My Glasgow: Clare Grogan

Clare Grogan was a waitress at the Spaghetti Factory in the West End – where Stravaigan is now – in 1980 when she was discovered by director Bill Forsyth, who cast her alongside members of the Glasgow Youth Theatre in Gregory’s Girl. Shortly afterwards, her band, Altered Images, signed a record deal for their debut LP, Happy Birthday.

Altered Images went on to tour and release music until 1984 when Clare went solo. She has continued her acting and performing career, adding television presenting and writing a children’s novel, Tallulah and the Teenstars, about a girl who forms a pop band.

Clare remembers some of her favourite Glasgow people and places, a feature from The Best of Glasgow City Guide and Cookbook.

Glasgow Life/Damian Shields

My Glasgow

I have travelled the world and although I’m biased, I think Glasgow has an amazing amount to offer. The buildings are spectacular, the arts, music and culture scene is incredibly diverse and inclusive. And the curries are the best. 

My daughter Elle asked me when she was little if everyone in Glasgow knew each other – I explained that people in Glasgow are the friendliest people I’ve ever come across.  We try to keep that flag waving in London where we live.

My earliest memories here are of growing up in Hill Street and being afraid of the Art School building around the corner. I remember my great aunt Winnie playing the organ at St Aloysius Church and watching films sitting on my mum’s knee at the ABC cinema on Sauchiehall Street.

Our neighbours, the Capaldis, gave me and my sisters Margaret and Kathleen chewing gum – which we were not allowed. I also remember my Dad’s spag bols. And new shoes from Clarks at the start of every school term.

Kelvingrove Park

I had my first cappuccino in Cafe Gandolfi – still one of my favourite places to meet and eat.

I also love the Kelvingrove Gallery – my parents took us when we were little and I go every year. It’s particularly amazing if someone is playing the organ.

I love the Centre for Contemporary Arts and I love the Citizens Theatre – where I saw my first naked man!

I can’t leave out the No 59 bus…don’t know if it’s still a thing, but it took me everywhere I needed to go and I had the best laughs at the back of the bus on it.

When I think of Glasgow I think of crossing the Kingston Bridge and looking both ways down the Clyde.

It’s still one of my favourite places to shop and I still love running occasionally to all the corners of Bellahouston Park where I used to run when we moved to the Southside.

I love Glasgow every which way – it’s in every bit of me.

Source: My Glasgow: Clare Grogan – Glasgowist

Gregory’s Girl: the little British film that charmed the world

It’s 40 years since the Scottish romcom, starring a cast of unknowns, became a surprise hit – and paved the way for talents like Danny Boyle

By Tim Robey

“The British are coming!”. With these infamous words at the 1982 Oscars, Colin Welland collected his trophy for the Chariots of Fire screenplay. Perhaps surprisingly, though, he lost the Bafta that year to a proudly Scottish success story.

That film was Gregory’s Girl, the tale of a shy, lanky schoolboy (John Gordon Sinclair) and his hapless attempts to woo the girl (Dee Hepburn) who has taken his place on the football team. This unassuming romantic comedy, which celebrates its 40th anniversary this month, is a classic example of a low-key production which could have disappeared, but won such enthusiastic word-of-mouth acclaim that it ended up becoming a far bigger hit than its Glaswegian director, 34-year-old Bill Forsyth, ever dreamed of.

Cast largely with unknown 18-year-olds plucked from Glasgow’s Youth Theatre, it was shot in 35mm over the summer of 1980 in Cumbernauld, the 1950s New Town best-known as an administrative base for the Inland Revenue. From a budget of £200,000, Gregory’s Girl would end up grossing £25.8 million around the world (not that far off the worldwide take for The Shining the previous year), and played in some London cinemas for an astounding 75 weeks.

In fact, Forsyth had intended it as an even smaller, 16mm venture when he first wrote it in 1977. But when another of his films, a larky teen heist movie called That Sinking Feeling, was a hit at the Glasgow Film Festival, he was able to put together Gregory’s Girl on a fuller scale.

John Gordon Sinclair, an apprentice electrician, had appeared in That Sinking Feeling, but was amazed to be offered the all-important role of Gregory, especially opposite Dee Hepburn, a charismatic blonde bombshell and pin-up-in-waiting who already had some acting experience on television.

