Give My Regards to Broad Street

Looking out from his office on a rainy day, Steve Stanley speaks with Paul McCartney's Chauffeur by radio phone.

Daydreaming in the back of the Bentley, Paul recalls a sunnier day. Mark Landsberg advises that scenes at the start of the production were partly filmed in Burwood Park and Whitley village in Horsham, West Sussex.

The flashback continues with Paul driving off after answering a call from Steve on his car's telephone.

Told that the master tapes for his latest album have vanished after Harry failed to arrive at the factory with them, Paul hurries towards the studio. Antony Blair identifies the view as below the Westway Flyover on Harrow Road in W2 with the Battleship Building to the right. The building also appears in 'Saving Grace' and 'Side by Side'.

It appears that Richard Bennett went to great lengths to get this comparison!

The high speed sequence follows the customised 1950's Ford Popular. Recognised by Antony Blair, this is the A404 road from the Westway with the Battleship Building at 179 Harrow Road on the left and the Warwick Hotel at 106 Harrow Road to the extreme right. The hotel closed in 1992 to become the headquarters of theatre and film producer Bill Kenwright and also features in 'Entertaining Mr. Sloane' along with the Battleship Building.

A less blurred view from Richard Bennett.

Paul parks outside the studio. Blomfield Road in London W9, a location which can also seen in '11 Harrowhouse'.

Without elevation, the tree in the centre of the screen capture appears to be the one on the left of this view. PW

Inside the building, Detectives investigate the loss of the tapes that were left in the care of former criminal Harry Torrington. Paul Linton has been researching this film and has learned that this and the following capture are actually an Art Deco facade built on a backlot at Elstree Studios in Hertfordshire. (RL)

Paul McCartney (Himself) enters and learns that the company could be taken over by Rathbone Industries if the album isn't released on time. A facade built on a backlot at Elstree Studios in Borehamwood as advised by Paul Linton. (RL)

Given until midnight to find the tapes, Paul, Steve and Alan set off for the recording studio after the Inspector is told that Harry has reformed. Blomfield Road in Maida Vale.

Tree spotting again. PW

The three are driven into the studio where Paul records a medley with Ringo Starr which includes 'Yesterday', 'Here, There and Everywhere' and 'Wanderlust'.

As Alan (Philip Jackson) speaks to Joey, asking if he's seen Big Bob, on the street below William Rath's black Citroën slows to park.

The star's day continues with Paul being driven to Elstree with Steve. Alan Bourke locates this as the northbound carriageway of the A1 Barnet Way approaching Stirling Corner roundabout at the junction with the A411 Barnet Lane / Barnet Road to the south-east of Borehamwood Hertfordshire.

And Denis Hoare confirms the location noting that the signage now shows a reshaped roundabout. (RL)

Elstree Studios on Shenley Road in Borehamwood, Hertfordshire, then owned by Thorn-EMI.

Turning into the studio driveway, the Bentley comes to a stand at the security barrier. Elstree Studios on Shenley Road, Borehamwood.

Simon Edwards was not able to enjoy such a clear view. (RL)

The Gatekeeper (Leslie Sarony) asks Paul to sign his autograph on a packet of Woodbine cigarettes. Elstree Studios in Borehamwood.

Following a video recording session, Paul leaves the studio with Sandra (Tracey Ullman) who is upset about what people are saying about Harry.

In the pouring rain, Steve Stanley (Bryan Brown) talks with the the company’s Banker (Anthony Bate) and his Entourage as Paul and a Sandra climb into the band's van and are driven away.

As Tom the Roadie drives Paul and Sandra back to London, the singer thinks about Harry Torrington (Ian Hastings) being pursued by Police and dogs as he carries the master tape across a misty moor.

Followed by a Rover, a Daimler and a Bentley, the van nears its destination. Butlers Wharf on Shad Thames SE1.

