIG NEWS (Written by Cliff Richard and Mike Conlin) [Sung by Cliff Richard and The Shadows]
SUMMER HOLIDAY [Reprise End Title] (Written by Bruce Welch and Brian Bennett) [Sung by Cliff Richard, The Shadows and played by The Norrie Paramor Strings]
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Blu-ray Image Quality – STUDIOCANAL and Associated British Picture Corporation presents us the film ‘SUMMER HOLIDAY.’ This new Blu-ray release is sourced from a brand new 4K restoration that is an absolute stunner. I have viewed it twice and I am tempted to declare it STUDIOCANAL and Associated British Picture Corporation has given us the best restoration job this year. The film looks incredible depth, clarity, and delineation is as good as they can be in the 1080p Technicolor image presentation. There are a few areas where image transitions have some small colour density fluctuations but these transitions are undoubtedly as they appear on the original elements that were accessed during the restoration. The primaries are lush and wonderfully balanced, while the supporting nuances are super healthy. With all the sun and picturesque locations, this film is often pure eye-candy. There are no traces of problematic digital work. Debris, cuts, damage marks, and stains have been thoroughly removed as well. So all in all STUDIOCANAL and Associated British Picture Corporation have done a sterling job of the image restoration for this 1962 film release of ‘SUMMER HOLIDAY.’ Please Note: Playback Region B/2: This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications.
Blu-ray Audio Quality – STUDIOCANAL and Associated British Picture Corporation brings us the film ‘SUMMER HOLIDAY’ with just one standard 2.0 LPCM Stereo Audio experience. The audio track has been fully remixed, which is why the clarity, depth, and stability are really excellent for this 1962 film release of ‘SUMMER HOLIDAY.’ There are lovely audio dynamic nuances as well, which are crucial for this big soundtrack especially if you listen to The Shadows perform at the party around 19.00 minute mark. The dialogue is very clean, especially when the actors speak and very easy to follow. So once again STUDIOCANAL and Associated British Picture Corporation have done a sterling job of this audio restoration for this 1962 film release of ‘SUMMER HOLIDAY.’
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Blu-ray Special Features and Extras:
Audio Commentary with Author Jonathan Sothcott and Director Peter Yates: Here both Jonathan Sothcott and Peter Yates [1929 – 2011] are here to talk about the film ‘SUMMER HOLIDAY,’ but this was originally for the DVD release and it was very lazy of STUDIOCANAL not to edit this comment out. Peter Yates felt it was the happiest film he had ever directed, and was the first major film he ever directed, and informs us how he got involved with the film. Well it was all due to the success of the film ‘The Young Ones,’ so they wanted to carry on the success of this type of British Musical films, and because the director Sidney J. Furie of the film ‘The Young Ones’ decided to contact Peter Yates, who he felt was a very enthusiastic young director, who would get on well with Cliff Richard and the rest of the young cast. On top of all that, Peter Yates had been previously an assistant director on a couple of other previous films and was also a director of some plays at The Royal Court Theatre in Sloane Square, in the Royal Borough of Kensington and Chelsea, London, England, and Sidney J. Furie felt he had the right approach and outlook on how to direct the film ‘SUMMER HOLIDAY’ which of course was mainly aimed at a younger generation audience. Peter Yates is asked why he decided to start the film in black-and-white, and explains that in the 1960s we always associated the British summer as wet, cold and miserable, and that is why they decided to start the film in black-and-white, and when you see the Red Double-Decker bus arrives and the film changes into colour, Peter Yates says, “See, the sun has come out.” Peter Yates is asked how the transition from black-and-white to colour was achieved, and informs us that it was done by double printing, meaning that it was first filmed in black-and-white, and then it is filmed again in colour, and then the two pieces of film were put together, and Cinematographer John Wilcox, who had done many distinguished films like ‘The Black Knight’ [1954], ‘The Cockleshell Heroes’ [1955], ‘Carve Her Name with Pride’ [1958], ‘The Mouse that Roared’ [1959], ‘Expresso Bongo’ [1959] and of course ‘SUMMER HOLIDAY’ to name just a few that spanned over a period from 1951 to 1978, and John Wilcox came up with the idea of starting the film in black-and-white to having it transition into colour to give a sunny opening to the film. The scene in the bus workshop that still existed in the 1960s, but later was demolished after filming, and of course was not far from the Elstree Studios, where all the bus repairs were carried out, and they got a great deal of enthusiastic support and cooperation from London Transport, and it was great fun shooting those scenes at the start of the film at the workshop. As to the extras in the workshop, were not the actual workers, as there would have been serious trouble with the Actors Union, so instead they had to hire paid extras. Peter Yates was asked how he first met Cliff Richard and could not remember, but definitely remembers meeting him with the rest of the young cast of actors, and found Cliff