:35:02
and he asks us to imagine
that, just out of shot,
:35:05
is this figure prancing around,
carrying a battered gramophone,
:35:08
with an almost worn-out record.
:35:11
It's one of those little details
that gives you a different view
:35:14
of what you're seeing on the screen.
:35:17
Powell doesn't suggest this would've
been a better accompaniment
:35:20
than the wonderful music
that Bill Williamson put together
:35:24
at very short notice
and very economically for him.
:35:27
(Dialogue) Oh, Ruth, I'm sorry.
:35:39
(Horn)
:35:51
(Christie) A blast of smoke
from the chimney of the ship
:35:54
marks, perhaps ironically,
:35:57
the end of the lovemaking sequence
between Andrew and Ruth
:36:00
but it also introduces
the next episode,
:36:03
which is the visit of the laird
to inspect his property.
:36:09
Again we're reminded,
er, very strongly
:36:13
that these are tough
economic facts of life.
:36:16
The islands survive
only if they're profitable.
:36:19
The islanders have to prove
that they're viable.
:36:22
And they have to prove
to the owners of the islands...
:36:25
We are in a...
not exactly feudal situation,
:36:28
but something very far removed
:36:30
from the experience
of most modern city dwellers.
:36:34
And it was the non-viability
of St Kilda
:36:38
which had led to its evacuation,
:36:41
back in 1930.
:36:42
This was a continuing story
:36:44
and Powell found,
as he travelled round Scotland
:36:46
and met historians and geographers,
:36:49
that there was a lot of enthusiasm
:36:51
for making a film
about this potential tragedy
:36:54
facing all of Scotland's islands.
:36:56
So this is an important sequence
:36:58
and it meant a lot to Powell to be
able to show the economic reality