While Bryan Forbes was head of EMI-Elstree, he did his own little bit, in a rather naive way, to help the workers. One of his first acts on taking charge of the studio complex was to have all the time clocks removed, stating he was running a creative enterprise, not a factory. Then he solemnly pledged no redundancies were to be made. This, sadly, resulted in a hell of a deficit being clocked up when a mere two of the films he turned out (Railway Children and – inexplicably – Potter) proved sizeable hits. In this climate of unease, his decision to direct a picture himself, not to mention casting his entire family in various parts (‘Daddy! My daddy!’ indeed), was never going to win over support of the workforce, or indeed the board. La Newman’s actually pretty good in this just-about-unsentimental tale of paraplegic love with Malcolm McDowell, mind – it wasn’t until Bri went to America and bunged her in The Stepford Wives that the nepotistic miscasting allegations would really hold water. But with all that, and despite pre-empting both McDowell’s popular success in A Clockwork Orange the following year, and the latent box office potential in tragi-medical romance unearthed mere months later by Love Story, the film tanked like Rommel, and Forbes, sensing industry opinion was against him, made his excuses and left.