The van is actually driving away from the road entrance to Butlers Wharf! PW

Tom steers into a wharf where he collides with a Chevrolet truck. Butlers Wharf looking towards Shad Thames.

Butlers Wharf now. PW

While Tom examines the dents in the pick-up, Steve gets out of the Bentley and goes inside the warehouse with Paul. Butler's Wharf in SE1.

A tidier scene. PW

Wait on the riverside wharf, the Detective (Donald Douglas) mutters to his Inspector (Anthony Brown) that he wouldn't trust any of them. Looking across the Thames from Butler's Wharf towards warehouses on St. Katherine's Way in E1.

Richard Bennett found himself looking across the river.

Tom drives Sandra home while Paul, Ringo and Linda McCartney play 'Not Such a Bad Boy'.

Getting out of the Bedford, Sandra looks back at Tom as he tells her not to worry.

Paul, Steve and Alan leave the warehouse after the band play 'So Bad' along with a medley of 'No Values' and 'No More Lonely Nights'. Butlers Wharf SE1, on the south bank of the Thames near Tower Bridge.

A drier day with Olympic Rings visible on Tower Bridge. PW

The limousine takes Paul to the BBC . . . followed by the Bankers and the Detectives. Looking through Butler's Wharf towards St. Katherine Docks.

The view toward St. Katherine Docks now Richard Bennett.

Big Bob (Luke McMasters) makes his way to his Chevrolet and spots the collision damage. The since redeveloped Butlers Wharf.

Facing the same way at the location 28 years on. PW

The Bentley crosses Tower Bridge. The bridge spans the River Thames between SE1 and E1.

Ruth Patterson sent in this picture of the south tower of Tower Bridge looking north.

As they travel through London, Steve tells Paul that he guesses Harry is heading to the States. The BBC's Broadcasting House on Portland Place W1 which also features in many other productions including 'The Last Man to Hang', 'Once A Jolly Swagman', 'The Oracle', 'Back Room Boy', 'Soho Conspiracy' and 'Love and Death on Long Island'.

Now SJ

Paul, Steve and Alan arrive at Broadcasting House. Outside the Langham Hotel on Langham Place W1.

Richard Bennett braved the wet weather.

Paul signs autographs as he and Steve arrives at Broadcasting House. Langham Place with the Langham Hotel in the background.

Facing the hotel. SJ

Tasked with carrying everyone's cases, Alan gets out of the car. Langham Place at the junction with Portland Place in W1 with All Souls' church to the right.

Bicycles replace parked cars in Richard Bennett's shot.

The recording of Paul's radio interview is followed by an extended 'Eleanor Rigby' sequence played with String Quartet. The Temple of Music at West Wycombe Park, Buckinghamshire. Other views of the estate appear in 'The Hippopotamus', 'Decline and Fall . . . of a Birdwatcher', 'The Duchess', 'Another Country' and 'To the Devil a Daughter'.

The same, unchanging Temple. PW

As he plays, Paul's imagination takes over . . .

Walking towards a jetty, Paul leads his friends and associates as Characters (Including Ringo Starr, Linda McCartney) in period costume.

After a lavish picnic during which the master tape is removed from a hamper, the mood turns sombre when the Bankers and Mr. Rath arrive. Paul Linton recognised The Temple of the Winds in West Wycombe Park.

And this shot supports the identification. PW

With his Friends disposed of, Paul runs through a snow covered graveyard. Abney Park Cemetery on Stoke Newington High Street, London N16. (NW)

The park became a cemetery in 1840, contains some 200,000 burials and is one of London's "Magnificent Seven" cemeteries. NW

Paul spots Ringo and a Companion approaching before they disappear before his eyes. Neil Webster identifies this as the gardens at Chiswick House on Burlington Lane, Chiswick W4.

Just a solitary wooden bench there today. NW

After Linda rides by on a white horse, Paul runs through the graveyard until he comes across Harry holding the master tape. To the left, Neil Webster recognised "the Sleeping Lion" from Abney Park Cemetery on Stoke Newington High Street, London N16.

