The ‘unfilmable’ Wrong People – in a movie that has taken 50 years to make

David’s next project is very un-comedic…

The last time I chatted to David McGillivray was in May 2019 BC…

Before Covid.

This year he celebrates his 40th year writing for Julian Clary but also he is about to direct a movie of Robin Maugham’s controversial 1967 novel The Wrong People. The pitch is… 

Set against the backdrop of 1960s Tangier, this thriller tells the story of Arnold Turner, a repressed English schoolmaster on holiday in Morocco, where he meets Ewing Baird, a wealthy American expat with a dark secret. As Turner becomes more involved with Ewing he realises he has been lured into a dangerous trap.

So, obviously, David and I had a chat…

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JOHN: The Wrong People… Very definitely a million miles away from the world of comedy. You’re directing it…

DAVID: It’s happening this summer.

JOHN: It’s described as “a thriller” but it sounds Arty to me.

DAVID: It’s a brilliant piece of writing and indeed a thrilling adventure as well as being a searing piece of social comment.

JOHN: …from the 1960s. Making movies is not easy.

DAVID: Well, the story of trying to get this film made starts 50 years ago when I was writing House of Whipcord and Frightmare for director Pete Walker and he was telling me about his Hollywood actor chum Sal Mineo, who was in London at the time, trying to set up The Wrong People as a film.

David with his well-thumbed copy of the book

Around that same time The Wrong People was re-published in paperback under Robin Maugham’s own name. Earlier, he had published it under a pseudonym – David Griffin – because that’s what his uncle Somerset Maugham recommended.

JOHN: Because…?

DAVID: Because of the subject matter. Sal Mineo was trying to set up the film but Pete Walker said to me: “They’ll never make it.” So I went and bought the book and, like Somerset Maugham, I read it in one sitting. I went back into Mr Walker’s office the next day and said: “You’re right. They’ll never make a film of it.”

Sal Mineo went to all manner of screenwriters. (Peter Shaffer, Edna O’Brien, David Sherwin etc) They all said No because they found the subject matter distasteful. He did get a script out of a children’s writer who had I think written episodes of Doctor Who. But his script was deemed not really suitable and they ended up with – what a surprise – Pete Walker’s screenwriter Murray Smith. I’ve never seen his script. There may have been other scripts – maybe one by Robin Maugham himself – but they have all disappeared. Anyway, Murray did one that Sal also didn’t like. So the whole project was doomed, really.

“I found it winking at me on the shelf”

Sal was unable to make the film. He returned to Los Angeles in 1974 and two years later was murdered. After that, I never thought a thing about The Wrong People until I found Sal Mineo: A Biography winking at me on the shelf. It was published in 2010 and there is an entire chapter on The Wrong People.

I read the original Maugham book again and decided that night: Right! I’m going to make the film myself!

JOHN: When I talked to you about The Wrong People back in 2019, you were looking for a director at that point. You were not going to direct it yourself.

DAVID: I ended up seeing a lot of people who weren’t that keen on directing it in the first place and, in all honesty, with whom – half of them – I didn’t want to work. One or two of them had the most extraordinary ideas about what they wanted to do with the material.

Then, when I was on a 65 bus, I decided Oh! This is going to go on for years! I’ll direct it myself.

So I scripted a version and contacted a distributor who had put out a couple of my other films. He liked it, but said it needed a re-write. So I contacted my old friend Peter Benedict and we are now up to Draft 7. He’s very good on structure.

JOHN: Why did you originally not want to direct it?

DAVID: I’m not a born director. I’m more of a producer. I’m not bad at organising. But, during the intervening years since 2014, my confidence has grown; I think I can make a fist of it now.

JOHN: Ooh… So what is the audience for the film? It’s an arty, gay, adventurous thriller? 

“…I would prefer not to lose all my money but if I break even that would be lovely…”

DAVID: Obviously it’s never going to play the Odeon, Leicester Square. It’s an arthouse picture that will have a limited audience. That’s fine with me. I would prefer not to lose all my money but if I break even that would be lovely.

JOHN: It’s your own money?

DAVID: Of course, as always. Nobody would ever dream of giving me a penny.

JOHN: When we chatted in 2019, you did say it would be quite expensive to film.

DAVID: Yes… well… the budget has been… reduced… We have had to compromise; it’s the name of the game. I’ve done it all my life. So it’s no longer three weeks location in Morocco. It’s now going to be done via the miracle of green screen.

Maugham was an under-rated talent. He’s only really known for The Servant. The Wrong People is written very filmically and that’s because he worked on quite a few films. He understood cinema and that was the reason I loved it when I read it. I could picture it all. He writes like a screenwriter.

Robin Maugham in 1974 (Photo by Allan Warren)

JOHN: I’ve never seen The Servant, but it’s a gay film and made in 1963…

DAVID: The Servant was heterosexualised. It was straightened up and, unless you were in the know, you would never be aware that it’s a gay story. It was, again, based on Maugham’s own experiences and, although the novel is slightly gay, it was mostly straightened up because the market wouldn’t have accepted it in those days. 