“Everyone was a bit in awe of Dee,” Sinclair has admitted. Forsyth, who had noticed Hepburn in an advert, arranged for the actress to have six weeks of intensive football training at Partick Thistle FC, so that her character, Dorothy, could believably come bounding onto the pitch and leave Gregory’s dreams of being the star striker in tatters.

Ironically, despite the attention she gained here, Hepburn’s later acting career was the shortest-lived of the three main players. As well as establishing Sinclair as a familiar face on film and TV, the film launched the career of Clare Grogan, who plays Susan, the other lass waiting on the sidelines while Gregory’s infatuation with Dorothy sputters out. Susan, as anyone who has seen the film knows, is the real Gregory’s Girl.

Clare Grogan
Clare Grogan

Perhaps the freshest conceit of Forsyth’s script is that all this basically happens over the course of a single day, as Gregory dons a borrowed jacket in a nervy state to meet Dorothy, but gets stood up, and winds up having an impromptu date with Susan instead. As the afternoon fades, they find themselves lying on the grass, swapping favourite numbers, and arm-dancing at the base of a tree. It feels very true to the whimsical, slightly makeshift quality of teenage dalliances and the pains of growing up.

“I think it worked because it didn’t patronise anyone; there was a level of honesty that you don’t normally get in teen films,” Forsyth has said.

Grogan, now 59, was a part-time waitress at the Spaghetti Factory in Glasgow, when the director spotted her, mentioned he was casting a new film, and asked for her number. “My mum had warned me about strange men, so I said no! But then he contacted my manageress, who convinced me I should think about it,” she says.

She would go on to have a rambunctious performing career, not only as a stage and screen actress, but as the lead singer of the 1980s new wave band Altered Images, who got signed by CBS Records while the film was in production. Her role in Gregory’s Girl is smaller than the other two leads, but she’s the ace up its sleeve, because of Susan’s wise-beyond-her-years demeanour and her magical chemistry with Sinclair, with whom she has remained close friends over the years.

Her Louise Brooks-esque bob was a convenient way to conceal a recent facial wound, but also – like her beret – sprang fully formed from Grogan’s own precocious aesthetic. Essentially functioning as her own costume designer, she created an iconic look.

“I was really quite fond of silent movie stars,” she tells me. “I mean, I had delusions of grandeur beyond belief, even at that age! So I was quite into the style.

“I didn’t realise what an incredibly privileged position I’d ended up in until afterwards, when the reality of having a career in this business suddenly hits you. When you’re that age, and you think, ‘When I leave school, I’d like to be a film star and a pop star’? That’s what happened. And I will never understand that.”

Despite her self-confident style, Grogan, for many years, was unable to watch herself in the film and, in fact, only watched the full thing in 2015, when the BFI included Gregory’s Girl in a special Love season. She saw it with her then-ten-year-old daughter Ellie, realising that opportunities to catch it on a big screen might not come along too often again, with a child who was “just old enough to get it.”

Idyllic though Cumbernauld looks in Gregory’s Girl, 1980 was actually the worst summer in the area since 1907, and the colour of the football pitch kept changing in the rain. Nevertheless, the cast have fond memories of filming.

“Shooting never felt like work,” Sinclair told a journalist in 2015. “You knew you were getting it right because you’d see Bill’s shoulders shaking with laughter behind the camera. I had to ask him to move out of my eyeline, because it would get quite distracting.”

Grogan says she remembers a lot of it “really clearly.” “I particularly remember the part with me sitting on a bollard whistling, waiting for John Gordon to arrive. Bill had been determined that I had to be a whistler. And of course I couldn’t whistle. I was a seriously crap whistler! So I had to practice considerably.”

As for lying on the grass, trading pet integers with her co-star as they waved their hands in the air, “that very much came from Bill. I’ve been asked to do that in many places, by many different people, to recreate that moment. Including on the Tube.”

It was thanks to Gregory’s Girl’s success that a number of Scottish financing bodies sprang up in the 1980s, paving the way for the first features of Danny Boyle and Lynne Ramsay, among others. The film, as Grogan once learned, is a firm favourite of Martin Scorsese, and the influence of its quirky humanism on the likes of Wes Anderson and Shane Meadows is obvious.

