The Thirties: An Intimate History of Britain. Juliet Gardiner

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СКАЧАТЬ 140 standing in the gangways both downstairs and in the more expensive balcony, where children were not allowed, though some slipped in regardless. The main feature was a silent film, The Crowd, but this was preceded by a short western which starred the ever-popular Tom Mix as a bareback-riding, lasso-twirling cowboy in one of the last silent films Mix made on his self-constructed film-set ranch, ‘a complete frontier town … typical of the early Western era’, Mixville in California.

      At 2 p.m. the lights dimmed and a cheer went up as the children settled down to watch the film, with loud cheers or catcalls as the action unfolded. But about halfway through the second reel (which had to be changed manually) dense, sulphurous carbon-monoxide-laden smoke began to fill the auditorium, and the children started to panic. ‘Fire!’ one shouted — though there wasn’t — prompting a mass stampede for the exits. Most of the children made for a side door that led to a narrow staircase down into an alleyway. But when they reached the bottom they found that the exit was barred by an iron trellis gate that was firmly padlocked in place. However much they pushed and screamed, the gate would not yield, as more and more frightened children continued to push down the stairs, stumbling, falling, fainting, crushed underfoot.

      Others ran into the lavatories, where they smashed the windows to get out, cutting their arms and legs on the jagged shards as they did so. Those in the balcony jumped down into the auditorium, adding to the panic, and a heavy swing door was wrenched off its hinges by small boys finding a superhuman strength in their desperation. Some children lost precious minutes frantically searching for a mislaid shoe, a discarded scarf, fearing that with money so tight, they would get in trouble if they came home having lost an item of clothing.

      By now smoke was swirling into the street, and anxious passers-by tried to get into the building. Driven back by the dense smoke, they summoned the police, who smashed all the windows of the cinema with their batons to let the noxious fumes escape. Within minutes the fire brigade had arrived. ‘Several people cried out “For God’s sake get your smoke helmets: we can’t get through the smoke. The cinema’s full of children,”’ the Deputy-Chief Fire Marshal reported. ‘As soon as my men heard about the children there was no holding them back. Smoke helmets or no smoke helmets we were off the engine into the cinema with no delay.’ The firemen were followed by members of the public clutching handkerchiefs over their mouths to try to protect themselves from inhaling the smoke.

      A terrible sight met their eyes: sweets, comics, torn clothes lay scattered in disarray all over the floor, seats were upturned, there were pools of blood near the doorways and windows where children had tried to claw their way out. And there were the children: heaps of contorted bodies, most dead, some unconscious, piled up in nightmarish heaps, still and grotesque. ‘Behind the screen,’ reported Deputy-Chief Fire Marshal Wilson, ‘the space was packed with children huddled together in every conceivable attitude. They were as tightly packed as a wall of cement bags. Some still moved, others were motionless, blue in the face … some were able to scream … Legs and arms were intertwined in the most appalling tangle. In some cases it took two of us working very gradually to extricate one child.’ The oldest victim was thirteen, the youngest a toddler of eighteen months, and there were all ages in between, siblings, friends, neighbours, all dead or mortally injured, trapped in a ‘pleasure palace’ on the last day of the decade.

      Those children who could walk were led out, shocked, shaken and in some cases hysterical; others were carried to ambulances, private cars and buses to be taken to the Royal Alexandra Infirmary, suffering from carbon-monoxide poisoning or injuries sustained in the crush to get out. A tramway Inspector turned the passengers off a couple of trams and requisitioned them to convey the injured to hospital, while the workers at a nearby print factory downed tools and hurried to the Glen to carry twenty children to the safety of their works. Again and again the firemen went back, sometimes accompanied by desperate parents searching for their offspring. ‘Two small bodies were found huddled together in the orchestra pit. It appeared as if two children had crept there for safety after finding the passage to the door blocked by the bodies of their young friends,’ and several more bodies were found under upturned seats. A father staggered out carrying his small son, blue in the face, his head lolling lifelessly.

      By 4 p.m. the cinema had been cleared: two hours after the matinee had started, fifty-nine children had been pronounced dead on arrival at the Infirmary. Many had barely a mark on them, suffocated by the weight of others frantically trying to get out, while others ‘bore scratches on their face, hands and knees, eloquent testimony to the desperation with which they had struggled to get out of the death trap … So rapidly were the victims brought in that, in order to make room for those who were alive, the bodies were hurried to a lift and conveyed to the basement. Here they were placed on trolleys by twos and threes and rushed along a tunnel to the mortuary. Numbers grew so rapidly that the mortuary was soon full and other rooms [including the hospital chapel] had to be used to accommodate the bodies.’ That night ten more children died from their injuries: the final death toll in the Glen cinema disaster was seventy-one. One family lost all three children, another four families lost two children each. Robert Pope’s name was not among the list of the dead, but many of his school-friends’ were. A BBC New Year programme from Scotland was pulled and a four-minute silence broadcast instead. And the streets of Paisley, usually packed with revellers at Hogmanay, were eerily empty and silent.

      The King, George V, and Queen Mary sent messages of sympathy, so did the Prime Minister, Ramsay MacDonald, and another Scot, the music-hall star Sir Harry Lauder. Condolences, money and offers of help poured in from all over the world, as did offers to adopt the survivors — something no one wanted even to consider.

      The funerals of sixty of the victims were held on 4 January 1930. It was a bleak, grey day, with intermittent flurries of sleet as the funeral processions started out. Flags on public buildings flew at half-mast, and as services in Paisley Abbey and the four Roman Catholic churches in the town started at 11 a.m., shops shut their doors and drew their blinds as a mark of respect. Crowds lined the route, everyone wearing black or a black armband, many hurriedly made from crêpe paper; the only relief came from the wreaths atop the coffins and from the flash of white on the uniforms of the Boys’ Brigade band as they followed the white coffin of one of their members, twelve-year-old Robert Wingate, playing the heartbreaking lament ‘Flowers o’ the Forest’ as the coffin was carried up the nave of Paisley Abbey. Journalists came too, compelled by their own headlines — ‘Scotland’s Worst ever Cinema Disaster’ — and cinema operators from all over Britain joined the mourners, hats in hands, heads bowed.

      Paisley Council, mindful that many families would not be able to afford the cost of burying their dead children, offered a free burial ground at Hawkhead Municipal Cemetery for those who could not afford a plot, and the town’s team of ten gravediggers was trebled to thirty. Tragically, some of this swollen workforce found themselves digging the final resting place of their own child.

      Two days earlier, on 2 January, the Glen cinema manager Charles Dorward had been arrested and charged with culpable homicide. The charge hung on whether the metal trellis gate that had trapped so many of the dead had been padlocked rather than left unlocked during the performance, as it should have been according to health and safety regulations. Dorward was released on bail of £750, and hastily packed and left his home in the town where so many families had been touched by the disaster.

      The case was heard before the Lord Advocate, Craigie Aitchison KC, in Edinburgh on 29 April 1930. During the proceedings it came out that on the morning of the fire the cinema had been inspected by members of the Paisley Fire Brigade, who had pronounced it safe. The Glen’s owner, James Graham, agreed that there were insufficient exits, and claimed that he had repeatedly reminded Dorward that under no circumstances were the gates to be shut during matinee performances. The manager replied that they were locked on occasions to stop children who hadn’t bought tickets from slipping in for free during the film. Graham replied that ‘he didn’t care if the whole of Paisley slipped in; the gates must be kept open’. A policeman gave evidence that when he arrived on the scene the gates were padlocked, but Dorward СКАЧАТЬ