Stranger in the City

On an early London morning, a police car comes into view as it drives around Wellington Place at the junction of Apsley Way, Grosvenor Place, Grosvenor Crescent, Knightsbridge and Piccadilly in SW1.

The roundabout was redesigned in the 1960s with Wellington Place around the Arch filled in, so this is taken from Grosvenor Place. SJ

As the titles start to appear, the patrol car passes Apsley House at the eastern end of Piccadilly W1.

The buildings to the east of Apsley House were removed for a new Park Lane. SJ

Continuity is good as the Wolseley drives past the Naval & Military Club on the north side of Piccadilly between White Horse Street and Half Moon Street.

The photography here is by Paul Lincoln and that scaffolding is OTT even by ReelStreets standards. (RL)

Piccadilly Circus is reached by the Officers as they near the end of their shift. Looking towards Regent Street from the western end of Coventry Street.

And the 'Camera Operator' here is Paul once again. (RL)

At around 23 minutes long, this short film without commentary moves though a typical London day from dawn until after nightfall. Trafalgar Square WC2 seen from Northumberland Avenue with South Africa House at the corner of Strand to the right.

Paul found considerably more people about now. (RL)

Having stopped on Victoria Embankment, one of the Officers (Arthur Howell) returns to the car with two cups of tea. The view is from beside Hungerford House and beyond Charing Cross Pier, across the River Thames stands the Royal Festival Hall.

Gone are the days Paul when one could take a photo from here void of traffic. (RL)

As Big Ben chimes six, a Tramp (Sydney Bromley) wakes from his nights sleep. Paul Lincoln tracked down the very seat on the Victoria Embankment, looking back to Victoria Embankment Gardens with the public toilets left of shot and to the right of Hungerford House. (RL)

The location now from Paul.

The Tramp joins two fellow Vagrants (Jimmy Charters and Cardew Robinson) before the three eat breakfast together. This corner is on Victoria Embankment below Hungerford Bridge, adjacent to the entrance of Charing Cross underground station. The station was renamed twice during the 1970s to become Embankment in 1976.

Perhaps the tramps moved to the coffee house the other side of the station. (RL)

Seven o'clock begins to strike. The Clock Tower of the Palace of Westminster in SW1, effectively nameless until becoming the Elizabeth Tower in 2012.

Other than the time Paul......a perfect shot. (RL)

Facing west on Cannon Street EC4 towards St. Paul's Cathedral. Similar views can be seen in 'The Betrayal', 'Edward My Son', 'The League of Gentlemen', 'Stage Fright', 'His and Hers', 'The Lavender Hill Mob' and 'King of the Underworld'.

St. Paul's has seen things change around it for a very long time. Thanks for the update Paul. (RL)

Looking west along the Thames from Victoria Embankment in EC4 with Waterloo Bridge crossing the river, the spires of the War Office in the extreme left distance and the whiteness of Shell-Mex House on the right.

I sympathise with Paul in deciding which lamp standard to use along here for the correct comparative shot, I have a well trodden course! (RL)

Facing the other way, Victoria Embankment curves away to meet New Bridge Street and the junction with Queen Victoria Street while Blackfriars Bridge can be seen crossing the Thames on the right.

The Thames Tideway Tunnel Project has rather taken over some ReelStreets Thames side comparative shots but Paul Lincoln's shot does provide a very historic picture of just how London has changed, particularly when comparing the screen capture of 1961. (RL)

Queen Victoria Street, looking beneath the bridge carrying the railway north from Blackfriars station towards Unilever House and the junction of Victoria Embankment, Watergate, New Bridge Street and Blackfriars Court with the Black Friar public house to the right. Unilever House appears in 'Loophole' and the pub in '23 Paces to Baker Street' as well as 'The Inn Way Out' while the junction can be seen in 'Diamonds on Wheels' and 'Pool of London'.

As Paul says "New Bridge". (RL)

The quiet streets begin to come to life. The junction of Queen Victoria Street and Upper Thames Street in EC4 where the foreground has been obliterated by road widening but the Faraday Building, right of centre, remains to prove the location.

Not that it mattered to Paul, but those steps don't lead to the lavvie any more! (RL)

Panning right brings Upper Thames Street into frame. The junction of Queen Victoria Street and Upper Thames Street with the corner of Puddle Dock to the right. Of course, the drinking fountain, Police call post and post box didn't make it into the 21st century.

Well yes Paul, thank you, that is the same view now, so hard to believe. (RL)

A Market Trader makes his way to his pitch. Queen Victoria Street EC4 with the Grade I listed St. Mary Somerset Tower to the left of centre.

