Clubs in Film: 'Brannigan' (1975)

One of the last films John Wayne ever made, Brannigan (1975) is a fairly formulaic “fish out of water” police thriller about a Chicago cop in London; one of many films made to cash in on Dirty Harry (1971). It’s not a particularly good film.

But its interest here is in how it captured two central London clubs, inside and out, in the mid-1970s. As I’ve often argued, the 1970s represented a nadir for Clubland, and there was a new-found willingness among many of these cash-strapped institutions to open their portals for the first time to film and TV crews. While the Royal Automobile Club had co-operated with newsreel crews a decade earlier, I believe this is the first time the Garrick Club allowed filming within the Club - thanks to a supportive word having been put in by long-standing member Richard Attenborough (elected to the Garrick in 1950), who played the film’s secondary lead, Metropolitan Police Commander and baronet Sir Charles Swann, who is shown to be a Garrick member. Attenborough was cast as a last-minute substitute for another Garrick member, Sir Ralph Richardson, who had originally been cast as Swann. Wayne reportedly enjoyed location filming in the Garrick, being quoted as saying that he would like another lifetime to spend reading the contents of its theatre-themed library.

Garrick Club

We see the Garrick Club early in the film, when a jet-lagged Jim Brannigan (John Wayne) is fresh off the plane at Heathrow, and is driven straight to the Club to meet Swann. The front of the Club is seen from Floral Street opposite, looking distinctly faded (as most London clubs were in the 1970s).

Brannigan is driven there by a female colleague, Detective-Sergeant Jennifer Thatcher, and asks her “Aren’t you joining us?”; but she smiles and answers, “If I walked in there, I’d cause a dozen heart attacks. It’s a men’s club. Rules strictly enforced.” Brannigan answers, “Too bad.”

In a realistic touch, Brannigan attempts to walk into the Garrick Club, only to be chased by a porter: “Begging your pardon, sir; I’m sorry, Mr. Brannigan, it’s a club rule,” and he brandishes a necktie at the tie-less policeman. “Alright. Strictly enforced, I presume?” sighs Brannigan, and puts on the tie.

(In an unrealistic touch, the substitute tie he is offered broadly colour co-ordinates with his clothes. Few men handed a substitute necktie on the front desk of a club have ever had this experience.)

He is directed up the main staircase, and walks up. Much of the layout is recognisable today, though the staircase walls were cream at the time - a popular mid-20th century colour choice in clubs that were keen to modernise with more muted tones, and downplay their historic architecture - whereas they are now a more historically accurate green.

Brannigan passes a member on the staircase, who scowls disapprovingly at his still putting on his tie.

Swann is said to be, “in the Lounge Bar, upstairs,” and is accurately shown there, facing a portrait of fellow club member Laurence Olivier. He recognises Brannigan, and beckons him over, offering him an aperitif before lunch. Brannigan asks instead for “a boilermaker” - a classic 19th century working-class American cocktail, made of neat whisky, and a cold beer chaser. Already in their contrasting style of drinks, we see that these are two very different men. Brannigan observes that it is “a good old Polish drink” (which is not entirely true, as it originates from Montana), and Swann smiles, “We can manage that.” They proceed to discuss the extradition case they are engaged in, and Swann invites him to, “A spot of lunch.”

Everything about these men is different, though they get along well enough - not only their choice of drinks, but Swann in his well-tailored three-piece suit, Brannigan in his light, casual sports jacket. Even their ways of coping with baldness strike a contrast in styles - Richard Attenborough’s combovers, to John Wayne’s conspicuous toupees.

They sit down for an early lunch, for presumably it is only around noon. (Swann is clearly a familiar face, and is greeted with “Good morning.”) Swann urges Brannigan to call him “Swann”, explaining he only uses the baronetage “for theatre tickets and table reservations,” and that its only significance to him is that, “Every Maundy Thursday, for some reason, I’m granted the inestimable privilege…of dropping a sprig of myrtle in the River Thames at Westminster.” Brannigan seems bemused.

They sit at the Club Table - though oddly, do not interact with their fellow diners, continuing their own private conversation. Swann is clearly a regular, known to the staff - he greets the waiter, “Good morning, Barker,” and is greeted back with, “Good morning, Sir Charles,” and the observation, “The Dover Sole is excellent, sir.” Swann takes the waiter’s recommendation, while Brannigan observes that on Chicago time, “It’s my breakfast time, I'd sure like two over-easy, some bacon, crisp, and a short stack.”