The film is brilliant but bizarre. I mean, there’s an orgy in it with Dirk Bogarde and a load of women and Robin Maugham quite rightly said: “The orgy scene at the end of the film was a cock-up. It was obvious to anyone that neither (screenwriter Harold) Pinter nor (director) Joe Losey had ever been to one.” And he’s right; it looks just so unreal.

JOHN: And you have experience of orgies?

“You’ll find I don’t mention any orgies…”

DAVID: I wouldn’t say orgies exactly, John. Did I admit to orgies in my autobiography? I think you’ll find I don’t mention any orgies.

JOHN: Because…?

DAVID: I didn’t go to any.

JOHN: But your house was a den of iniquity.

DAVID: We didn’t have orgies there, John. Other things went on in that house.

JOHN: Such as…?

DAVID: Didn’t we have this conversation three years ago? 

JOHN: But my reader in Guatemala may have forgotten.,,

DAVID: It’s all in my autobiography Little Did You Know. It is well worth a read.

JOHN: You’ve said Maugham created “a moral dilemma” in The Wrong People – What moral dilemma?

DAVID: Because The Wrong People is about child abuse. It was a difficult subject then; it’s a difficult subject today. But for different reasons… Now almost nobody will even discuss the subject. I’m going to bring it out into the open again. Because the subject has to be discussed. Child abuse goes on. It’s been swept under the carpet. 

JOHN: Really? I’ve written down here: Jeffrey Epstein; Kevin Spacey.

DAVID: Well, these high-profile cases peek out from the top of the parapets, but what we’re concerned with is what Maugham was concerned with in his book – the secret child abuse that goes on that is never reported. It was far more common in 1967 because people turned a blind eye to it. Now we KNOW it goes on but, as I say, we can’t discuss it.

Maugham very cleverly invents a situation that makes the reader – as I’m going to make the cinema audience – think twice about this subject and you’ll have to see the film in order to find out more.

A publicity folder for Sal Mineo’s unfilmed Wrong People…

JOHN: There is, the publicity blurb says, a “shockingly unexpected conclusion”.

DAVID: I don’t think the audience will know what’s going to happen next. That’s the genius of Maugham’s writing. You can’t imagine where this story is going. Towards the end, there are some marvellous twists. And the ending is… Alright, I’m going to tell you – I don’t think I’ve admitted this before – I have changed the ending. Well, it was Peter Benedict originally, to give him the credit. But it makes it even more powerful.

JOHN: He wakes up in the shower and it’s all been a dream?

DAVID: It’s a lovely idea but, of course, that’s not what happens.

JOHN: …and then the aliens arrive…?

DAVID: There are no aliens in The Wrong People, John.

JOHN: Is there a car chase?

DAVID: I’m afraid it’s not that kind of a film. It’s an arthouse movie for a specific audience.

JOHN: Well I guess, despite the lack of a car chase, I’m just gonna have to see it to the end…

Kate Copstick and the sexually-abused girl being held in a Nairobi hospital

British journalist and occasional TV producer Kate Copstick is currently in Kenya, working with her Mama Biashara charity. 

In the last couple of extracts from her diaries (HERE and HERE) mention was made of a penniless 14-year-old girl called Faith who was raped by her father, recently gave birth to his child and was being held in an overcrowded ward (2 to a bed) at Kenyatta National Hospital in Nairobi.

This is in clear contravention of last year’s Kenyan High Court ruling on detention of patients which states that it is illegal for a Kenyan hospital to detain a patient for non-payment of fees.

Now read on in these extracts from Copstick’s diaries this week…

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MONDAY

Kenyatta National Hospital.

I am there the entire day. I am not one of life’s gifted ‘waiters’.

This is a place Kafka himself would struggle to create.

It is a big monster full of little monsters.

I go from little social worker to Head of Department, to Bill Management to Finance to Administration, back to Finance then back to Social Work. 

We are in “just following orders” territory here. 

But, in Kenyatta National Hospital, we get: “We are waiting for feedback”. 

The buck is thrown around like a rugby ball in a grudge match and it is blindingly obvious that none of these people gives even the tiniest, the most transient, the least fuckity of fucks about a 14-year-old girl, raped and impregnated by her father who has now been held like a prisoner for over one month. 

They see a bit of paper. And they see their nice quiet office. Some see nothing because they are simply too incompetent. Some worry because they see a mistake that they have made. All rush to point fingers in the direction of anyone else. None is bothered by the law of Kenya.

I am there six hours. Everyone is going home. I give up. Even David, who has been waiting outside, is practically catatonic with boredom and no one does nothing better than David.

I go and meet Mary of the Mary Faith Home. We have been in touch during the day. 

She has just had a 12-year-old girl left with her who is so badly infected and damaged she cannot sit down. So far, they think, she has both syphilis and gonorrhea. Makes sense as she was being abused by both father and uncle over several years. Since she was five. 

Mary leans forward and says, “She told me her uncle said to her: I know here at the front is for your father. But here at the back, this is mine.”