Richard to be very nice to work with as well as the rest of the young cast of actors. With the premiere of the film ‘SUMMER HOLIDAY,’ Peter Yates recalls it was a great success and even did better that the film ‘The Yong Ones’ and ‘SUMMER HOLIDAY’ made much more money, which of course to Peter Yates it was vitally important, especially for the United Kingdom film industry and its reputation. Peter Yates is asked whether Cliff Richard actually drove the Red Double-Decker bus for real and Peter Yates says yes he did, but for some of the scenes of Cliff Richard driving the bus, it was done with back screen projection. When you see the three young ladies driving their broken down car and blocking the road so the bus cannot pass, this was actually filmed in Greece. The reason the main cast were hired, was because they had to have actors that could actually dance and sing. But Peter Yates mentions about Melvyn Hayes’s blond hair, and could not remember why this happened, but also mentions the fact that Jeremy Bullock and Melvyn Hayes were not seen dancing in scenes in the film, but were hired because they were good actors. Peter Yates felt the film ‘SUMMER HOLIDAY’ was extremely good, as it combined and integrated the songs and dancing into the film seamlessly and also told a very good story at the same time. What also helped, was the Choreographer Herbert Ross (1927 – 2001) who helped with the musical numbers, who also helped out with the film ‘The Young Ones’ who also worked in the American Theatre, as well as a lot of American Film Musicals, and the song and dance sequences helps the flow of the film. Peter Yates is asked about the sound recording, especially on location, especially when the actors are singing, and in fact they were pre-recorded in a studio in London before filming, then when they are filmed singing and dancing they have to mime and lip-sync to what they had recorded. Peter Yates was asked how he was able to acquire the Red London Transport double-decker bus, and informs us that it was again with the cooperation of London transport, and of course it was very good publicity for them, and Peter yates informs us that they actually purchased two Red double-decker buses, because one had to be sued for the interior shots and the other one for the location shots, and of course had to have the second one in case one of them broke down. Peter Yates also explained why the film goes black when the male actors push the old broken down car and explodes, so that when you see the male actor’s faces have black make-up. When we see the bus on the streets of Paris, they actually filmed it driving around Paris and had a lot of fun filming those scenes and were actually filmed at the end of the film schedule. Also when we see the Les Shadows playing in a French club, and the cast dancing, this was actually filmed in the London studios. Peter yates was asked about was he worried about the clothes the actors were wearing would looked very dated quickly, and says that he was not worried as it was all in the hands of the marvellous of clothes designer Cynthia Tingey [1931 – 2005], who had a very distinguished career and went onto to do lots more major films. When you see Cliff Richard dancing in France with the old women that turn into young ladies, well this of course was trick photography done old style in the camera, whereas today it would have been done CGI and would cost a lot more money says Peter Yates, and was also asked about the budget for the film and he honestly could not remember, but reckons at the time was usually around the $300.000,000. When they come across Ron Moody sitting in the road, Peter Yates said he thought Ron Moody was simply marvellous and thought he was equally marvellous in this film, and all the young actors were equally marvellous that got involved is scenes with Ron Moody, who was at the time not very well known, but of course later on had much greater success in the film ‘OLIVER!’ Peter Yates talks about Lauri Peters where at the time before filming started, was actually appearing on Broadway in “The Sound Of Music” and also went onto to do other Broadway shows after ‘SUMMER HOLIDA,’ but Peter Yates does not go into great deal why they signed up Lauri Peters for this film. When we see the scene where the bus stops and there is The Shadows, also Cliff Richard, Melvyn Hayes and Lauri Peters, which of course was shot in the London Studio, and the rest of the cast were working elsewhere, and here Cliff Richard sings “Bachelor Boy” which was an extra song added at the last minute and was written by Bruce Welch and Cliff Richard and of course “Bachelor Boy” was a massive chart success due to the film and Peter Yates says that The Shadows really enjoyed themselves, especially trying their best to be actual actors [tongue in cheek!]