Cyril worked as a dentist, and was the original owner of the dental practice now known as Far Headingley Dental Care. Betty was a teacher before working full time doing the administrative work for the dentistry practice. They both made films, together and individually. Although not professional filmmakers they took their hobby very seriously, and won many certificates for their films from the Leeds Camera Club – as this one did for Betty – which they helped found (coming out of the Leeds Camera Club, which was founded originally in 1893, and now named Leeds Movie Makers). 

 

Relatively well off, they were able to purchase an expensive three lens camera, possibly a Bolex or Kodak, at a cost of £90 – a very large sum at that time – and imported 16mm colour film from the U.S.. They also made a number of films with their friends and fellow filmmakers Muriel and Colin Woodhead.   Apparently Betty was the one with the ideas, whilst Cyril was the more technical – they made a light hearted film of Cyril making and developing a film in 1950 called Love’s Labour Lost. Unlike many filmmakers, as each of them could operate the camera, both of them often appear in the films.

 

The film reveals how concerned they were not just to film a place, but, through the use of intertitles, to provide additional information on what was being filmed – among the Ramsden documents held with the YFA is a photocopy of an article Cyril had published on how ‘I made a Vertical Titler for only £2’, which is probably from Amateur Cine World. They would often use their holidays to make films, and in the case Humber Highway they spent the best part of their two week holiday working on it. They had to get permission from the Docks Master to film on the docks, which he was happy to give. 

 

Cyril also wrote a series of reminiscences recounting many of the Ramsden’s more comic experiences. In these he recalls making Humber Highway.  Cyril notes that they had to sign a “blood chit” ‘to relieve the [Port] authorities of any responsibility if we fell in or got run over etc.’. The Dock Superintendant was so helpful that he delayed opening a swing bridge to allow a ship through whilst Betty was filming, somewhat to the annoyance of the ship captain (it can be seen in the film). Cyril also recalls how at this time a husband and wife team had made a film about their exploits with lion cubs [in his diary Cyril states that this might be Michele and Armand Dennis, but it may be Joy and George Adamson who hit the news in 1956 after bringing home lion cubs on 1^st February, later made famous by the book and film Born Free], and as they resembled this pair – both women wearing slacks and both men sporting beards – the dockers used to ask, ‘ast tha got the cubs with thee?’ At lunch time they ate in the docker’s canteen: ‘We got a pint of tea and a sandwich which was over an inch thick – by removing the top half we just managed the bottom half.’

 

The film has a great value in showing areas of East Yorkshire – Paull and Stone Creek – not otherwise to be found on film at this time. There are also few films of Spurn Point; one of which by Rotherham filmmaker Charles Chislett, called Spurn Point, made in 1950 on the Bird Observatory on Spurn Point, can be seen on YFA Online. The Ramsden film takes us on the journey down the whole length of the 3 ½ mile spit, revealing it to be little changed other than more recently acquiring a café and a few more houses. Spurn Point is made of boulder clay deposited during the Ice Age, and which is constantly eroding. Although only very narrow, the habitat is home to a great deal of wildlife, and is a favourite with birdwatchers. In the 1950s it was still a military base, but was later purchased by the Wildlife Trust in 1960, and became a National Nature Reserve in 1996. 

 

The beautifully shot film of boats lying on their sides with the tide out at Stone Creek is evidence of the compositional skill of Betty, who was also a painter. The wide range of the film is shown as it switches from the poetical to the documentary: from Stone Creek to Paull – which is still making and repairing boats –  and on toAlexandra Docks.

 

When the Hull Dock Company, founded in 1774, opened their dock fours later, it was the largest in England. Hull’s trade has always been with the Low Countries, North Germany, Scandinavia and Russia. The trade in timber from the Baltic and Scandinavia, seen being unloaded in the film, goes back to the fourteenth century. Hull’s docks were built in two periods, three (Queen’s, Humber and Prince’s) between 1774 and 1829, and five (Albert, William Wright and St Andrew’s – upstream; Victoria and Alexandra – downstream) between 1860 and 1885. Alexandra Dock was built by the Hull and Barnsley Railway and Dock Company in 1885, hence arriving with an independent railway for exporting coal, also shown being loaded in the film. See also the film St Andrews Fish Dock (1962).

 

As well as the merchant ships, there are river barges and tugboats. The aesthetic quality of the filming gives a somewhat romantic feeling to the work of the dockers. But not everything was rosy: the work was very dangerous, and the following year there was a dispute over the unloading of cargo – the dockers were notoriously militant. The great value of Humber Highway though, like many of the films of the documentary movement of the 1930s and ‘40s, perhaps lies in the way it blends together the documentary with a fond, almost poetic, look at life along the Humber Estuary.

 

 

N. V. Jones (ed), A Dynamic Estuary: Man, Nature and the Humber, Hull University Press, 1988.

Michael Ulyatt and Edward Paget-Tomlinson, Humber Shipping: a Pictorial History, Dalesman Books, 1979.

S. Ellis and D. R. Crowther (eds), Humber Perspectives: a Region through the Ages, Hull University Press, 1990.

Mike Taylor, Shipping on the Humber: the North Bank, Tempus Publishing, Stroud, 2003.

On the Humber Estuary