I went back as far as I should in a vain attempt to bring the tower on Lambeth Hill within view above the glass structure (the Selso building). SJ

Looking across the River Thames to Bankside with the Clock Tower of the Palace of Westminster visible in the distance to the right of centre while further to the right stands a tall chimney belonging to the London Hydraulic Power Station.

The series of unrelated events continue as a Rolls Royce heads along Marlborough Road in SW1. To the right stands Friary Court, part of St James's Palace.

Paul does seem to draw the crowds. (RL)

On back seat of the Rolls, a Wealthy Businessman makes a phone call as his Chauffeur steers along The Mall towards Admiralty Arch.

I think that Paul was probably moving faster than the traffic. (RL)

Passing beneath Admiralty Arch in SW1 brings the saloon onto Charing Cross in WC2.

Paul did well despite all the street furniture and road works. (RL)

The Silver Wraith approaches the camera. Charing Cross with Admiralty Arch as the background.

Yes Paul, we can see what you were up against, full marks for the background. (RL)

Making a left turn, the Rolls Royce negotiates Trafalgar Square's one way system. To the left runs Cockspur Street with Canada House on the right.

Paul found it a busier and more colouful spot these days. New Zealand House finally appeared in 1963. (RL)

Trafalgar Square, approaching the junction with Pall Mall East with the National Gallery ahead.

Fortunately, Paul had given his chauffeur the day off because the traffic now goes in the other direction. (RL)

Facing east on the northern side of Trafalgar Quare with the National Gallery to the left and St. Martin-in-the-Fields church in the distance.

All now pedestrianised so Paul could choose his spot. (RL)

In another part of the City, the Tramp picks up cigarette butts to put in his tobacco tin. A little way along the street is the Britannique Restaurant which places this at the southern end of Wardour Street W1 with Whitcomb Street beyond the junction of New Coventry Street and Coventry Street in the left background.

A damp Sunday morning comes alive. PW

The Tramp joins a Young Boy who is watching a Chef prepare food in the window of the Sabrina Restaurant at 15 Wardour Street.

Different cuisine on offer now. PW

Lifting the Lad up and sitting him on the railings, the two get a better look at a sizzling steak being fried with peppers, mushrooms and courgettes. In the background stands the Peter Robinson department store which had closed to make way for the Swiss Centre at the corner of Wardour Street and New Coventry Street.

The background hasn't improved much! PW

After the Chef signals for the two to go away, the Vagrant lifts the Boy down onto the pavement and the two go their separate ways. Outside number 15 Wardour Street with the Falcon public house at corner of Lisle Street reflected in the window.

No cooking in the window these days. PW

A Young Woman reads a poster for a film showing at La Continentale cinema. The cinema also features in 'The Boys' and stood at 36 Tottenham Court Road W1 until closing in 1976.

The Odeon Tottenham Court Road now sits on the site. PW

Another discarded cigarette end is picked up outside the stage door of the Ambassador's Theatre. This is the Tower Street end of Tower Court in WC2. An identical shot can be seen in 'The End of the Line'.

Much the same. PW

Moving on, the Tramp draws on his latest acquisition. Tower Court seen from West Street WC2 with St. Martin's Theatre to the right.

On at St. Martin's is the Mousetrap, the longest running play in the world. PW

Reaching St. James's, the Tramp glances at the contents of a litter bin. Facing south on St. James's Street with St. James's Palace in the right background.

It is some years since we saw litter bins attached to lamp posts Paul. (RL)

In the top of the bin, the Down and Out takes an interest in a discarded hat. St James's Street with St. James's Palace on Pall Mall in the left background. The street also appears in 'Sebastian', 'The Sex Thief', 'The Breaking of Bumbo' and 'Brandy for the Parson'.

I wonder if Paul hires one of those bikes to get about as he does? (RL)

A fire-eating Street Entertainer swallows a flame. Goslett Yard WC2 with the rear of properties on Soho Square in the top left background.

The short street still exists, but none of the buildings. PW

The gathered Audience watch the hungry Entertainer devour more fire. Goslett Yard off Charing Cross Road with 135a Charing Cross Road to the left.

No Pepsi, flags or smiling faces. PW

An Onlooker consumes smoke as he watches the show. Buildings on the north side of Goslett Yard form the background.

Not quite so much to look at now. PW

Spectators are astounded at the Performers fiery feats.

With the fire-eating over, a new stunt is prepared. Looking across Charing Cross Road to numbers 134 to 128 with the archway giving access to Shaldon Mansions at 132.

The background buildings survive . . . for now. PW

A Young Woman looks down into the street from her office.