. Peter Yates is also asked why were The Shadows always in cameo scenes throughout the film and replies that it was because The Shadows were in the previous film ‘The Young Ones’ and also they were Cliff Richard’s backing group and were all part of the deal and again Peter Yates thought they were very good and were especially fun to work with. Peter Yates felt the script was very complicated, but at times would allow the actors to sometimes ad-lib when necessary, when it suited a particular scene in the film, and especially as they were really playing themselves and having a jolly good time, but on top of all that, Peter Yates insisted on a week of rehearsals in London and in that way it brought everyone together as a group effort and them when shooting the film, they all knew what their part in the film was. Peter Yates talks about the American Thunderbird car the two Americans actors were travelling, especially in the scenes in Greece and Peter Yates admitted he loves cars and that is why he wanted to work with Steve McQueen and direct the film ‘BULLET’ and people in America were very impressed in the film ‘ROBBERY’ he directed, but especially Steve McQueen, as he was really impressed with the car chase scene and that is why he insisted Peter Yates direct his film ‘BULLET’ and also insisted on meeting Peter Yates in person to have a talk about directing his film ‘BULLET’ and after the first meeting Steve McQueen was very impressed with Peter Yates and loved his British accent and on top of all that, Steve McQueen was a massive British anglophile fan and Peter Yates also said he really got on well with Steve McQueen and enjoyed the experience. When we finally get to meet the St. Bernard dog, Peter yates said that there was a serious problem, especially as it was very hot in Greece and the dog did not like being out in the sunshine and only wanted to be in the shade all the time and was hardly surprising, because the poor dog had very thick fur and was also falling asleep a lot because it was so hot. When we see Cliff Richard and Lauri Peters in their dance routine in the open air café, Peter Yates is asked how sharp the images was especially with all the rapid dancing, and says that of course it was all down to the professional cinematographer John Wilcox, because of his vast experience over many years on working on quite a number of films. Peter Yates is asked about the critic’s response when the film was finally released, and said it was totally marvellous and especially the Sunday Express and also The Times newspaper was equally giving a glowing review and all the critic’s enjoyed the whole concept of the film, especially with the pace and energy of the film, and also the background scenery in Europe and also the fact that they thought the film had a good look to it, but of course this really only related to the United Kingdom at the time and sadly the film went down like a lead balloon when released in America. Peter Yates comments that films of this calibre should at most be at least 90 to 100 minute long or even less, and if you cannot tell a story in that length of time, then directors should not be allowed to make a film, as that time is quite long enough, and if you start looking at your watch, then of course you have a serious problem with a film that is too long. Peter Yates is asked how would he classify this film, is it a musical, is it a comedy, or a romantic film, and Peter Yates definitely calls this film a musical comedy and a very light hearted one on purpose, as it is a film that suits Cliff Richard and his dedicated fans. When we see the Red double-decker bus arrive at the border of Yugoslavia, informs us that they were banned ever entering this country, especially by the Yugoslavia Government when they saw the film, as they thought the scene with the border guards insulted their country, it also related to the dance routines with the peasant woman, who was actually Wendy Barry a British citizen, and the other insult for the Yugoslavia Government was the fake marriage proposal by Cliff Richard and were extremely angry about it, and all those scenes were not to be taken seriously and was also not meant to be taken as a political statement and after all that, the other insult was that those scenes that was supposed to be Yugoslavia was in fact filmed in Greece and to add insult to injury, they felt the scenes with the Yugoslavia village people made then look like peasants, but of course they were not real Yugoslavia people, but extras. Peter Yates comments that they did not know how to end the film, they first tried several numbers, various songs, but one morning Cliff Richard and Mike Conlin called Peter Yates and said they had written a song that would be perfect for the ending of the film and it was “BIG NEWS” and that folks is how we were able to finally finish the film and peter Yates thought it worked wonderful. Peter Yates is asked about how he felt about the film personally, and he says that he was very happy and would not change a thing, and especially it was his first major film he was able to direct, and the film had a lot of scope to it, and especially, it is a very entertaining film. Another this Peter Yates loves about the ending of the film is seeing The Shadows dressed up as Greek musicians and doing their musical number. Peter Yates is asked for his final thoughts on the film, and he feels the film is very charming, and is very proud of it, and it has such an energy and pace, which he has always tried to achieve with any film he directs, and at that point the author Jonathan Sothcott wants to thank Peter Yates for his personal comments and Peter Yates says, “It has been a pleasure presenting this film to you and I hope you enjoyed watching it, as much as I did, and especially making it.” So all in all in summing up this very enjoyable audio commentary and one I have enjoyed very much and was such a joy hearing Peter yates and all of his fascinating anecdotes about the film ‘SUMMER HOLIDAY’ and definitely gets a five star rating from me and it is one must hear, as you will hear lots of fascinating extra information about the film that I was not able to mention, so enjoy!