Grave of animal trainer Frank C Bostock. NW

Pursued by Mr. Rath, Paul finds himself in a darkened street at nine minutes to midnight.

Walking along the cobbles of the Dickensian world, Paul passes Drunks, Prostitutes and Beggars.

Up ahead, Harry clutches onto the master tape before being dispatched by Mr. Rath.

The Bankers look down from the steps of the Royal Exchange to where Harry's lifeless body has fallen.

With his nightmarish ordeal and the recording session over, Paul drives around the streets of London to the sound of 'Band on the Run'. Looking from Lambeth Bridge towards the Houses of Parliament.

Close to the centre of the bridge. SJ

Chelsea Embankment in SW3 with the Albert Bridge in the distance.

The Albert Bridge is well hidden by tree cover from this area in front of the Royal Hospital. SJ

Paul turns to see Battersea Power Station across the River Thames.

The view now from Peter.

The colourful Ford crosses the Thames by Chelsea Bridge, here heading north towards Chelsea.

With all the traffic, it was not easy to replicate this one on foot not helped by employing too much zoom. SJ

As Paul drives east and reaches Bermondsey, Tower Bridge is seen in the distance from Bermondsey Wall East SE16.

Paul's car comes into view, approaching the pub where Harry was last seen. Facing westward on Bermondsey Wall East.

The background is in the process of being redeveloped. PW

Parking up outside the Old Justice, Paul enters the hostelry and asks the landlord Jim about Harry. Facing the Old Justice public house at the corner of Bermondsey Wall East and Farncombe Street.

In daylight. PW

Leaving the pub, Paul crosses Tower Bridge and drives through the City. St. Paul's Cathedral seen from St. Paul's Churchyard EC4.

A bright daytime shot in contrast. SJ

The aimless drive continues through Admiralty Arch and along The Mall before passing the gates of Buckingham Palace in SW1.

The gates of the palace are to the right with this view looking south-east to Spur Road and, beyond, Birdcage Walk. SJ

Doubling back on himself, Paul returns to the West End. Facing north-east on Shaftesbury Avenue W1 with the Lyric and Apollo Theatres to the left.

Taken from a similar position on a handy refuge. PW

Looking north-east on Brewer Street W1 with the Soho Cinema in the left distance opposite Rupert Street on the right . . .

. . . and Lina stores at the corner of Green's Court to the left. PW

Pedestrians and two Prostitutes (Julie Peel and Elaine Grand) turn to look at Paul's car. Brewer Street in Soho.

The post box remains in position. PW

Paul recognises the Prostitutes and a Bag Lady (Ruby Buchanan) from his dream. Looking across Wardour Street from the corner of Brewer Street.

The background premises have different tenants. PW

Facing south-west along Brewer Street from the junction with Wardour Street.

No Ford Populars of any description around when I visited. PW

While Steve paces up and down as the Bankers read through paperwork in the office, Paul turns from Shaftesbury Avenue into Charing Cross Road at Cambridge Circus.

Looking up at Centre Point at the junction of Oxford Street, Charing Cross Road, New Oxford Street and Tottenham Court Road on the border of W1 and WC1.

Pointing skyward on a sunny day. PW

As twelve o'clock approaches, Mr. Rath (John Bennett) leaves the headquarters of Rathbone Industries with his Minder (Christopher Ellison). The base of Centre Point overlooking St. Giles Circus at the corner of Charing Cross Road and New Oxford Street.

No busking now . . . and no Charing Cross Road either whilst a new underground station is built. PW

As he nears Broad Street station, Paul remembers that Harry was heading there when he last saw him. Facing Broad Street station and the corner of Blomfield Street from Eldon Street EC2. This and the following captures serve as a pictorial record of the terminus.

The perpetual building site that is this part of the City. PW

Slamming on the brakes, Paul stops and reverses. Looking along Old Broad Street towards Broad Street station.

