Three modern bakkies and a 1979 Series II Landrover LWB with a Ford V6 3litre engine shoved in – and hand-painted flat white with bright red wheels – ventured up Sani Pass one day. The three very capable bakkies sailed up with ease, while Redfoot had to pause for a breather on a stream crossing and have its radiator topped up and let its heart rate subside.
Yet at photo op time everyone posed on old Redfoot the Landie! Hit it!
Aitch found Redfoot. One of her PMB doctors was ‘doing up’ an old Landie, putting a new engine in and it ‘would be like new’ he said. He was a fibbing car salesman but my Need-A-4X4-O-Meter was up and he could have sold me a – Wait! He DID sell me a Landrover!Never thought I’d fall for one of those.
‘Only one previous owner’ he said and that was true: Besides him, only one previous owner – The KwaZulu bantustan homeland Police Force. I only found that out too late but anyway he’d have re-assured me that they treated it with kid gloves and as if it was their own, sticking to the speed limit, never over-loading it and staying on the tar.
I bought it for R12000 in partnership with my three business partners, 25% each. I assured them they would thank me. I don’t think Lello and Stoute ever used it. Yoell did once. And Prem Singh used it once to take a wedding party to Ladysmith. Maybe Soutar used it a few times.
I spent a further R13000 on two more Ford engines and sold it with relief for R5000. This Sani trip was the only worthwhile exercise it ever undertook. Come to think of it, I don’t think my ungrateful partners ever did thank me! I don’t know why. It was a real conversation stopper. You had to say what you wanted before you left, cos on the journey there was no way you could even yourself speak. There was a hole in the aluminium between your knees and the engine compartment and a hole in the aluminium between your heels and the road, so lots of noise rushed in.
Mom & Dad went to Lourenco Marques in Mocambique for their honeymoon in 1951.
With cars being very scarce after the war, Dad looked around for anything he could afford. He found a Mr Smith selling a fifteen year old Hudson Terraplane 4-door for £100. It came with a spare engine in the boot – and the feeling that it would probably be needed.
But it made it to LM – and back. Mom had to put her feet on the seat – the floor got too hot, even with shoes on. While in Lourenco Marques the Hudson started missing so Dad took it to a garage but the Portuguese owners couldn’t understand him. He tried Italian, which he’d learnt in the war. “Candela?” – Ah! Candela! Yes, they had sparkplugs and they could sort him out.
They stayed in a boarding house a couple blocks back from the seafront. ‘It was cheaper than a hotel’. While there they met with Frank Cabral a big game hunter married to some relative of Mom’s. They swam – Mom remembers the huge beach and the shallow sea with only tiny waves. They had fish for breakfast one morning – a whole fish whose eye gazed balefully at Mom, spoiling her appetite.
Outside the zoo Dad bought six parakeets or lovebirds with red faces. He made a cage for them and as they approached the border he hid it behind the large Hudson cubbyhole – there was plenty of space under the dashboard.
On the way back they went through Kruger Park and Mom distinctly recalls feeling very uncomfortable at how flimsy the reed walls of the park huts at Skukuza seemed when she thought of the wild animals outside! They went to visit an old friend of Dad’s, Rosemary Dyke-Wells, an old Boschetto agricultural college girl who was married to a game ranger there. He was the son of the famous Harry Wolhuter.
The Kruger Park was opened to tourism in 1927 and after a slow start – only three cars entered the Reserve in that ﬁrst year – soon turned into a popular destination. Within a decade, 3600 kilometres of roads had been built and several camps established. In 1935, some 26,000 people passed through the gates. By 1950 a research station and rest camp had been developed at Skukuza, transforming Stevenson-Hamilton’s base into the “capital” of Kruger.
Later back in Harrismith when the clutch packed up Dad found out the Hudson had a cork clutch. He bought dozens of cork medicine bottle tops from the chemist and hammered them into the angled holes set in concentric circles in the clutchplate, then cut the protruding parts off as level as he could and it worked again.
When it came time to sell it he can’t remember who he sold it to and for how much, but he does remember Pye von During would pay £25 for them and convert them into horse carts.
Years later they came across one at a vintage car show. Dunno when this was, but this year they’ll be married 67 years.
Soon after this the Post Office moved Dad back to Pietermaritzburg following a back injury. They stayed in the Creamery Hotel – ‘a dive, but cheap’. They moved to the slightly better (but ‘very hot in the afternoon’ – Mom) Windsor Hotel. Mom took a sewing course at ‘the tech’ while pregnant and then, just before first child Barbara was born they moved in with Ouma Swanepoel in Boom Street.
