{"id":2699,"date":"2021-08-04T11:25:00","date_gmt":"2021-08-04T10:25:00","guid":{"rendered":"https:\/\/devthewave.wpengine.com\/?p=2699"},"modified":"2021-10-19T11:29:45","modified_gmt":"2021-10-19T10:29:45","slug":"the-birth-of-british-surf-films","status":"publish","type":"post","link":"https:\/\/www.thewave.com\/the-birth-of-british-surf-films\/","title":{"rendered":"The Birth of British Surf Films"},"content":{"rendered":"\n

By Sam Bleakley<\/strong><\/p>\n\n\n\n

A fresh array of surf films like\u00a0Sonic Souvenirs\u00a0<\/em>by Kai Neville,\u00a0Surfing<\/em>\u00a0by Dan Scott and\u00a0Lost Track Atlantic<\/em>\u00a0by Ishka Folkwell, affirm that the genre is as alive and vibrant as ever, with many leading surf companies such as\u00a0Vans<\/em>\u00a0and\u00a0Need Essentials<\/em>\u00a0funding the work as branded content, free to view online. But what about British surf filmmakers? We have plenty to celebrate. Notable talents include Luke Pilbeam and Greg Dennis regularly making emotive short films for\u00a0Finisterre<\/em>. Seth Hughes and Sam Breeze are up-and-coming talents with a fantastic portfolio of work already released. While Joya Berrow and Lucy Jane\u2019s outstanding\u00a0Surf Girls Jamaica\u00a0<\/em>has been globally acclaimed.\u00a0Wavelength<\/em>\u00a0magazine have been showing international classics at open-air drive-in cinema nights in Newquay to set ablaze the surf film stoke, and the annual\u00a0London Surf Film Festival<\/em>, founded by Demi Taylor and Chris Nelson, has long been a big supporter of both international and British surf filmmaking. Ask any British surfer from any generation, and they will surely agree that seeing surf films by British filmmakers is hugely inspiring. But where did it all begin?<\/p>\n\n\n\n

The first person to really focus on British surf filmmaking was Rodney \u2018Rod\u2019 Sumpter. Watford born Sumpter was Britain\u2019s first surfing superstar, winning British and European titles in 1966, and reaching the finals at the World Surfing Games in San Diego on his British built Bilbo<\/em> signature model with a Union Jack pigmented across the deck. He flushed British surfers with national pride and a belief that maybe one day we could create a World Champion. The Sumpter family were part of a wave of emigrants swept abroad in 1952 on the so-called \u2018Assisted Passage\u2019 or \u2018Ten quid ticket\u2019 to Australia, escaping post-war Europe to begin a fresh life \u2018down under\u2019. Based at Avalon, on Sydney\u2019s northern peninsula, by 1962 Rod had become a national stand-out, and that same summer four Avalon Life Saving Club members (Bob Head, John Campbell, Warren Mitchell and Ian Tiley) where surfing throughout Cornwall whilst working the lifeguard season in Newquay. In 1963 Rod won the Australian National Junior Title. His loose and lanky style was almost identical to soon-to-be 1966 World Champion Nat Young. When Californian Bruce Brown commissioned Sydney based Paul Witzig to shoot the Australia footage for The Endless Summer <\/em>film,<\/em> Witzig asked Nat and Rod, two of Australia\u2019s most talented youngsters, to feature. The Endless Summer<\/em> became a global hit, and Rod was inspired to get into filmmaking.<\/p>\n\n\n\n

In 1964 Rod travelled to California, quickly developing close connections to the American heart of the surfing industry. But he also wanted to travel to Europe, and flying to France on a trip to surf the famous waves at La Barre, Biarritz, Rod saw beautiful waves wrapping around the crystal clear waters of Jersey. Eager to explore the potential, and curious to check out his British roots, he had heard from Jersey surfer, Gordon Burgis, that there was an International event sponsored by the cigarette company Players Gold Leaf<\/em> at St Ouen\u2019s. Rod easily won the prestigious event, spent the summer surfing through the Channel Islands, Cornwall and France, and fell in love with the European culture and environment. Within a year he decided to move to Cornwall.<\/p>\n\n\n\n

In Newquay, Rod met Simonne Renvoize, whose father, Jimmy, owned a photographic and filming shop. They started filming throughout Britain and Europe with a super-8mm camera, editing the footage into Come Surf With Me<\/em> (1967). Marketing the film to beach goers and in local pubs with fliers and posters, they would pack out church halls rented throughout Cornwall and Devon. Simonne had a strong business head and was extremely talented behind the lens, filming most of the footage of Rod surfing. The influence was profound. Not only were they pointing the camera at British shores, which was a great boost to self-esteem, but they were also driving around the country taking the surf films to all the emerging pockets of British surfing. The country got to see the footage, and meet the best surfer in Britain.<\/p>\n\n\n\n

Rod Sumpter made seven films between 1967 and 1979, logging his widespread travels, the growing national scene and the shortboard revolution. With Surfing in Mind<\/em> (1968) and Freeform<\/em> (1970) were in the upbeat style of the Californian films made by Bruce and Bud Brown. While Oceans<\/em> (1971) and Reflections<\/em> (1973) had a psychedelic feel, in the flavour of John Severson\u2019s Pacific Vibrations<\/em> (1970). White Waves<\/em> (1979) and Hawaiian Surfari<\/em> (1979) were regularly shown on the British cinema circuit, and Rod\u2019s footage of the young tube riding specialist, Rory \u2018The Dog\u2019 Russell, at Pipeline, Hawaii, appeared as a sequence in Alan Rich\u2019s epic Salt Water Wine<\/em> (1973), and a famous Old Spice<\/em> (aftershave) television advert.<\/p>\n\n\n\n