THURSDAY

Latest update on 14-year-old Faith, currently going into her fifth week of incarceration at Kenyatta National Hospital. I have spent days in the place trying to get anywhere near an answer, let alone an explanation, much less a result. But today the CEO has sent a minion down from on high to take her file. 

The excellent Standard newspaper printed a full page piece on illegal detention of patients in Kenya and hospitals yesterday.

Coincidence ?? 

Hopefully the continuing abuse of this poor girl will be ended sooner rather than later. I have never experienced anything like the working – and non-workings – of this place.

TODAY – FRIDAY

Faith is still detained illegally in Kenyatta National Hospital.

Now, apparently, it is because the Director of Corporate Services has failed to sign a bit of paper.

Apparently he is in a meeting.

… CONTINUED HERE …

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Copstick takes no money of any kind for herself from the Mama Biashara charity and covers none of her own costs in running the charity nor for travelling to and from and living in Kenya.

Mama Biashara itself relies solely on donations and from sales of goods in its shop at Shepherds Bush, London. The website is HERE.

Copstick and the abused Kenyan girls

Kate Copstick is Mama Biashara

The UK’s most influential comedy critic, Kate Copstick, is currently working with Mama Biashara, the charity she started in Kenya.

This is the (edited) second series of extracts from her diary. The first was posted a couple of days ago.

The full version is on the Mama Biashara Facebook page.

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SATURDAY

The government has closed the forests and so there is pretty much no (legal) charcoal or firewood.unless it comes in from Tanzania at exorbitant cost. Fine for the rich but very unfine for the poor who cannot afford gas, much less electricity to cook with. 

We have had huge success with recycled fuel briquettes using a variety of biowaste according to region. Unfortunately our success drew the attention of the charcoal cartels (oh yes there are such things) and our groups were either physically attacked or threatened into submission. So our groups have split up into smaller, less threatening-looking chunks and spread out. We are teaching people how to make the briquettes so they can use them themselves and save money.

Two of the Mama Biashara Mary Faith children (posed so as to obscure their identities)

SUNDAY

I go to see Mary Faith.

New girls have been rescued and five of the older girls have been turned away from school because there is no money for school fees.

Firstly Lucy, who is paralysed and a little bit intellectually challenged. Ideal, then, for the men around her to have some fun with.

She was brought to Mary Faith pregnant and she refused to have a termination because she says she wants someone to love her and she thinks the baby will be that someone. Because of the paralysis she needs a Caesarean Section. Two hundred quid.

Then there is Diana, who is four years old and an absolute joy. She stares at me and asks me what I am. I tell her I am a shosho (an old lady). She grabs my arm and scratches gently. She looks at me and asks if my legs are the same as my arms. I roll up my leggings and she shrieks with laughter. She makes me pull them up further. We further inspect my tummy, my back and my bottom, all to hoots of amusement and amazement. Then she inspects my hair – to see if it is real. 

Mary Faith and I tell her that there are lots of people like me. She is wide eyed. She is a little odd and has a stammer, but then she saw her mother beaten and running for her life and then she herself was raped and then abandoned, outside their locked house, by her father. 

So that would tend to make you a bit stammery. At four. But we do counting and singing and she thinks my name is funny, so she is doing really well. 

And then there are the girls who have been sent away from school because there is no money for fees. The fees are about one hundred pounds per girl per term. They are all working really hard at their studies 

Jane is 16 and has a three year old son. She was abused by a family friend and abandoned.

Teresia is 17 and has a daughter aged 3. She was married off at age 14 in order to use the dowry to pay a debt that her grandfather had managed to incur.

Doris is also 17 and was also married off at age 14 by her uncle after both her parents died. The uncle sent Doris’s three siblings with her from West Pokot to her new marital home in Nairobi so she could look after them. Obviously, he wanted nothing to do with them once he had her dowry. She got pregnant, miscarried and was bleeding heavily for six months after her husband abandoned her because she was obviously no good at having children. All four of the family are with Mary Faith. Doris still has appalling gynaecological issues.

Rafina is 16 and is the mother of a two and a half year old boy. She was raped by her paternal uncle in the family home and then, when the pregnancy was apparent, taken to the centre of Nairobi and abandoned. She was sleeping rough when some of the street boys who knew about Mary Faith brought her to the home.

Margaret is 16 and was abused by neighbours when her parents died and she was left alone looking after her siblings. All are now with Mary Faith.

Finally there is Berine, another new girl, aged 16. She was sent by family (after her parents died) to Dandora as a house girl. Sold, basically. There she was abused and impregnated by her employer. As soon as this Prince Charming saw she was pregnant, he threw her out. She found occasional shelter with street sex workers but when she gave birth they also threw her out. 

She was living rough for weeks when the street boys rescued her and brought her to Mary Faith.

So there you have it. I am really hoping Mama Biashara People can come up with the school fees. Even the money for the Caesarean Section. I do not know how you choose who to help. (Donations can be made HERE.)

In other, other news, inspired by Janey Godley, I am working with a group of young guys here who do art and ceramics and all sorts of stuff to see if we can come up with a Mama Biashara T-shirt design and they will handpaint them. Watch this space.

… CONTINUED HERE…