Somewhere before or after, they stayed in Howick, in The Falls Hotel.
The film ZULU starring Stanley Baker and Michael Caine was one of the biggest box-office hits of all time in England. It premiered in 1964 and for the next twelve years it remained in constant cinema circulation before making its first appearance on television. It has since become a Bank holiday television perennial, and remains beloved by the British public. Some pommy poephols watch it every Christmas, year after year.
The film premiered on 22 January 1964, 85 years to the day after the event it commemorates – the battle of Rorke’s Drift in 1879. Very few people know though, that it had its real WORLD PREMIERE in our lounge in Stuart Street. In late 1963.
Count yourself as one of a very tiny privileged minority who’s “in the know”!
Back in late 1963 my old man showed us an 8mm movie he had filmed with his state-of-the-art Eumig camera.
Whirr whirrr whirr – those of you who watched them will remember the noise of the projector. Also maybe Thuk! Oh shit! Eina! as the film broke and had to be re-threaded in the projector with its super-hot bulb.
Super 8 Sound Projector Eumig Mark S810
He had been to Royal Natal National Park down Oliviershoek Pass to film the filming of the film ZULU.
What we saw was a lot of dust and a lot of be-feathered Zulu warriors charging at some umLungus in funny red coats, falling down in a cloud of dust and then getting up laughing, walking back and doing it all over again. And again.
Thanks to the huge success of the film – which was longer than the two minutes we saw – the Battle of Rorke’s Drift has entered British folklore.
Remember, though, to take their version of the battle with a large pinch of cerebos.
The background story of the film Zulu, 54 years on
The Real History – take everything with a pinch of salt:
On 22 January 1879, at a remote mission station in Natal, South Africa, 157 men, mainly British soldiers (the number is usually downplayed, sometimes “under 100”) held off wave after wave of attacks by some 3,000 Zulu warriors (the number is certainly exaggerated – your son’s rugby opposition was always MUCH bigger than your boys, right?). Remember who wrote about the battle – jingoist reporters for jingoist newspapers.
Although the Zulus had some old-fashioned muskets and a few modern rifles, most of their warriors were only armed with shields and spears. The Battle of Rorke’s Drift lasted 10 hours (often stated as ‘over 12’), from late afternoon till just before dawn the following morning. By the end of the fighting, around 365 men lay dead, 15 (or 17) British inside the barricaded buildings they had defended, and around 350 Zulu outside them. Plus many wounded men, most of whom were murdered after the battle!!
The defences are most always characterised as ‘biscuit boxes and bags’ and paintings show the British defenders hugely exposed and vulnerable. A photo taken soon after the battle looks very different to the descriptions and the paintings: I haven’t seen a painting showing soldiers firing through holes in a stone wall.
Historically the battle was a minor incident which had little influence on the course of the Anglo-Zulu War. It might have remained a footnote in the history books or an anecdote told at regimental dinners had it not been for:
It being hailed as a victory – and then an EPIC victory, although it was actually simply a NON-DEFEAT after the truly epic defeat at Isandlwana the same day;
The number of Victoria Crosses and other awards that were dished out for the battle – probably because of the prior defeat? Not all the true heroes got VC’s and some who should not have, did. In fact the truth of the battle was probably FAR more sordid than the glorious accounts a desperate British government wanted to portray. The image of valour and nobility in the Anglo-Zulu war of 1879 turned to shame when documents were uncovered which show that Rorke’s Drift was the scene of an atrocity – a war crime, in today’s language – which Britain covered up. In the hours after the battle senior officers and enlisted men of a force sent to relieve the garrison are said to have killed hundreds of wounded Zulu prisoners. Some were bayoneted, some hanged and others buried alive in mass graves. More Zulus are estimated to have died in this way than in combat, but the executions were hushed up to preserve Rorke’s Drift’s image as a bloody but clean fight between two forces which saluted the other’s courage. The Zulu salute in the film was FAKE;
AND then, for a film – ZULU – which dramatised the story and has kept it in the public mind ever since.
The story behind the film’s making is almost as remarkable as the battle it depicts(most of this account taken from talks by Sheldon Hall, Sr Lecturer, Stage and Screen Studies Sheffield Hallam University)
The principal artists responsible for Zulu were hardly Establishment figures. Screenwriter John Prebble was a former Communist Party member who had volunteered to fight in the Spanish Civil War. His co-writer, the American director Cy Endfield, had fled Hollywood in the early 1950s after he was named as a Communist during the McCarthyite witch-hunts. Endfield’s production partner and the film’s main star was Stanley Baker, a life-long supporter of the Labour Party.