Special Feature: Interview with Bob Stanley [2019] [1080p] [1.78:1 / 2.35:1] [9:19] Here Bob Stanley, author of “Yeah Yeah Yeah: The Story of Modern Pop” [2013] talks about his first memory of seeing Cliff Richard, and was with his Mum and Dad’s vinyl record collection and especially the song “Travellin’ Light” [1959] and all the family in the early 1970s loved watching Cliff Richard with his regular Saturday Night Light Entertainment Television Show. Bob Stanley felt that Cliff Richard at the time looked like a real British Rock ‘n’ Roll star and especially when wearing his bright pink satin jacket and of course seeing him regular on the ITV “Oh Boy!” first teenage all-music show British TV show and was of course at the time broadcast in black-and-white on the 405 line system, and felt that Cliff Richard always dressed and looked the part, and of course Cliff Richard wanted to be the English Elvis Presley Rock ‘n’ Roll singer. But of course the British Pop scene at the time also had Tommy Steele, who was in competition with Cliff Richard, but Tommy Steele tended eventually to go more into light entertainment very quickly, that to be a Rock ‘n’ Roll singer and of course went to star in several films, especially in Hollywood. The turning point for Cliff Richard’s singing career, was his massive hit single “Living Doll” and of course was written by the famous Lionel Bart, and of course would go onto writing all the songs for the film ‘Oliver!’ When the film ‘The Young IOnes’ was released, Cliff Richard was at the top of his game and was also the most popular pop singer in the whole of the United Kingdom, and in six months of the 1960s, was top of the Hit Parade, especially with The Shadows. Bob Stanley feels the start of the film ‘SUMMER HOLIDAY’ is really strong, and was released 10 years after rationing in the United Kingdom and the film made Great Britain look very post war, especially at the start of the film when we see the Brass Band on the beach in the pouring rain in black-and-white, and also when we eventually see the Double Decker Bus arrive and Bob Stanley feels it is a very English film and it sets up the films scenario very nicely. Also Bob Stanley feels Cliff Richard acting is notably much more confident in the films ‘The Young Ones’ and ‘SUMMER HOLIDAY,’ that Cliff Richard was in ‘Expresso Bongo,’ because he feels especially in ‘SUMMER HOLIDAY,’ he is playing something much closer to the real Cliff Richard and to emphasis what Bob Stanley is saying, we get to view lots of clips from ‘SUMMER HOLIDAY.’ Bob Stanley feels the film ‘SUMMER HOLIDAY’ is a nice premise, especially with the Double Decker Red Bus travelling across Europe and the eventual destination is Athens in Greece, and especially with Cliff Richard doing most of the driving, and the film is still very popular today, despite some aspects of some scenes in the film look very camp and contrived, especially for modern audiences who were not born in the 1960s. But despite this, it is still a very enjoyable film, especially for the whole family who can view the film. Of course Bob Stanley feels the film had to have songs included that would be popular for pop fans in the 1960s and of course one song in particular and that was the title song “Summer Holiday” was the song that did it and was a massive hit and also helped to promote the film ‘SUMMER HOLIDAY’ to become a massive No.1 box office success, especially in the United Kingdom. Cliff Richard also had another massive chart success with the release of a double “A” sided record that did really was and was two songs from ‘SUMMER HOLIDAY’ and they were the “A” side “Bachelor Boy” and the “B” side was “The Next Time.” In 1963, Cliff Richard and The Shadows had lots of chart hit singles for about 6 months, but when The Beatles released their single “Please Please Me,” then the whole pop scene changed dramatically and Cliff Richard and The Shadows chart hits faded away. Then Cliff Richard started to change career with more Light Entertainment Television shows, but was also a massive hit with the loyal fans with his sell out concert tours. But after the release of the film ‘SUMMER HOLIDAY,’ Bob Stanley feels it was the end of an era. So all in all, despite this interview was very short in length, it was still quite an interesting special feature, and I felt Bob Stanley was very interesting and very informative, especially about Cliff Richard’s career. So is very well worth viewing.