Through Rod\u2019s contacts with filmmakers, Simonne Renvoize, Paul Holmes and Alan \u2018Fuz\u2019 Bleakley also showed the latest surf films around the UK with Aquagem Surf Flicks<\/em>. These included Hal Jepsen classics Cosmic Children <\/em>(1970) and Sea for Yourself <\/em>(1973) and Alan Rich\u2019s Saltwater Wine<\/em> (1973). The impact of these films helped to educate British surfers in an era when cheap travel just wasn\u2019t available. \u201cYou wouldn\u2019t believe the level of stoke at these showings,\u201d said Fuz. \u201cPeople would hoot, gasp and applaud at every move. On Saturday night they would be watching Rory Russell at twelve feet Pipeline, and would be so fired up they\u2019d rush out to surf two feet slop at any beach early the next day and have a brilliant session.\u201d<\/p>\n\n\n\n

While Simonne did not surf, she had a long affair with surfing and the ocean, and her networking talents persuaded George Greenough to show his films, Crystal Voyager <\/em>(1973) and The Innermost Limits of Pure Fun <\/em>(1969), at the Electric Cinema in Porobello Road in London, where they had packed audiences. Greenough himself had persuaded Pink Floyd to allow the use of their music on the in-the-tube sequences from Innermost Limits<\/em>. It was a sensation. Greenough had strapped a camera to himself and shot the first genuine in the tube footage, with Floyd\u2019s \u2018Echoes\u2019 providing the perfect backdrop.<\/p>\n\n\n\n

In 1969 Penzance surfer John Adams and Australian Dave \u2018Stickman\u2019 O\u2019Donnall also started showing surf films. While Adams\u2019 venue, the Winter Gardens, was headlining the best contemporary music, including The Who and Fleetwood Mac, surf film showings became the social pinnacle of the local surf scene. In 1975 John showed the widely acclaimed Tubular Swells<\/em> by Dick Hoole and Jack McCoy. And by 1979 John had formed a film company, ThreeSFilms,<\/em> and made seven surf films up to 1992. ThreeSFilms <\/em>also became a primary distributor of surfing VHSs then DVDs in the country. John Adams\u2019 Taking Off<\/em> in 1981 is a classic, following the groundbreaking launch of British surfers Nigel Semmens, Steve Daniel and Ted Deerhurst\u2019s professional careers.<\/p>\n\n\n\n

In 1990 ThreeSFilms <\/em>toured international classics Surfers the Movie<\/em> and Rolling Thunder<\/em> around Britain to filled cinemas. Then the VHS became the dominant way for surfers to consume surf films. Most impactful were Taylor Steele\u2019s Momentum<\/em> videos, showcasing a group of young Americans spearheaded by Kelly Slater, Rob Machado and Shane Dorian, eclipsing the power surfers who went before them with previously unseen acrobatics to a high-octane California-punk soundtrack. A new generation of surfers could now rent or buy a VHS video, and then a DVD, and stay at home.<\/p>\n\n\n\n

Cornwall got an exciting slice of the British film industry when Carl Prechezer filmed Blue Juice<\/em> in 1995 launching the career of Catherine Zeta Jones. Former British Junior Champion Jamie Owen did the surfing sequences (filmed in the Canary Islands), doubling as lead character JC. But most of the film was shot in Mousehole, Newlyn, Hayle and St Ives, and many west Cornish surfers had a role: for example Chris Ryan played the \u2018silver surfer\u2019 in the party scene, with his aluminium board, while Essex Tyler had a few lines as a local ripper, and Steve Jamieson played the lifeguard.<\/p>\n\n\n\n

By the late 1990s and into the 2000s independent surf films were continuing to thrive from the likes of Andrew Kidman, the Malloy brothers, Jack Johnson and Jason Baffa, often shot on 16mm cameras with excellent indy music soundtracks that helped launch the careers of many musicians. Self-funded, these films inspired a resurgence of the screening tour, and the ultimate rise of the international surf film festival, from Tyler Breuer\u2019s New York Surf Film Festival<\/em> to the London Surf Film Festival<\/em>. Aside from fostering stoke and inspiring a new generation of surfers and creatives still going strong today, these festivals continue to help raise the profile of filmmakers, many of whom have dedicated three years into a single project, injecting more and more into the rich tapestry of surf films. And long may it continue.<\/p>\n","protected":false},"excerpt":{"rendered":"

Ask any British surfer from any generation, and they will surely agree that seeing surf films by British filmmakers is hugely inspiring. But where did it all begin?<\/p>\n","protected":false},"author":6,"featured_media":2700,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2699","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-all-topics"],"acf":[],"yoast_head":"\nThe Birth of British Surf Films - Sam Bleakley<\/title>\n<meta name=\"description\" content=\"Ask any British surfer from any generation, and they will surely agree that seeing surf films by British filmmakers is hugely inspiring. 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