Forsyth would become a critical darling with the likes of Local Hero (1983), Comfort and Joy (1984) and the sublime Housekeeping (1987), but would never again reach these heights at the box office.

With its mischievous first scene of Gregory and pals ogling an undressing girl through her bedroom window, the film’s formula is that it starts out as the Scottish, small-town equivalent of a Porky’s-esque adolescent sex comedy, and then, with an ever more tender trajectory, gets real.

Source: Gregory’s Girl: the little British film that charmed the world

Molly Linen’s ‘A Lot To Give’ Is Remarkable

It’s a delicate, hugely emotional return…

Glasgow based songwriter Molly Linen returns with new single ‘A Lot To Give’.

The new single was recorded at all-analogue Glasgow studio Green Door, with Molly working alongside producer Ronan Fay.

There’s a sparsity to the recording that is truly remarkable, with Molly’s softly picked guitar patterns aligned to the drone of an old air organ.

Shades of Ivor Cutler in the use of a drone, yet Molly’s vocal is in a world of its own, a suggestive, beguiling, and plaintive offering.

“An imagined conversation with an imagined person who lacks empathy,” she comments. “A heart broken like a carelessly dropped vase.”

Out now on Lost Map, you can check out ‘A Lot To Give’ below.

 

Source: Molly Linen’s ‘A Lot To Give’ Is Remarkable

Kelly Macdonald: ‘I’m beyond sex scenes now. I just play detectives’

Why did the actor who shot to fame in Trainspotting panic about her new Line of Duty role?

By Emma Brockes | Irish Times

Kelly Macdonald’s roles are typically quiet and fraught with internal conflict, and entailing journeys that are more reflective than active. As a grieving mother in The Child in Time, a gangster’s wife in Boardwalk Empire and the titular role in The Girl in the Cafe, the 45-year-old has, over the past 25 years, become known for the kind of thoughtful performances signified by the image of a woman staring out of a window. All of which makes our encounter today doubly surprising: that Macdonald, appearing via Zoom from her home in Glasgow, is here to talk about Line of Duty, possibly the least reflective television show ever made; and that she is a complete hoot.

Her role in Line of Duty has, over the course of the Belfast-filmed show’s six seasons, become a coveted one in British television – that of the guest star brought on as a no-good cop to be investigated by AC-12, the show’s now iconic anti-corruption unit. (Previous incumbents in the just-how-bent-is-she role include Keeley Hawes and Thandie Newton.) Line of Duty’s twists are renowned and the embargoes fierce, and, following the roller coaster of season five – in which we grappled, briefly, with the possibility that Supt Hastings (Adrian Dunbar) was bent – we meet Macdonald in season six as DCI Jo Davidson, getting stuck into a case. And that is pretty much all, ahead of transmission, the BBC will permit either of us to reveal, which makes Macdonald crack up every time she thinks of it. “It’s hilarious that they sent me a list of things I’m not to talk about, when I can’t remember any of it.”

They sent the first episode while I was on the train and I managed to download it and immediately got freaked out at the intensity

This is partly down to scattiness. Macdonald forgets words, dates, times. She has been known to rock up to auditions having failed entirely to study the script. “I’m horrible,” she says, cheerful in a chunky knit sweater, which is, she says, one notch up from her customary lockdown hoodie. “I’m just rubbish at reading the emails.” At home she’ll look up from whatever she’s doing and catch her sons, eight-year-old Theodore and, in particular, 12-year-old Freddie, regarding her with incredulity. “My son sits over there, plugged in on his iPad, and I’m on the phone and I just see the way he looks at me. I still remember thinking my mum was a fool, such a fool, about technology.”

It is there in her performances, this guileless good humour. Macdonald once described acting as “not brain surgery” – not a view shared by most actors at her level – a delight in the absurdity of it all that has been visible on screen since her first, explosive role, as Diane in Trainspotting. That was released in 1996, when Macdonald turned 20, and, as it turned out, Diane – brazen, impulsive, outrageous – was atypical of the work that would follow.

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