The same location. PW

Paul turns the wheel and moves forward. Liverpool Street in EC2 with the Railway Tavern to the left.

Methinks there's some construction work going on! PW

Parking up, Paul climbs the steps into the station. Broad Street station at the corner of Liverpool Street and Broad Street Buildings on Sun Street Passage.

The same corner with Broadgate replacing the station. PW

The camera pans across the almost deserted terminus. Looking north along the platforms from above the concourse of Broad Street station.

Many of the comparisons of the terminus can only be suggestive due to redevelopment. This is taken from the lift lobby within Octagon Mall, albeit too far north. PW

'No More Lonely Nights' begins to play as the shot finds Paul on the concourse. The concourse of Broad Street station on Liverpool Street EC2. The terminus opened in 1865.

Looking towards the location from Octagon Mall. PW

After seeing off his Girlfriend who catches the last train, a Man leaves the station. One of the exits down to street level from the concourse at Broad Street station.

Too far to the north but again, the best possible comparison. PW

Facing eastward on the concourse of Broad Street station on Liverpool Street. Other views of the station appear in

Looking towards the location of the concourse which was further south, within what are now shops.

The station lights start to be turned off as the train departs. Platform 2 at Broad Street with the 3 car Class 501 Electric Multiple Unit departing from platform 3.

This is an approximation for this view. PW

Nodding to a Down and Out, Paul makes his way towards one of the platforms. Facing westward on the concourse of Broad Street station.

Again, looking towards where the location would have been. PW

Checking that the Ticket Collector is out of sight, Paul squeezes through the platform gates. Looking towards the concourse from platforms 1 and 2 at Broad Street. The platforms at the terminus can be seen in 1936's 'Night Mail' and the concourse in 'The Very Edge'.

Facing south from the entrance to the offices that are 100 Broadgate. PW

Paul walks towards the end of the platform. The "country" end of platforms 1 and 2 at Broad Street. The platforms were previously numbered 4 and 5 before rationalisation.

The location is still open to the sky. PW

At five to midnight Paul sits on a bench as Mr. Rath settles himself into a chair at the office while the Bankers prepare their forms. Looking southward on platforms 1 and 2 with the National Westminster Tower in the distance. The train shed roof had been removed in 1967 due to safety concerns.

Looking south towards 100 Broadgate. PW

Imagining the future, Paul sees himself busking outside an underground station. The Little Newport Street entrance to Leicester Square underground station on the corner of Charing Cross Road in WC2.

The former entrance has been repurposed. PW

After spotting the master tape on a nearby seat, Paul picks it up before carrying on to the far end of the platform when he hears Harry calling. The building stands at the northern end of platforms 1 and 2 at Broad Street station.

The location would have been within the building. PW

Paul kicks open a door and frees Harry from a building that he thought was a toilet before the pair hurry back to the office. The northern end of platforms 1 and 2 at Broad Street station. The station closed at the end of June 1986 and was demolished to make way for the Broadgate Centre.

An impossible view to recreate, this is just an approximation on where the location stood. PW

Back in the 'present day', Steve brings an umbrella to Paul's car as he arrives at MPL headquarters. Queen Annes Gate in SW1.

Not a drop of rain in sight. PW

Waking Paul as he dozes in the back of the car, Steve holds the umbrella over him as the two enter the building. Looking west on Queen Annes Gate.

This sunnier view replaces my Aug '25 shot which contained some damp roadworks marring the scene. SJ

Rain continues to pour as the camera moves up the building. Facing number 34 Queen Annes Gate.

From ground level. SJ

The shot rises above the street as the end titles start. The rooftops on the north side of Queen Annes Gate in SW1.

And again from ground level which really does not seem satisfactory except it confirms the top floor window arrangements. This replaces my drearily rainy Aug '25 effort. SJ

Fade to a panoramic view over the Capital featuring the Tower of London, Tower Bridge and the River Thames.