The Entertainer's Assistant is bound by two Members of the audience before a sack is placed over his head and pulled down to his waist. In the background stands the long closed Royal Gorge at the corner of Charing Cross Road and Goslett Yard, the name and address of which were transferred to new premises within Goslett Yard.

There's obviously something going on behind the hoardings. PW

A round of applause accompanies the Young Man's escape from captivity as spectators show their appreciation by throwing coins onto the pavement. Looking westward into Goslett Yard from Charing Cross Road.

A different view today. PW

A Policewoman walks up and shakes her head at the Performer as he picks up the coins. Goslett Yard in WC2 with the corner of Denmark Place and Charing Cross Road in the background.

The new and the old stand across the street. PW

Telling the Entertainer to move along, the Police Woman continues her beat. Newburgh Street in W1, other views of which can be seen in 'Last Night in Soho', 'The Dark Stairway', 'The Haunted House of Horror' and 'The Frightened City'.

Easily recognisable. PW

The WPC turns into an alley where several Women disappear into doorways when they see her. The corner of Newburgh Street and Lowndes Court.

Thee same corner sans streetwalkers. PW

A Woman reappears from a doorway after the Policewoman passes from sight. Lowndes Court with Newburgh Street in the right background.

More acceptable activities take place nowadays. PW

Shakespeare looks down in silence as potential artists are approached by dubious models. The Shakespeare's Head public house at the corner of Carnaby Street and Foubert's Place.

Did he just move? PW

Indoor pursuits begin as the afternoon moves towards evening. The Keyhole striptease theatre once occupied 55 Old Compton Street W1.

The plaice has changed. PW

A Blind Man taps his way along a littered street. That 'littered street' Dave W identifies as St Anne's Court W1, looking towards Dean Street, London Picture Archive 143833 has, as Dave so perfectly puts it, a delightful historical photograph confirming. (RL)

Thank you Paul, but your shot doesn't quite display the same character. (RL)

As darkness falls, Teenagers come out to jive. Facing the 2i's Coffee Bar at number 57 Old Compton Street.

The best view possible due to parked cars. PW

Theatregoers arrive in town. The south side of Piccadilly Circus, looking towards Coventry Street with the signs for the Criterion and the White Bear Inn to the top.

Paul was very relieved that at least the Criterion provided him with a permanency to frame. (RL)

Decisions are made on where to go. Looking across Piccadilly Circus towards the corners of Glasshouse Street and Shaftesbury Avenue.

Paul captured even more changes going on in Piccadilly Circus. (RL)

The 'A' rated 'Ben-Hur' is showing at the Empire in Leicester Square.

A little bland by comparison. PW

Pedestrians walk beneath the canopy of the Warner Theatre. Facing east on Cranbourn Street WC2 with Leicester Square underground station on the corner of Charing Cross Road in the centre distance. The theatre was closed in 1991 and all except the façade was demolished shortly afterwards.

Paul found that the current redevelopment doesn't quite encroach into the screen capture. (RL)

At "Guinness Time" you could drink "Coca Cola" but "A Double Diamond works wonders" at the corner of Piccadilly Circus and Glasshouse Street in W1.

Paul did well considering the subway access has been realigned. (RL)

Facing a branch of the Marble Arch Barbecue and the Odeon in Leicester Square W1.

I expect the Odeon would look the same at night. PW

'Ben-Hur' continues to play at the Empire Leicester Square while 'Two-Way Stretch' is on at the Warner Theatre on Cranbourn Street.

Facing the same direction. PW

A faint radio transmission about an intruder is overheard as the Police Officers return to duty for the night shift. Piccadilly Circus with the Criterion Restaurant, Boots, the Criterion Theatre and the White Bear Inn as the backdrop.

Paul concluded his day with a shot of the pedestrianised Circus. (RL)

On advertising panels at the corner of Piccadilly Circus and Shaftesbury Avenue, the Independent television channel Associated-Rediffusion shares space with British Petroleum, Courier magazine, Gordon's Gin, Lemon Hart Rum, Wrigley's chewing gum and Younger's Scotch Ales.

This shot from Paul suggest that, eventually, when work is finished, we may, just may, see the original architectural facade. (RL)

Receiving a message of interest, the patrol car speeds away leaving us with a view of the Royal Festival Hall across the River Thames in SE1.

Paul saw this as 'a shot in the dark' and ended up with this perfectly aligned shot. (RL)

The film ends with a shot along the Thames towards the Houses of Parliament and the lights of Victoria Embankment illuminating the bench on which the Tramp settles down to sleep.