This post continues the mini-profiles of the staff listed as working at Halas & Batchelor in the 1946 November-December edition of the Documentary News Letter. If you missed part 1, then it is here. As I have followed the original listing order, which seem to be in a rough order of "seniority", you will notice I drew more blanks in this part. Some of those named may have only spent a short time in the industry.
Sadly we start with a blank, as I have no current reference for this name. He is not the Stanley Jackson who worked on a number of films for the National Film Board of Canada but beyond that a head scratcher.
Stella studied Commercial Art at the Central School of Arts and Crafts through most of the war thanks to a school scholarship, and was on the verge of being called up for the Land Army when she got a referral to work at H&B through a friend's cousin. Because the company was working on films for the war effort she could work there rather than be called up, and liked it so much she managed to stay for a few years. She worked as an inbetweener, and enjoyed the atmosphere of the studio - especially Wally - but her true interest was commercial art and she moved on by the late forties and left animation behind.
(Stella was interviewed by Vivien Halas in Martin Pickles c.2010)
Searches for a William or Bill Long involved in animation have not turned up anything - he is uncredited on any H&B films.
Another blank I am afraid. Any info or insight would be much appreciated.
Dick Horn was a long-term presence in British animation, and was mentioned in part 1 of this posting as he married one of the names further up this list: Elizabeth Williams. He must have been relatively new at the studio in 1946, but started in time to work on the Charley series and left before Animal Farm got into gear. Dick was involved with the Grasshopper Group of amateur animators outside of work and was clearly an enthusiast for the form.
After leaving Halas & Batchelor he worked at various studios, including a time in the animation unit at Pearl & Dean. After some time in Canada, Dick and his wife set themselves up as a freelance animation team working with a variety of studios in the UK and Canada. He became a key part of Melendez Films in London, with a key role in the production of the feature of Dick Deadeye, or Duty Done. He directed The Perishers cartoons series which I have very fond memories of.
In 1985 Liz and Dick were interviewed by long-time friend and animation historian Ken Clark for Animator Magazine, and this is now available online
Another name uncredited on any H&B films, that I can find no reference to in relation to animation.
And one more - any info or clues much appreciated.
An animator generally credited as Vic Bevis (rather than Beavis in the ad) on 29 Halas & Batchelor films in the BFI Collections Database. That list is almost certainly incomplete, and I currently have very little information about him. He is pictured in the 1961 supplement on H&B in Kine Weekly which we posted here and is billed as a Key Animator there. He seems to have worked on the more promotional and scientific films than the entertainment shorts judging by his credits which end in 1970. Searching on FreeBMD reveals a Victor Henry Beavis born in 1907 who died in Autumn 1969 which would seem to be the right age and explain the cut-off date for the credits, but this is pure speculation.
Research on the internet suggests that she was an Austrian exile who came to the UK, probably in the late 1930s and presumably to avoid Nazi anti-semitism. She was born in 1925, and may have moved on the the USA by the later 1940s - but this is just speculation. She is uncredited on any Halas & Batchelor or other films that I can find.
A last blank - another name uncredited on any H&B films.
Ernest Hermann Meyer was a German composer and musicologist born in 1905 in Berlin. A Jewish communist, he fled to the UK after 1933 and by the end of the decade had contributed a number of innovative scores for short documentary films produced by the GPO Film Unit and others. His work with the Realist Film Unit probably led to his contact with Halas & Batchelor, as they co-produced Halas & Batchelor's first government commissioned films Filling the Gap and Dustbin Parade in 1942. Meyer returned to Soviet-occupied East Germany in 1948 were he served as a Professor of the Sociology of Music until his retirement in 1975. He died in 1988.
See Geoff Brown's essay in DESTINATION LONDON
German-Speaking Emigrés and British Cinema, 1925-1950 for more details on Ernst Meyer.