As the first part in a short series of articles that cover not only an evening of events but an exploration of a scene and personal discoveries, Charles Kirby here gives his overview of the Scarborough Film Festival screening of Dead Mint – The Story of Grandads Don’t Indicate. This music documentary charts the course of the Scarborough bands success and an insight into their unique outlook.
The McCarthy Cinema of the Stephen Joseph Theatre Scarborough, is a fantastic facility, modern and well kept, with capability of achieving Dolby 7.1 Surround Sound (for compatible features). The system itself is designed with both acoustics and aesthetics in mind, with visually pleasing panelling, stage and layout that doesn’t disturb immersion. The screen seems somewhat embedded creating a viewing angle that can be seen equally whether in the front, through to the back (I’ve also seen photos from the gallery and the effect remains). You’ll have to forgive my ‘geeking out’, it’s the student of Music for Film talking!
I believe the town is lucky to have such a space that offers opportunities for fans of film, from the avant-garde and DIY to cult-classic and deep-cut blockbuster, whilst seeming to focus on the importance of film and art, making it an ideal setting for Scarborough Film Festival. That, and the ice cream is pretty good too!
The festival marked its second year with many events, supported by Film Hub North and the BFI. Scarborough Film Festival’s aim is to prioritise celebrating local, independent talent from all across Yorkshire. This showing of Dead Mint was supported by Record Revivals, an independent record store which neighbours the theatre.
Dead Mint – The Grandads Don’t Indicate Story is a perfect fit in accordance with the festival’s aim. (From this point on, the band will bereferred to in majority as GDI, or Grandads)
As audience members piled in, I took position on the front row. This is because I required the wheelchair space (organised by phone or box office) near an accessible exit with plenty of viewing space. It’s worth noting on this occasion, that as a cool consequence of being situated there, I found that the Grandads and other members involved in the film were all on the row behind me.
It was a pleasure to meet Denis Copeland in person and overhear the bands’ reactions and conversation sparked by the movie throughout its showing. It was also fantastic to see the music and art scene(s) show up in support, together with people the GDI hadn’t seen in a long time.
From a personal standpoint, looking back on this event has helped me realise something about myself. I’m in my thirties at time of writing and I’ve been a part of music in Scarborough since before my teens. However, due in part to my disability but primarily to feelings of anxiety, I kept myself very much to the stage whilst never quite allowing myself to be myself or to be part of the crowd.
However in the last few years I’ve now become a part of the crowd, one of the community, and I’ve become my own person.
This became evident to me as I watched the cinema fill up with people I consider genuine friends and who’ve held me in the same regard. I noticed a great parallel between the connection Denis and others have with the people of Scarborough, and my own.
In introducing the film, the screen featured the logo and waves of Scarborough Film Festival, accompanied by a playlist of appropriate rock and punk music. After some logistics from festival organisers Martha Cattell and Liz Boag, Bill Bartlett, director of Dead Mint together with Denis and John from GDI were welcomed on stage to say a few words in preparation. Bill expressed his preference for documentary and story; they also said, “This wouldn’t have happened if it wasn’t for the fact that Denis is a hoarder”. Bartlett was a recording engineer by trade and remastered the GDI tracks that feature in the film. This collection is available on Bandcamp.
A recurring piece of Denis’ archive was the chip forks that himself and Steve used to review eateries throughout their journey. Coincidentally after this viewing, a friend and I decided to continue this tradition with two slight differences. Those being cinema experiences and using wooden ice cream spoons to write our reviews!
I remember that John Hall told a story of when Denis sent him a box full of these wooden forks to his address. This helped foreshadow the type of humour contained in the documentary. Hall took a moment to explain that although they’re not native to Scarborough, the scene created by those involved in the Stage Door venue and its impact is something he felt glad to be a part of.
The Stage Door had been managed by the late Paul Toole (who also later ran Record Revivals). Bill, in closing, expressed sorrow toward both Paul and Steve’s passing. Offering a comforting memory, he managed to see Steve before the end and ask if there was one thing he wanted people to take away from the film. To quote: “If people watch the film and it inspires them to do what they want to do, however ludicrous – write a book or join a band, that’s what he wanted the film to do”.
In my preparation for this review I remembered there had been a presentation of Dead Mint at the celebration of Paul’s life some years ago; also I was able to view it on YouTube. You can imagine by now I know GDI, Dead Mint and its soundtrack rather well. However, to view it in this setting, at the festival, under these circumstances and equipped with the context provided in my Q&A with Denis created an experience I hope to never forget! Besides, there will always be a certain perspective that only a cinema environment provides. Having nothing else to do but sit without distractions from outside and take in the material exactly as you and the audience process it. Perhaps you laugh in unison or new connections and friendships grow. All as a result of the time spent and impression the film leaves behind. These aspects meld into what I believe is the definition of uniquity.
Throughout the film many personalities who recall the story of GDI appear, providing insight in the modern, BBC arts style of a “story/history of” documentary, alongside the band members; with a “through line or sub plot” as we follow Denis and Steve on a day out, going from bay to bay of Scarborough. The journey starts on the North side and the places they visit trigger stories, often followed by music or archive video footage.
This formula ignited my own memories and associations with growing up and living in Scarborough. Laughing at Yorkshire localisms like Steve calling Denis a “div” or referring to the North Bay as “the posh end”; even “dead mint” is a phrase I remember using at school and have only ever heard in North Yorkshire. I think what this “subplot” does most effectively is highlight a timeless friendship which I think anyone can relate to.
Paul Toole was among the many observers of GDI’s story. When he first appeared on the screen in that setting, the silence became very noticeable as his voice filled the auditory space. Paul was a close friend of mine, too. So I can only imagine how it felt for those assembled in the cinema that night, when Steve’s voice set the pace of the film off, and the effect that must have for many.
Dead Mint also contains some historical information about Scarborough and the growth of seaside towns. For example, Eric Jackson (bass and guitar) speaks of how in Victorian times people would come and ‘take the water’ from the sea, through to the advent of seaside resort holidays. Another important exploration is the understanding that as Scarborough became a resort town, it drew in musicians and other acts. Some of those acts later moved to the seaside, meaning future generations carried on the tradition.
In writing this review I wanted to approach it more as a prospective. This is because if I wrote about it “line by line” I’d run the risk of spoiling it for people who should see it when they can if they haven’t yet! Fair to say, there are many elements to entice viewers: A story of friendship and music; Cine-film/Camcorder archive footage; Legacy archive material of Scarborough which offers quite a “Monty Python” feel at times; Examples of Yorkshire humour and timing; A Sooty Machine – “3 piece like the Jam!”; Chopper Bike; Lemon Top ice cream with a flake; Where the name Grandads Don’t Indicate came from!
In essence, even if you don’t like music or sea and sand, this documentary highlights the importance of story and community, and how those key ingredients help us make a future for ourselves while celebrating what came before!
There will be other small references to the film throughout the other linked articles. The last word on the film would be the standing ovation it received, it went on for close to 2 minutes, which of course seems longer when you’re there.
Click here for part two: Orchard at the Railway Club
Part 3: Grandads Don’t Indicate live set
Part 4: Graham Watson live set
Read Charles Kirby’s interview with Denis Copeland
Watch Dead Mint on YouTube
The Dead Mint soundtrack is available on Bandcamp
Follow Scarborough Film Festival here: website : facebook : instagram
See out other film festival coverage: Funky Choir and Open Decks