Special Feature: Cliff Drives London Bus! [1962] [1080p] [1.37:1] [1:03] Pop singer and film star Cliff Richard puts on his bus driver's cap and is seen standing with his instructor Fred Bachelor at the London Transport Driving School in Chiswick in London watching a AEC RT double-decker bus skidding and you see Cliff Richard making a grimace while watching the bus skidding. Then we see Cliff Richard walking to the bus with his instructor, where he talks to the driver. Eventually we see Cliff Richard in his bus uniform talking to other drivers and the camera pans as he steps into the driver's cabin and we see Cliff Richard drives away with instructor behind him. Then we see Cliff Richard hands on steering wheel from inside bus, showing Cliff Richard driving skills. We also see Cliff Richard drive the bus down a ramp and under bridge and hands turning the steering wheel. We also see Cliff Richard drive the bus onto the skid patch. The narrator informs us that Cliff Richard is learning to drive the AEC RT double-decker bus for his next film ‘SUMMER HOLIDAY.’ Footage Supplied by British Pathé.
Special Feature: First Night To Remember [1963] [1080p] [1.37:1] [1:49] Here we get to view archival footage with the World Premiere of the film ‘SUMMER HOLIDAY’ at the Warner Theatre in London's West End on the 10th January, 1963. We get to see Cliff Richard drive the bus to the World Premiere with some of the cast from the film. Some of the people we get to see attend the World Premiere are Billy Butlin and his wife, Robert Morley and Family, Melvin Hayes, Teddy Green and Mrs. Hayes, Arthur Askey, Cliff Richard’s Mother, David Kay, Billy Wright, John Mills and Family, David Kossoff and The Shadows. Footage Supplied by British Pathé.
Special Feature: Rhythm 'N' Greens [1964] [1080i] [1.37:1] [31:31] Associated British- Pathé presents the Sixties pop group The Shadows who act out the history of mankind in their own idiosyncratic style whilst relaxing on the beach. The beaches of England have often been the key to Britain's island history. The film takes an idiosyncratic point of view of this, by trying to use humour [not very good humour] and the music of the most popular group in the country at that time, The Shadows in their different disguises point out that not much has changed since those early caveman drum beats, throughout this item, we get to see The Shadows play lots of different instruments, in a modern pop style and a film that is a very crude way to promote The Shadows. This supporting film was released in conjunction with the film ‘SUMMER HOLIDAY.’ It says it was filmed in Technicolor, something must have gone wrong in the laboratory? Contributors include: Robert Morley (Narrator), Hank B. Marvin (The Shadows/ Lead guitar), Bruce Welch (The Shadows/Rhythm guitar), Brian Bennett (The Shadows/ Drums), John Rostill (The Shadows/Bass guitar), Joan Palethorpe (Girl), Audrey Bayley (Girl), Sally Bradley (Girl), Wendy Barry (Girl) and Cliff Richard (King Canute) (uncredited).
Special Feature: Stills Gallery [1962] [1080p] [1.78:1] [0:42] Here we get to view a collection of stunning black-and-white promotional images relating to the film ‘SUMMER HOLIDAY.’
BONUS: Here you get a collection of four rare exclusive art and lobby cards relating to the film ‘SUMMER HOLIDAY.’
Finally, ‘SUMMER HOLIDAY’ is one of those enchanting solid gold 1960s film when musicals were all the rage in Hollywood. Sir Cliff Richard totally wows the audience with his immense onscreen charisma as well as his smooth dance moves. This well-cast British musical film also has Cliff Richard singing the theme song, albeit a cheery one aptly named “Summer Holiday.” This is great entertainment and very fun to watch. Fabulous scenery with a sort of holiday everyone should have at the age of the actors. It has some wild good comedy humour throughout the film, which can even be viewed with positive delight more than once. Forget the superficiality, and concentrate on the colours, the entertainment and the consistently wonderful good mood throughout the film. Gimme Cliff Richard over John Travolta anytime! All in all, it's a great fun packed film that everyone should watch at least once in their life. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
