Spaghetti Harvest

When Richard Cawston came to join the production team of Panorama from Film Department he brought with him a scheme which had long been cherished by Charles de Jaeger, a cameraman with a Viennese background. De Jaeger, who seemed to have relations in every capital of Europe, as well as an outsize sense of humour, wanted to make a visual April Fool’s joke about a spaghetti harvest. Monday 1 April 1957 The proposal never got anywhere until Cawston arrived at Panorama and then it had to wait until 1 April came on a Monday. In 1957 it did. Charles de Jaeger was on another assignment in Switzerland near Lugano. He stuck twenty pounds of spaghetti on to laurel bushes with sellotape and photographed it from every angle. All of us involved with Panorama, and Richard himself, felt it was high time that television was taken with some critical scepticism. David Wheeler wrote a script and Richard put it over dead pan. As the film opened with shots of burgeoning buds, Richard said:

It isn’t only in Britain that spring this year has taken everyone by surprise. Here, in the Ticino, on the borders of Switzerland and Italy, the slopes overlooking Lake Lugano have already burst into flower, at least a fortnight earlier than usual. But what – you may ask – has the early and welcome arrival of bees and blossoms to do with food? People pluck spaghetti from a tree Well, it’s simply that the past winter, one of the mildest in living memory, has had its effect in other ways as well. Most important of all, it’s resulted in an exceptionally heavy spaghetti crop. The last two weeks of March are an anxious time for the spaghetti farmer. There’s always the chance of a late frost which – while not entirely ruining the crop, generally impairs the flavour, and makes it difficult for him to obtain top prices in world markets. But now these dangers are over, and the spaghetti harvest goes forward.

Spaghetti cultivation here in Switzerland is not, of course, carried out on anything like the tremendous scale of the Italian industry. Many of you, I’m sure, will have seen pictures of the vast spaghetti plantations in the Po Valley. For the Swiss, however, it tends to be more of a family affair. Another reason why this may be a bumper year lies in the virtual disappearance of the spaghetti weevil, the tiny creature whose depredations have caused much concern in the past.

People pluck spaghetti from a tree

After picking, the spaghetti is laid out to dry in the warm Alpine sun. Many people are often puzzled by the fact that spaghetti is produced at such uniform lengths, but this is the result of many years of patient endeavour by plant breeders who have succeeded in producing the perfect spaghetti. And now the harvest is marked by a traditional meal. Toasts to the new crop are drunk in these poccalinos, and then the waiters enter bearing the ceremonial dish, and it is, of course, spaghetti, picked earlier in the day, dried in the sun and so brought fresh from garden to table at the very peak of condition. For those who love this dish there’s nothing like real home-grown spaghetti.

The film ended with Swiss in national costume tucking into the meal and we came back to a shot of Richard at his Panorama desk closing the programme.

We had arranged for an outsize calendar to be on his desk proclaiming 1 April and Richard said: ‘and that is all from Panorama on this first day of April’. Nevertheless, a very large number of people were hoaxed. I went to the BBC’s telephone exchange in Lime Grove where for the next two hours calls came in incessantly. Some were from viewers who had enjoyed the joke, including one from Bristol who complained ‘spaghetti doesn’t grow vertically, it grows horizontally’. But mainly they came with the request that the BBC should settle a family argument. The husband knew it must be true that spaghetti grew on a bush because Dimbleby had said it. The wife knew that spaghetti was made with flour and water. Neither could convince the other.

I had thought it wise to inform the Director-General of the BBC, Sir Ian Jacob, beforehand that this hoax was due to be perpetrated in a current affairs programme. Unfortunately, someone forgot to pass my message on. I ran into Sir Ian two days later at Broadcasting House. He said: ‘I always used to think that monkey nuts grew on bushes until I went to serve in the Canal Zone and saw them growing on the ground. The moment I saw the spaghetti item on Panorama, I said to my wife, “I’m sure spaghetti doesn’t grow on a bush.” We had to look up three books before we confirmed it.’

A man and a woman dry spaghetti in the sun

Travelling with Dimbleby

On human stories Richard was Panorama‘s best reporter. His interest in people and places was such that he was seldom bored. Years and years of travel, often tedious and uncomfortable, had not blunted his enthusiasm for an interesting journey. He was the romantic Englishman, to whom a journey on the pre-war Orient Express would have been the highest heaven.

Dimbleby with a man in glasses
With David Wheeler

One of the pleasures of far-away places was the thought that very few people there would know him. There would be the rare pleasure of walking about the streets and not being recognised. The penalties of having the best-known face and figure in the country were very great. Autograph hunters lurked round every corner. Strangers came up in restaurants when you were having a quiet dinner after a tiring day. They made you stand up and shake their hand. People in cars did double-takes, then leaned out of windows and waved. Coach-loads of holidaymakers shouted ‘Yoo-hoo – good old Richard!’ It was tedious when it happened but, he would ruefully admit, worrying if it didn’t.

Thus in Paris, but never in London, he could occasionally indulge in a visit to the night clubs. But he was always faintly apprehensive of being spotted by some English tourist who would raise a loud, shocked cry of ‘Good heavens – it’s Dimbleby – here!’