All three were committed to progressive causes, but their motives in making Zulu were not political. It is not an anti-imperial diatribe any more than it is a celebration of colonial conquest. Its main purpose was frankly commercial, but Baker also saw the story as an chance to pay tribute to his Welsh homeland. This certainly explains the strong emphasis on the Welshness of the private soldiers – one of the many fictionalised elements of Zulu that have created a myth around the battle.
Filming under Apartheid
The producers had to keep their political views in check when they made the decision to shoot the film in South Africa, then in the grip of Apartheid. There were strict, legally enforced guidelines regarding the degree of freedom permitted to the cast and crew. It was impressed upon the 60-odd British visitors that sexual relations with people of other races would result in possible imprisonment, deportation or worse. Warned that miscegenation was a flogging offence, Baker is reported to have asked – in glorious Pom tradition – if he could have the lashes while ‘doing it’. The authorities were not amused.
The main filming location was in the spectacular Drakensberg Mountains in the Royal Natal National Park, a popular tourist spot distant from any large township. But a number of incidents brought home the realities of the oppressive regime. Chatting to John Marcus, one of several professional black stuntmen employed on the film, assistant editor Jennifer Bates invited him for a drink in the bar/canteen that had been built on site for the crew. Marcus pointed out that he was forbidden by law to mix socially with whites and could not enter.
In his autobiography, Michael Caine recalls an incident in which a black labourer was reprimanded by an Afrikaans foreman with a punch in the face. Baker sacked the foreman on the spot and made clear that such behaviour would not be tolerated. Caine swore never to make another film in South Africa while Apartheid was in force, and kept to his word.
Introducing Michael Caine
Keeping watch over the tightly budgeted film was production supervisor Colin Lesslie. “I am very glad to be able to tell you,” he wrote at one point to the Embassy Pictures’ chief in London, “that in my opinion and from the little he has done so far, Michael Caine as ‘Bromhead’ is very good indeed. When he was cast for the part I couldn’t see it but I think (and hope) I was wrong.” This must have been a common reaction.
Not quite an unknown, the 30-year-old Caine was already making a name for himself on television but was becoming type-cast in working-class Cockney parts. Casting him as a blue-blooded officer in his first major film role represented a considerable risk, but it was one that paid off.
Thousands of ’em?
The soldiers were played by real soldiers – eighty national servicemen borrowed from the South African National Defence Force. And most of the Zulus were real Zulus. A mere 240 Zulu extras were employed for the battle scenes, bussed in from their tribal homes over 100 miles away. Around 1,000 additional tribesmen were filmed by the second unit in Zululand, but most of these scenes hit the cutting-room floor.
Living in remote rural areas, few if any Zulus had visited a cinema and television had not reached Natal. The crew rigged up a projector and outdoor screen, and the Zulus’ first sight of a motion picture was a Western. From then on, the “warriors” had a better idea of what they were being asked to do. Responsible for training and rehearsing them were stunt arrangers John Sullivan and Joe Powell. “The Zulus were initially suspicious of us in case we were taking the mickey,” says Powell, now 91. “After a couple of days they realised we weren’t and got into it. After that you couldn’t hold them back.”
Contrary to stories the Zulus were not paid with gifts of cattle or wristwatches but received wages in Rand. The main corps was paid the equivalent of nine shillings per day each, additional extras eight shillings, and the female dancers slightly less again. Associate producer Basil Keys remarked: “There is no equality of pay for women in the Zulu nation!”
For the opening sequence depicting a mass Zulu wedding, 600 additional background artists were brought in, including nightclub performers from Johannesburg, to play the principal dancers. During breaks in filming, they twisted and jived to modern pop records played over Tannoys, with director Cy Endfield among the crew members joining them.
The small but key role of King Cetshwayo was given to his direct descendant, the present-day Prince Mangosuthu Buthelezi. The wedding dance was choreographed by Buthelezi’s mother, a tribal historian, and supervised by stuntman Simon Sabela, who later became South Africa’s first black film director.
History and politics
Like all films, Zulu is of its time and captures the mood of its time more profoundly than is often realised. A conservative view would see it as a hymn to gung-ho heroism, to flag-waving patriotism and the glory days of the British Empire. In fact, by 1964 the sun was already setting on the empire and undoubtedly Zulu stirred a lot of nostalgia for it. For some, that explains its appeal.
