Old Hollywood was a town overrun with homesick British expats, making films that reflected a particular vision of the old country – nostalgic, parodic and often with a Gothic tint. That was reflected in its portrayal of pubs, too, skewing their image for decades to come.
Consider 1943’s Sherlock Holmes Faces Death, one of the better entries in the run of Sherlock Holmes films starring Basil Rathbone and Nigel Bruce, which gives us The Rat & Raven.
The film is set in Northumbria, not that you’d know that from the cast of assorted Brits, Antipodeans, Irishmen and Americans, all speaking stage cockney or Transatlantic English.
The pub, which appears 35 minutes in, is located in the country town of Hurlstone – instantly recognisable to students of horror film as the standing ‘European village’ set at Universal Studios, built c.1920 and reused endlessly to stand in for everywhere from the Western Front to Wales to the fictional ‘Visaria’ where Frankenstein’s monster rampaged in his later post-Karloff career.
“Take car. Go to mum’s. Kill Phil, grab Liz, go to The Winchester, have a nice cold pint, and wait for all of this to blow over. How’s that for a slice of fried gold?”
The above line in Edgar Wright and Simon Pegg’s 2004 zombie comedy Shaun of the Dead, accompanied by a cartoonish wink and the raising of a pint of lager by Pegg, spawned a meme and summarises a whole (pointedly flawed) philosophy of life.
Shaun of the Dead is one of the all-time great pub films. Few others feature a pub so prominently as both a location and in dialogue; hardly any make a pub so pivotal to the plot. Shaun’s attitude to the pub, to this particular pub, defines his entire personality and directs the course of his relationships.
It has an added resonance for me in that, for several years in my own flat-sharing twenties, I lived around the corner from The Winchester.
And, to be clear, I don’t mean that I lived near a pub that was like The Winchester: the actual pub you actually see in the actual film was about four minutes walk from my house in New Cross, South London.
It was called the Duke of Albany and I never went in.
Why? I was too scared.
I was, in general, fairly brave, regularly drinking in several pubs near my house that others might have balked at – the kind of down-at-heel, last-legs places where it was a choice of Foster’s or Stella, and everything was ripped, stained, broken, or had initials carved into it.
The Duke of Albany always seemed next level scary, though, perhaps because it was a Big Millwall Pub. Or maybe because it was on a backstreet rather than the main road – the only street, in fact, where anyone has ever tried to mug me. I have a faint memory of there always being dogs outside and I don’t mean 10/10 floofy internet doggos – real face-chewers. You couldn’t see in, either, which meant walking through the door would have been a pure gamble.
And that fortress character is, of course, exactly why Shaun chooses it as his base for the zombie apocalypse.
The pub In Shaun of the Dead, though it is The Duke of Albany, isn’t the Duke of Albany. It represents every decent but unpretentious, tatty but not grotty, functional neighbourhood pub in London.
As such, it is lovingly, carefully depicted, Edgar Wright’s hyperactive camera swooping in on resonant details: a cowboy boot tapping a brass rail, the fireworks of the fruit machine, textured wallpaper varnished with nicotine, and frosted glass that speaks of privacy and mischief. TV screens, flaming sambucas, glasses that only just barely look clean…
It’s an attempt to depict a real backstreet, outer-rim London pub, not the romantic Olde Inne of popular imagination. An ideal, sure, but not a fantasy.
It picks up on threads laid down in Spaced, the cult TV show that launched the careers of Jessica Hynes, Simon Pegg, Edgar Wright and Nick Frost. One episode in particular, ‘Back’, the opening to series two from 2001, features a Matrix-like fight sequence in a very real-looking, unglamorous pub.
You might discern a progression, in fact. In Spaced, about post-adolescence, pubs are important, but just part of the mix alongside nightclubs, raves and house parties. By Shaun of the Dead, with characters staring down the barrel of 30, pubs have become the default, with fancy restaurants and dinner parties the threatened next step. And in The World’s End, pubs have definitely become a problem, something to be shaken off with maturity.
Simon Pegg has said as much outright, in fact, acknowledging last summer that he had stopped drinking, and describing The World’s End as a way of admitting his problem with alcohol.
Re-watching Shaun of the Dead recently both Jess and I were struck by the extent to which the specific pub culture depicted has already begun to fade out of existence. The portrayal of a lock-in, for example, gave us a rush of nostalgia for the world of drawn curtains, low muttering and conspiratorial glee.
The Duke of Albany closed a few years after the film came out and is now flats. When I visited New Cross last year I found that other similarly rough-and-ready pubs had also disappeared, either re-purposed, demolished or gentrified into something fundamentally different.
The Windsor had some of the old Winchester atmosphere, though, with chat about pool cues being broken over people’s heads (‘Don’t Stop Me Now’) and elderly drinkers whose faces told stories.
But would I hole up there during the end of the world? No chance. After all, man cannot survive on scratchings and Extra Cold Guinness alone.
Being some notes and queries on subjects diverse.
Even more beers brewed to historic recipes
About this time last year, we tried to compile a reasonably complete list of beers being brewed to historic recipes. Now we note that one of the beers in the Sainsbury’s beer hunt is J.W. Lees Manchester Star, supposedly brewed to an 1884 porter recipe, and also hear news of a St Austell 1913 stout. (We’ve seen a recipe in their books from 1912, pictured.) The latest Fuller’s Past Masters beer, 1931 Burton Extra, has just been released. This summer also saw Camden brew a 1908 pale ale which was very tasty, but seemed (too us) rather too far from the original spec to really deserve the ‘historic’ tag.
Questions of pub etiquette
Maxwell asked this question on Twitter last night:
This might be a stupid question but humour me. How does one get their own tankard behind the bar of their local? #tankardetiquette
Watching the BFI’s Roll out the Barrel DVD again the other night, we particularly enjoyed Down at the Local (1945), a propaganda short made for British troops serving overseas. It was designed to remind them of home, and of why they were fighting, and shows scenes of pubs in London, Lancashire and Somerset. In London, the narrators decide on mild and so ask the barmaid for ‘two pints of wallop’. In Preston, incidentally, they decide on bitter and mild and so order ‘mixed’.
A second talk at Eden
The Boak and Bailey edutainment roadshow was at the Eden Project again last weekend. There was no Oakham Green Devil IPA to demonstrate with this time, though, as it all got pilfered from a store cupboard. They left behind the St Austell HSD and Franziskaner.