Dimbleby signs autographs for boys

The places where he could escape the consequences of fame grew steadily fewer. In the fifties he could go to New York and not be recognised. By 1965, the anonymity had been partly torn aside, thanks to Telstar and Early Bird. His face was familiar to millions of Americans. In Montreal, not a city where you would have expected him to be widely known, I walked with him along the main shopping street to murmurs of ‘Isn’t that Richard Dimbleby?’

Of course, it was his shape that made him instantly identifiable – the familiar rotundity of a man who was yet surprisingly light and nippy on his feet. His feelings about his shape were ambivalent. He accepted it as part of his public personality – ‘my trade-mark’ – but from time to time made strenuous efforts to diminish it. These were not completely successful. Away from home, in restaurants in Europe and North America, one watched the complex and losing inner struggle that took place whenever the waiter offered a particularly delicious (but definitely non-slimming) gateau or creamy concoction.

As a thorough-going romantic, he had a passion for casinos. I don’t believe he ever won or lost what real gamblers would call real money. It was the atmosphere that drew him. Any itinerary which took him to the Mediterranean would be carefully examined to see if it offered the possibility of a quick diversion to Monte Carlo. Frequently it did.

One recent New Year’s Eve found us in Beirut. The Lebanese capital now has a splendid casino, some way out of town. After dinner I was persuaded to take a taxi out with him, sit through a glittering cabaret and then accompany him to the business end of the casino. After a losing streak, he won enough to pay for the entire evening’s entertainment and still show a pleasant profit. It was a proud moment. We got back to our hotel at 3 a.m., two hours before an early call to fly to Jordan for the Pope’s visit to Jerusalem.

Six men in formal suits stand on the set of 'Panorama'
King Hussein visits Panorama: Sir Ian Jacob (Director-General), Leonard Miall (Head of Television Talks), King Hussein, Abdul Monen Rifai (Jordanian Chief of National Guidance), [now Sir] Gerald Beadle (Director of Television), 20 April 1959

In Jerusalem we met an old friend of his and the programme, King Hussein. The King has appeared many times on Panorama. Once, at the height of a Middle East crisis, he was telephoned in Amman by the Panorama studio in London. The King himself came on the line with a ringing, ‘Hullo, Richard!’ Now, in Jerusalem, he shouted, ‘Richard! How wonderful to see you here!’ and escorted us to a superb lunch of Arab food.

It was inevitably ‘Richard’ wherever he went, to kings and commoners. In New York, a couple of tough Manhattan cops, driving us around town for a film story on crime, may have started out wondering if the plump Englishman on the back seat of their squad car wasn’t some kind of stuffed-shirt and so moderated their language accordingly. Within an hour or so, ‘Dicks’ and ‘Daves’ were flowing freely and the air inside the car was blue with the sort of story television vigilantes have nightmares about. U.S. and U.K. had formed a special relationship.

He had many stories to tell, as befitted a man to whom so much had happened. There was the bizarre experience of the servant at his house who one evening went berserk and chased him with a carving knife. Richard finally knocked the man out, with a straight right to the chin. ‘Of course, he had to go. I saw him again months later. My car was stopped in a traffic jam, not far from Whitehall, and I caught sight of him, on foot. He saw me and came across. He seemed in good form and quite well turned out. I asked him what he was doing now and he said, “I’ve got quite a good job, sir. I’m a messenger with the War Office.” I looked down at his briefcase and there it was, OHMS. He was carrying official secrets all over London.’

Dimbleby signs autographs for women

Unnerving experiences on the air figured largely. There was the outside broadcast from the shopping streets of Paris with a French television unit. In the full flow of a live commentary, he realised the point had been reached where he should be seen in vision, walking up the street. But there was no camera for him to talk to.

‘There wasn’t a single camera in sight – until suddenly one shot round the corner. It was being pushed along by a horde of shouting, gesticulating Frenchmen. It went right past me at a rate of knots and disappeared into the distance. As it went by the cameraman screamed at me, “Ils sont fous, monsieur! Complètement fous!”’

A woman, Dimbleby and a man in a jeep
With King Paul and Queen Frederika of Greece, Corfu, July 1963

He hated incompetent and amateurish producers but remembered with affection another outside broadcast. This came from a London food factory. During rehearsal, the producer had got himself into a complicated tangle with his cameras. To resolve it, he created an artificial corridor by draping a long curtain behind the area where most of the action in the programme was to take place. This, he hoped, would enable him to move his cameras up and down, from one end of the factory to the other, without being seen in vision.

‘All went well on the air, until I heard him say, “Camera One, move across now.” A second or so later, “Camera Two, on your way now.”

‘Unfortunately he’d forgotten they were moving from opposite directions. They tore along behind the drape. They met head-on. The most almighty crash you ever heard!’

The commentator carried on. He always did. His massive reassurance communicated itself off the screen almost as much as on. During a flight to Athens, on his way to interview the Greek King and Queen in Corfu, his aircraft ran into tremendous turbulence. There was a crack that sounded rather like the end of the world. The plane began to heave all over the sky. After a little while the captain said they would be turning back to London.

Among the passengers was a group of Greek Orthodox priests. They looked, according to another member of the Panorama party, very anxious indeed. The men of God sweated for some minutes. Then one of them, recognising him, said, ‘Ah, Meester Deemblebee! Please tell us it will be all right.’