Swann translates this for the waiter: “Right, I think what my guest would like is two eggs, lightly fried on either side, a couple of rashers of bacon, and a modest portion of pancakes,” only to be corrected by Brannigan, “Not too modest on the pancakes.”

There is a brief moment of tension when Swann cautions Brannigan on his attire:

Swann: “Lieutenant, you shouldn't be wearing that particular item.”
Brannigan: [Pointing at his tie.] “Well, the fella at the front desk said I had to put it on.”
Swann: “Not the tie. The .38 calibre Colt Diamondback.”
Brannigan: [Motioning his gun, which is sticking out of his jacket.] “Commander, I always wear this.”
Swann: “Well, I’m afraid it's placing you in violation of British law and Scotland Yard regulations.”
Brannigan: “Well, it isn't in violation of United States law, and I work under the Chicago Police Department regulations, which makes it obligatory.”
Swann: “Then I strongly urge you to resist any temptation to use it.”
Brannigan: “Well, I don't think I'll be needing it in here.”

As Swann briefly leaves to hear from a messenger at the entrance, we see more of the room, including the carvery in the background. What is striking is that some of the figures seen in the background are real-life Garrick members (who were also actors - and therefore in possession of an Equity card, enabling them to act in the film). Particularly conspicuous is a silent cameo from Donald Sinden, a Garrick member since 1960 (and later a Trustee of the Club), donning a Garrick Club tie.

Swann returns with bad news to convey to Brannigan - that the American mobster Ben Larkin, whom Brannigan had only just arrived to extradite, has now been kidnapped. Swann realises they both need a stiff drink before he shares the news, and he beckons the waiter back over: “Barker, bring the Lieutenant a whisky and a beer chaser, will you?” The waiter, quick to pick up on this, answers, “You mean a boilermaker, sir?” Swann adds, “Make it two.” Brannigan takes the news badly, and they drink up. The members of the Garrick continue with their conversations in the background.

Royal Automobile Club

The actual kidnapping of Larkin is previously shown happening at another club - the Royal Automobile Club. It is made explicit that Larkin is a member who enjoys club life - he is walking along St. James’s Park as his mob colleagues, who try to warn Larkin that Brannigan is about to attempt his extradition, and he protests he does not want to leave London: “I like this town, I like the women, the clubs, the action - I always did.” They walk up the Duke of York steps, and are shown passing the United Service Club and the Athenæum, before turning into Pall Mall.

Larkin is recognised by the porter: “Good morning, Mr. Larkin,” and he replies, “Good to see you, Jules.” The RAC’s doorman at the time (actually called John Quinn), was known for his ability to recognise all 16,000 members of the Club by sight. Larkin strides purposefully towards the swimming pool, flanked by two colleagues.

We then have a glimpse of the RAC’s vast Italianate marble swimming pool, which Larkin and his colleagues stride around, contrasting with the bathers in their suits - they have not even bothered to stop off at the cloakroom to leave their hats. The interior is much as it is today, though was filmed before the more recent restoration, so the colours on the pillars remain a little muted.

Larkin is greeted by a member, “Good morning, Ben,” responding, “Good morning, Morris.” Larkin is clearly a regular, known by members and staff alike, who presumably have no idea of the criminal enterprises that pay for his club subscription. Striding into the changing room, he instructs the attendant, “Give me a box at the dog races tonight, Gates,” and asks his colleagues to place bets for him.

We then see Larkin dropping off his towel and diving nude into the ice-cold plunge pool of the Club’s Turkish baths (one of only six Victorian Turkish baths still surviving in the UK today), before he wraps himself back in his towel, and strides over to the neighbouring cubicles, where he lies down for a massage.

It is while his masseur disappears for a moment that his kidnappers, who have bluffed their way in pretending to make a delivery, come over and chloroform Larkin, with his face down, and bundle him away unobserved.

Brannigan is not a great film. But it does benefit from extensive location filming throughout, showing London in the 1970s, and its depiction of two private members’ clubs is fairly accurate. Possibly the only slip-up is in showing Brannigan and Swann seating themselves at the Garrick’s Club Table, but then proceeding to have a private conversation and ignoring their fellow diners - presumably the conversation was exactly as scripted, and when it came to filming, director Douglas Hickox opted for the most visually arresting table, rather than seating them on a small private table. But beyond that subtle detail, the portrayal of club rhythms of life is an accurate one. And the use of real-life actors who were members of the Garrick, to play the members of the Garrick in the background, is a positive bonus for accuracy.

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