But look again. The knowledge that colonialism was in its dying fall is there in the film. The script is filled with a sense that the soldiers are in a place they don’t belong and don’t want to be. The indigenous people are not disorganised savages but a disciplined army. And the young lieutenant, played by Caine, who had earlier dismissed the enemy as “fuzzies” and the levies on his own side as “cowardly blacks”, now declares himself ashamed at the “butcher’s yard” he has brought about.
A modern awareness of racial representation means that Zulu has undoubtedly “dated”. If the film were to be remade today, as internet rumours continually suggest, it would certainly be done differently. But the absence of individuated black characters doesn’t make it racist. Though told from the British point of view, it shows that viewpoint change from dismissive contempt and naked fear to respect and even admiration. The famous (and entirely fictional) salute the departing Zulu army pays to the garrison survivors is returned with their – and our – gaze of awe and wonder.
Adapted from an article in Cinema Retro No 28 (c) Sheldon Hall 2014
Sheldon Hall is a Senior Lecturer in Stage and Screen Studies at Sheffield Hallam University. See an expanded second edition of his book ‘Zulu: With Some Guts Behind It – The Making of the Epic Movie’ – Tomahawk Press.
Cy Endfield’s epic military marathon about the Battle of Rorke’s Drift was actually shot 90 miles south-west of Rorke’s Drift in the Royal Natal National Park in the KwaZulu Natal province of South Africa. It had the far more mountainous and picturesque Drakensberg Amphitheatre as backdrop, rather than the low hills like the Oscarberg at the real site of the battle.
2.Many of the Zulu extras had never seen a motion picture
Many of the Zulus who were hired as extras for the film had never seen a motion picture prior to filming and were unsure what to expect. With this in mind, director Cy Endfield and Stanley Baker, who played Lieutenant John Chard, set up a projector in order for them to watch a western, starring Gene Autry. Then the Zulus probably said “Ah, so its all bulldust?” and acted accordingly.
3. The real Lieutenant Gonville Bromhead was extremely deaf…
Played expertly by Michael Caine, this snobbish character was described by Lieutenant Henry Curling, who fought alongside Bromhead at Rorke’s Drift, as “a stupid old fellow, as deaf as a post.” Major Francis Clery, who spent time with Bromhead after Rorke’s Drift, described him as “a capital fellow at everything except soldiering”, while his commanding officer said in private that Bromhead was “hopeless”. Still, political face-saving at the time saw Bromhead awarded the Victoria Cross.
4. Michael Caine initially auditioned for the role of Private Henry Hook
This was Michael Caine’s first major film role and, although he eventually put in an exceptional performance as Lieutenant Gonville Bromhead, he was crippled by nerves and beaten to the role he initially auditioned for, that of Private Henry Hook, by James Booth. Interestingly, Caine was also unable to ride a horse so a member of the filming crew took his place in the scene where he crosses the stream on horseback at the beginning of the film. This explains why the camera pans down on to the horse.
5. Private Henry Hook was badly portrayed in the film
In the film, Private Henry Hook (James Booth) is placed under arrest for insubordination. He is seen lounging around in the shade and trying to pilfer free booze as his comrades prepare for battle in the stifling heat. In reality, Private Hook was an exemplary soldier and teetotal, who was also awarded the Victoria Cross for his gallantry. Hook’s daughter walked out of the film’s premiere in disgust at this inaccurate portrayal.
6. 11 British soldiers were given a Victoria Cross; 12 were nominated
Colour Sergeant Frank Bourne (played by Nigel Green in the film), requested a commission rather than the Victoria Cross. He was duly granted this wish and went on to become a Lieutenant Colonel. When he died in 1945, he was the last surviving British soldier from the battle.
7. Mangosuthu Buthelezi played his great grandfather Zulu King Cetshwayo kaMpande in the movie
Mangosuthu Buthelezi was the chieftain of the Buthelezi tribe when he played the role of Zulu King Cetshwayo kaMpande in 1964. Buthelezi went on to found the Inkatha Freedom Party and was the leader of the former KwaZulu bantustan. He has also held positions in the new, legitimate SA government and parliament. Now Buthelezi has a very interesting grandchild!
