Food for a Blush

The pediment of the Tate Gallery on Millbank in SW1.

Unchanged. SJ

Tilting, the camera moves down the portico of the Tate Gallery. The building can also be seen in 'The Horses Mouth', ‘Seven Days to Noon’, ‘A Game for Vultures’, 'How to Undress in Public Without Undue Embarrassment', 'Escape Route', 'The Fake', 'Fun at St. Fanny's', 'Bean' and 'Stop Press Girl'.

Colourful banners either side. SJ

"Still married are Brian and Felicity Innes." The steps of the Tate Gallery on Millbank SW1.

For once, no-one hanging around the entrance. SJ

Tracking right, the camera passes a Brunette and a Blonde hanging on a clothes line, as each thinks "I want to be a vegetable soul . . . I want to be a vegetable soul . . . ".

At the end of the line, another Girl asks herself "Can't I be a vegetable soul?".

Standing outside a church and wearing dark glasses as an eclipse of the sun ends, a Groom (Nicholas Ferguson) is frustrated by the light.

Cut to a view from the ruined church. Facing the blocks containing numbers 57 to 64 on the left and 65 to 72 to the right (north) on Beaufort Street SW3.

The area behind me where the current Chapel of the Most Holy Sacrament and Saint Thomas More Roman Catholic now stands is being renovated so this is as far back as can be managed for the time being. SJ

A Bride (Elizabeth Russell) runs into the church. Looking onto Beaufort Street from the ruined chapel attached to the Convent of Adoration Réparatrice.

Tilting down onto Beaufort Street. SJ

As she slows to a walk, the Bride adjusts her dress. Facing Cadogan House from the ruined chapel on Beaufort Street.

Evidence of the current works in front of the chapel as we look south. SJ

When asked by the Officiant if they know each other, the Bride and Groom shake hands. The chapel attached to the Convent of Adoration Réparatrice in Chelsea.

Upset when the Groom dons his top hat and departs with two Friends, the Girl makes her way from the church. The Convent's chapel was damaged by enemy bombing in 1940.

Throwing a brick at the church as she leaves, the Bride causes the edifice to come tumbling down. The chapel attached to the Convent of Adoration Réparatrice on Beaufort Street SW3.

A Group of Young Men drink sugary tea while a Brunette sits in silence nearby.

Asking her to accompany him, the Groom walks along a street with the Brunette as a Blonde approaches from the other direction. King's Road SW3, outside number 342 opposite Paultons Square with the Cadogan Arms at the corner of Old Church Street in the right distance.

Brora at 344 on the extreme left. No. 342 recently filled in its recessed entrance. SJ

When the Brunette bends down to tie her shoelace, the Groom continues to walk, taking the arm of the Blonde and turning her around. Outside 336 King's Road, facing south-west.

No. 336 is currently a Jeroboams. SJ

The Groom and the Blonde leave a boutique.

A Morris Cowley passes before the Driver stops and offers the Blonde a lift. Facing south-west on Kings Road SW3 with Bywater Street in the left distance.

The window arrangement on the first floor of no. 126 (Coffee, Bread, Olive Oil) is particularly noteworthy. SJ

Exchanging the Blonde for a coat given to him by the car's Driver, the Groom carries it into a coffee bar. Facing the Fantasie coffee bar at 128 Kings Road in Chelsea.

Right next door to the previous mention is no. 128 a clothing store which replaced Starbucks breaking a long tradition of coffee. SJ

Customers look down to where the Groom sits with the coat draped over a chair next to him.

After wining and dining the coat, the Groom leaves the coffee bar and picks up another Girl who was waiting outside. Kings Road with the corner of Bywater Street on the left.

Changes to the shop frontages. SJ

The pair pass the Brunette who is looking through a shop window. Kings Road SW3 with Markham Square to the left.

Rather taken over by Joe & the Juice, one of two in King's Road. SJ

Grabbing the Brunette when the Girl runs to the shop window, the Groom walks away with her. The junction of Kings Road and Markham Square.

The railing, seen in the previous capture, is still there. SJ

Children enjoy themselves in a playground. The playground bordered by Dartrey Road, Cremorne Road and Seaton Road with two chimneys belonging to Lots Road Power Station rising in the left background.

Passers-by watch the youngsters at play before the Groom and the Brunette join them. Facing what appear to be the long demolished numbers 6 and 4 Seaton Street with the backs of properties on Cremorne Road to the extreme right.

Looking south from the playground towards Cremorne Road and the Thames with the Cremorne Arms public house on Lots Road to the right and the Morgan Crucible factory across the river. The junction can also be seen in 'The Deadly Affair'.

A Youth wearing a helmet pulls faces at the Children on a rocking horse ride. Facing north-west between the backs of homes on Dartrey Road and Seaton Street in SW3 with the roof of St. John's church on Blantyre Street in the distance.

Bored Teenagers lean against a wall as the Groom and the Brunette dance their way along the street. Outside Chelsea Town Hall on Kings Road which also features in 'Up the Junction', 'Die Screaming Marianne' and '30 is a Dangerous Age, Cynthia'.

Trees and bicycles fill the space. SJ

The pair watch Policemen through the window of a café before the Brunette enters to join them. Looking out from what was to become the Picasso coffee bar in 1958, onto King's Road with numbers 182 to 178 opposite and the corner of Burnsall Street to the right.

Picasso was at 127 King's Road. This is taken outside one of London's many Five Guys. SJ

Having asked the Bride to join him as she walks past a pub, she and the Groom sit with Friends. The Princess of Wales public house at 145 Dovehouse Street SW3. The premises closed at the end of June 1997.

