During America’s 200th birthday I had the
opportunity to visit behind the “iron curtain” to film a documentary of a
traveling cast of Up with People. I had filmed several casts during 1969-70 era
a few years before and was asked to come back for a year of filming 9 casts
that were formed especially for the nation’s 1976 Bicentennial. Each of the
larger casts; A, B and C had three fully functioning casts, each with their own
schedule. Sometimes the 3 smaller casts would meet for a grand performance in a
larger venue. In my mind, the mere mechanics of 9 independent casts roaming the
world at one time, without cell phones or the internet, was a huge feat worthy
of praise. (NOTE: Thank you Mr. Belk and crew)
We travelled by train from Vienna, Austria through Czechoslovakia,
to Poland. The film producer was Diarmid Campbell, our sound man was Steve
Rokowski and I was the cameraman. Before joining the film crew Steve was also
largely responsible for outfitting the 9 casts. Our crew travelled with the
cast on the train in small crowded sleeper rooms with 3 bunk beds on each side
with very little room to move or turn around between the 6 cramped bunks. It
was uncomfortable sitting on the beds because you could not sit up straight, as
the bunks were so close together and all of our luggage and much of our
personal equipment, like guitars, were taking up space. Each train car was
locked so visiting other travelers or cast members on the train was not
allowed.
We stopped at the border checkpoint leaving Austria to enter
Czechoslovakia during night. The night air was still and clear. We waited about
an hour before we were allowed to pass through the “Iron Curtain” into the communist
country. Ahead of us I could see two very high fences where a wide swath of
dark green trees were missing and short cut yellow-green grass planted between
the chain link fences that stood about 50 feet apart. I guessed each of the
fences to be 20 feet tall topped with loads of barbed wire. The fenced area was
well lit, contrasting with the dark forest on either side. Guard dogs and rifle
carrying uniformed sentries were plentiful.
We watched as the largest padlock I have ever seen was
unlocked from the 2 weighty doors of the small station to let a few passengers on
the train. They were let on one train car that was immediately locked after
they entered. We were told not to be seen writing anything or taking pictures of
public buildings, trains and highway intersections or you would be arrested. Of
course I wrote down some of my thoughts, and hey, I was a cameraman.
Soon several armed guards entered our train car with gruff
looking faces, wearing brown woolen uniforms. One unfriendly looking guard,
with a rifle slung on his back, pointed to the guitar on the floor partially
under the bunk and made a demand with one word; “SING”. One of the gals
nervously opened the guitar case and started strumming and singing a song from
the show. A slight smile formed and this sentry was satisfied that these were
legit performers entering his communist country.
Soon the train quietly crept past the fences that were now
more visible. Little did those armed guards know that this costly fence structure
that zigzagged across their entire southern border, protecting their country
from undesirables, would be torn down a decade or so later. The enormous cost
of the iron curtain both financially, and the millions of hours of human
effort, were for naught. They also could not have known that the only thing
that told travelers in 2018 that they were entering the Czech Republic today
were small inconspicuous signs.
Up with People was the first ‘western’ singing group allowed
in Poland in several decades, and I believe that we were one of the influential
elements that helped spark the fire in many people to “tear down that wall”. I believe that we had more to do with that
wall coming down than historians will ever admit, but that’s another story.
Michael Little
