The Breaking of Bumbo
| Company type | Production company |
|---|---|
| Industry | Film production |
| Founder | Andrew Sinclair, Jeffrey Selznick |
| Parent | EMI Films |
The Breaking of Bumbo is a 1970 British comedy film helmed by director Andrew Sinclair, featuring performances from Richard Warwick, Joanna Lumley, Jeremy Child, and Edward Fox. The script, penned by Sinclair—a former officer in the Coldstream Guards—is an adaptation of his own 1959 novel sharing the same title.
Plot
Ensign 'Bumbo' Bailey, a newly commissioned officer in the Guards, encounters various life lessons through his relationship with a girlfriend in Swinging London, while also dealing with challenges involving his platoon and commanding officer.
Development
Originally published in 1959, the novel achieved bestseller status. Initial efforts to translate it into a film were unsuccessful, largely due to the narrative’s misalignment with prevailing cultural trends at the time. In 1962, Donald Taylor was announced as producer with Sinclair adapting the screenplay for Carthage Films.
Ultimately, Andrew Sinclair joined forces with producer Jeffrey Selznick—son of David O. Selznick—to establish Timon Films for producing The Breaking of Bumbo, with plans for a subsequent project titled Wasn't This What You Came to See?. Sinclair revised the storyline to incorporate themes of civil unrest, focusing on the protagonist’s conflict between military duty and revolutionary leanings. The production partnered with EMI Films, whose production chief Bryan Forbes expressed admiration for the original novel.
By August 1969, Forbes included The Breaking of Bumbo in EMI’s production lineup, initially assigning directors Kevin Brownlow and Andrew Mollo. However, disagreements over casting decisions—especially concerning the lead role—led to Brownlow and Mollo departing the project, after which Sinclair assumed directing responsibilities. Brownlow later recounted clashes with producer Jeffrey Selznick regarding casting preferences; while Brownlow and Mollo supported Christopher Cazenove for the lead part, Selznick insisted on Richard Warwick.
Another version indicates that Malcolm McDowell was initially considered for the lead but was redirected to Forbes’ The Raging Moon, resulting in Warwick’s casting. For the female lead, Sinclair selected Joanna Lumley instead of Anoushka Hempel, who was given a smaller role.
Reflecting on his debut as director, Sinclair acknowledged his lack of directorial experience but noted his success as a Hollywood screenwriter and publisher of classic screenplays, which provided him with strong knowledge of cinematic narrative and structure.
Production
Principal photography commenced on 26 January 1970. Due to restrictions preventing access to Wellington Barracks and authentic guardsmen, sets replicating the barracks were constructed within a studio environment. Sinclair commented, "Sophisticated people should enjoy being laughed at occasionally; a bit of fun poked at the establishment does no harm."
Joanna Lumley recounted the difficulties she faced portraying her character, including uncomfortable costumes and scenes that conflicted with her personal values. She also mentioned the challenge of filming intimate sequences in front of an entire crew. Lumley complimented co-star Richard Warwick as both "funny and good-looking," which helped ease the filming process. Sinclair later noted that the film lacked sufficient "sexual spark" between its leads to achieve success but did not attribute this shortcoming to Lumley.
By May 1970, post-production editing was underway. Producer Selznick aimed to craft a film that would entertain a wide audience while simultaneously delivering a pointed message.
Jacquemine Charrott Lodwidge served as fashion coordinator for the production.
Release
Although the film was previewed in London cinemas in September 1970, its official release was postponed and eventually cancelled. It never saw a theatrical distribution in the United Kingdom, but the producers managed to recover some expenses through the sale of television rights. The movie was shown in Australian theaters in March 1973. Reflecting on the film, Edward Fox commented, "I suppose the film wasn’t very good since it was never released," while Bernard Delfont from EMI dismissed it as "simply no good" and later described it as "a disorganized and unwatchable piece of military nonsense."
According to academic Paul Moody, EMI had contemplated releasing the film in 1972, and it was granted an "A" certificate. Nevertheless, due to the British Army's active role in Northern Ireland at that time and Delfont’s ties with establishment figures, EMI decided against a release to avoid potential damage to its reputation. Moody argues that Delfont chose the safest course of action to safeguard his position.
In 1974, Richard Warwick remarked that the film encountered directorial problems after a disagreement resulted in writer Andrew Sinclair taking over directing duties despite lacking prior experience. Warwick had only seen preliminary edits. The movie made its British television debut in August 1975.
Sinclair later recounted:
Forbes’s period at Elstree was fraught with upheaval. During a swift succession of takeovers—first by ABC Pictures, then EMI, followed by EMI-MGM—a decision was reached to discard most films as tax losses, including The Breaking of Bumbo. The sole exception was The Railway Children, preserved due to its appeal to children. Even Bryan Forbes’s own The Raging Moon was abandoned.[1] On set, our approach was conventional; the Army scenes remain effective, though the Swinging London segments now feel outdated. Joanna delivered an outstanding performance—professional and impressive for her first significant role.[2]
Reception
Robert Murphy observed in Sixties British Cinema:
From its opening credits, The Breaking of Bumbo (1970) fits into David Puttnam and Alan Parker’s frequently criticized category of ‘red London bus movies’... Alongside the ever-present red buses, the storyline appears far-fetched, and its portrayal of Swinging London amidst student protests and skinheads lacks credibility... The principal problem, beyond Sinclair’s hesitant direction, is that Bumbo is a character from the 1950s (originally a guards officer attempting mutiny during Suez), and relocating him to late-60s London with demonstrations and student uprisings simply fails. In 1956, Bumbo represented an early example of upper-middle-class youth challenging traditional norms; by 1968, he comes across as a rather dim Hooray Henry caught between guards officer exclusivity and Swinging London excess. What could have been a potent liberal response to Michael Powell’s The Queen’s Guards (1961) ends up embarrassingly trivial.
Filmink highlighted that the film "features some excellent moments, including an energetic performance from Joanna Lumley; had it premiered in 1959 or even during the mid-60s, it might have found success… but by 1970, films such as Billy Liar (1963) and The Virgin Soldiers (1969) had already exhausted the anarchic military comedy genre. Furthermore, National Service ended in 1960, reducing the audience for servicemen comedies popular during the ‘50s. To be fair, this film never had the opportunity to connect with viewers."