EUMIG was an Austrian company producing audio and video equipment that existed from 1919. The name is an acronym for Elektrizitäts und Metallwaren Industrie Gesellschaft – “Electricity and Metalware Industry Company” – In 1982 EUMIG went bankrupt. Its patent for the macro system in lenses was sold to the Japanese company Canon. Pics by Pantoine
Off they’d go in Mary’s pale blue VW Beetle OHS 155. Off to Durbs-by-the-Sea, the Lonsdale Hotel or the Four Seasons for a whole week!
Might that be Mary’s VW outside the Lonsdale in this picture? Three cars behind the Borgward?
The cost of their stay: R2.95 each per day including meals. Mom thinks Randolph Stiller may have owned the Four Seasons. He certainly owned the Central Hotel in Harrismith where Annie stayed, one block away from her Caltex garage in Warden Street. Only the Deborah Retief gardens between her hotel room and her office, but she drove there in her great big old beige Chev Fleetline; one block up to the garage. Mom – ever kind – says her legs were too sore to walk.
In Durban Mom and Annie would visit Annie’s sister Jessie (Bain Bell) and her daughter Lesley (Malcolm-Smith ) in their flat in Finsbury Court in West Street. Lesley worked at Daytons – a supermarket, Mom thinks.
They would all hop into Mom’s car and head off on a drive – to the beach, to the Japanese Gardens; and – always – to visit Annie’s bridesmaid Maggie McPherson who lived in a ‘posh flat up on the Berea. Looked like a bit of Olde England’.
Many years later – 1980’s – we would go and listen to Joe Parker in the Lonsdale. Beer-soaked, we hosed ourselves, but I don’t think Mom and Annie would have approved!
While we’re getting nostalgic, some names to remember: Gillespie Street; The Italian restaurant Villa d’Este; The Four Seasons Hotel, with its Pink Panther steakhouse; Palm Beach Hotel; Millionaires’ Club; Lonsdale Hotel; The El Castilian nightclub (remember The Bats?); The Killarney Hotel, where the Monks Inn used to be (with the words “Steak, Eggs and Strips” posted prominently outside); Thatcher’s Bar at the former Parkview Hotel.
After the 1983 Berg River Canoe Marathon ended in Velddrif, we stopped in at Boet & Anna Swanepoel’s smallholding outside Malmesbury, about 50km north of Cape Town. Boet was Dad’s older brother. Mom and Sheila had seconded me on the race, driving my Cortina to each of the three overnight stops.
I’d forgotten this visit, remembering only an earlier 1977 visit with Larry Wingert, but Sheila had pictures! And there I am, sticking up above Uncle Boet’s head, watching the activity from a safe distance, hands in pockets. Probably too tired and cold to help after the four-day freeze I had just endured? Or lazy? I do know my hands would not have appreciated hoisting hay bales after 240km of holding a wet paddle!
We won’t mention child labour, nor overloading, nor our way of saying “I loaded the Chev with hay” rather than “I had the Chev loaded with hay”, OK?
The bakkie: My research suggests this was a 1955 Chev 3200 ‘Task Force’ 3/4 tonner. Probly with a bit more than that onboard!
We went to Durban around this time and stayed in the Impala Holiday Flats, self-catering. Free Staters on the loose in Durbs-by-the-Sea!
We probably drove down in OHS 154, a beige Morris Isis – or in OHS 155, a pale blue VW 1200 Beetle, along the narrow national road between Joburg and Durban.
I remember talk of dreading the infamous “Colenso Heights” – apparently the most challenging section of the route.
The high-rise we stayed in was in Gillespie Street one street back from the Golden Mile, or Esplanade. If you took all Harrismith’s houses and stacked them, you’d have a building like this. I remember the lifts and I remember getting back tired and full of sand from the beach. I don’t seem to recall the beach – weird.
The eastern-most pass up Harrismith’s Platberg is the fabled Donkey Pass. We called it Flat Rock Pass. Mountain Passes South Africa says it’s the sixth highest above sea level, and the second steepest pass in South Africa.
The road traverses a nature reserve and you need a permit to drive up. The steep parts – with sections as steep as 1:3 – are concrete stripped to aid traction. 4X4 and low range is essential for a safe and – especially – non-destructive ascent.
For those that do get to drive this amazing pass, you will be one of a select few to have done so.
On top you’ll find Gibson Dam, built by British soldiers soon after the Boer War.
Other passes on Platberg’s south side – the side facing the town – are Khyber Pass, ZigZag Pass and One Man’s Pass. They’re all footpaths only though.
Hopefully Platberg’s custodians limit the number of vehicles they allow on top to keep the mountain top as undamaged as possible. Sensitive wetlands!