Le Colombier (appropriately the Dovecote) restaurant was closed for the hols. SJ

A Florist holds the Bride's shoulders with his gloved hands. South Parade with waste ground now occupied by Dove House in the left background beyond the entrance to the backs of properties on Chelsea Square.

The view south. SJ

The Florist orders the Bride to get into the back of his van. Outside the Princess of Wales. facing Dovehouse Street from South Parade. The buildings to the right were replaced by the residential Dove House.

Looking east towards a wing of The Royal Marsden Hospital. SJ

Looking back from the van, the Bride sees the Groom as she's driven away. The corner of South Parade and Dovehouse Street in Chelsea. The pub's entrance features in 'The Inn Way Out'.

The restaurant and part of The Royal Brompton Hospital. SJ

A little later, the Groom knocks on a door.

At an open window, the Bride appears and signals for the Groom to wait.

Outside the house the couple remove their shoes . . . Looking north along Upper Cheyne Row SW3 from the corner of Glebe Place.

Also seen in Around the World in Eighty Days (1956). SJ

. . . before walking away together. The junction of Upper Cheyne Row, Cheyne Row and Glebe Place in Chelsea with the church of Our Most Holy Redeemer & St. Thomas More filling the background.

The trees have thrived. SJ

Reaching the river, the Groom lifts the Bride onto the parapet of a bridge before waving goodbye to her. Looking southward on Battersea Bridge with buildings either side of Battersea Bridge Road SW11 in the distance.

This had the best match of utility cover to parapet. SJ

A City Gent rubs his hands together before entering a bar.

Heading towards the bridge, a Businessman makes his way furtively along a footpath. Chelsea Embankment below Cheyne Walk in SW3.

The embankment is unchanged. SJ

Joining the Businessman, a line of Bowler Hatted Men creep towards the Bride. Looking north on Battersea Bridge with Beaufort Street on the right and More's Garden at the corner of Cheyne Row to the right.

A safety railing has been added but at least it's better than the concrete blocks plonked down on other bridges, but that traffic sign is really stealing the show. SJ

The Men gather behind the Bride. Facing the junction of Beaufort Street and Cheyne Row from Battersea Bridge.

And from here one can see the flat in Twinky. SJ

Pushing the Bride into the water, the Businessmen look down from the bridge. Looking eastward from Battersea Bridge with Albert Bridge in the distance.

The Nine Elms development becomes very obvious here. SJ

The Businessmen walk away in triumph.

Returning to the bridge, the Groom peers into the water. Battersea Bridge with More's Garden as the background.

The More's Garden block is at 90 Cheyne Walk. SJ

Struggling to the shore, the Bride climbs out of the water while the Groom is lured away by a contract with a documentary film unit.

Clutching his contract, the Groom appears, walking through a church yard. The Silver Belle Flour Mill stands to the right of this view looking up to St. Mary's churchyard on Battersea Church Road SW11.

Glancing at the river, the Groom spots the Bride as she emerges from the water. Facing St. Mary's church from the shore of the River Thames along Battersea Reach.

A closer look through the fence is obtained by John Harwood with the use of a long pole.

The sound of an organ is heard. The tower and spire of St. Mary's church on Battersea Church Road in in Battersea.

John Harwood found time for this shot.

A sign of the churchyard gates reads "Track in this way". St. Mary's church and churchyard also feature in 'For Them That Trespass', 'Alfie', 'Night, After Night, After Night', 'Melody' and 'The Sleeping Tiger'.

The gates were open when John Harwood arrived on the scene.

The Groom hides from the Bride as she makes her way through the churchyard. Looking from St. Mary's church towards Battersea Church Road in SW11.

No one hiding from John Harwood.

Near the churchyard gate, the Bride passes between two Old Men who continue to talk with each other. Battersea Church Road crosses the background.

The Bride looks into the river to see herself climbing onto the shore. Looking across the Thames from St. Mary's Church with Lots Road Power Station on the far side. Other views of the power station feature in 'The Optimists of Nine Elms', 'Underground' and 'The Notorious Landlady'.

John Harwood discovered that the power station has lost a couple of chimneys.

Finding the Groom, the Bride leads him from the churchyard. St. Mary's churchyard on Battersea Church Road SW11.

The trees have matured in John Harwood's view.

Carrying their shoes, the couple reach the film studio.

Making their way through the grounds of the studio, the Bride and Groom find a gate.

Two Children run along a narrow alley towards the camera. Worlds End Passage SW10 with the Salvation Army Hall to the right.

The alleyway between the World's End pub and what was the Salvation Army Hall has been shortened and rebuilt on the right. SJ

The Children turn a corner. The pavement outside the Salvation Army Hall at the corner of World's End Passage and Blantyre Street.

The hall came out further west than this corner. SJ

Finding a flower lying on the pavement, the Children run back towards the alley after the Boy picks up the stem. Facing south from outside the Salvation Army Hall in SW10 with 54 Blantyre Street in the centre background and the wall of St. John's church just visible to the top right.

Facing south towards what was both no.54 Blantyre Street and St.John's, though the foreground bush is hiding some of the site. SJ

Walking past the Youngsters, a group of Lads lean against the wall of The World's End. The World's End public house at the corner of King's Road and World's End Passage in SW10. The pub also makes an appearance in 'What a Whopper', Two a Penny' and 'The Idol'.

The pub survives, gaining a tree and bollards. SJ