This photo shows members of the cast and crew from this production with jacki Turner in the centre.
Another All for Love I worked on was shot mainly in the Adelphi Hotel in Liverpool. The story was that a pair of lovers met regularly in a very large Victorian hotel bathroom and had hanky panky! This meant that there was a fair bit of nakedness for our two main artistes. They were well aware of this before we started shooting but unfortunately the lady became very annoyed with our sound recordist who would fit a radio mic on her blouse and then pat her breasts on the pretence of checking it was working. She was dreading the nude scene in the bathroom because of the presence of this sound guy so it was decided that he and his record machine should be placed outside the bathroom door with his boom operator on a long lead inside the bathroom. When he complained loudly to a lovely makeup artiste called Glenda Wood she retorted just as loudly that he wasn’t allowed in the bathroom because he was a dirty old man. I had to tell this guy off for getting too touchy feely with my assistant (despite the fact he had a wife and two attractive daughters!)
Another memorable All for Love was shot mainly in the Ritz Hotel in London. Deborah Kerr and Claire Bloom took the two main leads. The director whom I worked with quite a lot was June Howson and she stayed at the Ritz during the filming whilst the rest of us were in the London White House Hotel as was usual in those days. Claire Bloom had to be filmed driving a convertible Mercedes sports car round the streets of London but when the car arrived it had a manual gearbox and she could only drive an automatic car so they put a wig on me and I very happily drove this icon. (I later bought a 1965 Mercedes sports car and with George’s vital help spent all my overtime money restoring it to its former glory). It was very obvious that Claire tried to upstage Deborah whenever she could but Deborah had been around far too long for it to worry her. As Continuity she made my work very easy. We would sort out all her props and moves relative to her dialogue and by the time we went for a take she had everything worked out which allowed her to concentrate on her performance. A lot of actors could benefit from her example.