Aldwych Tube Station - Use in Films and Television Programmes

Use in Films and Television Programmes

As a self-contained section of the London Underground closed at weekends and for extended periods during weekdays, Aldwych station before its closure and the branch from Holborn were popular locations for filming scenes set on the Tube. Since closure, film production usage has continued, with the station appearing as itself and, with appropriate signage, other parts of the network. Despite being closed since 1994 the track and infrastructure are maintained in operational condition, and a train of ex-Northern line 1972 tube stock is permanently stabled on the branch. This train can be driven up and down the branch for filming. The physical connection with the Piccadilly line northbound tracks remains, but requires manual operation.

Films and television productions that have been shot at Aldwych include:

  • The Gentle Gunman (1952)
  • Battle of Britain (1969)
  • Death Line (1972)
  • Superman IV: The Quest for Peace (1986)
  • The Krays (1990)
  • Creep (2004)
  • The Good Shepherd (2006)
  • V for Vendetta (2006)
  • Atonement (2007)
  • 28 Weeks Later (2007)
  • The Edge of Love (2008)

The pre-war operation of the station features in a pivotal scene in Geoffrey Household's novel Rogue Male, when the pursuit of the protagonist by an enemy agent sees them repeatedly using the shuttle service on the branch line. A chase through Aldwych station ends with the agent's death by electrocution on the track. A much modified and expanded version of the station appears as a level in the video game Tomb Raider III. The music video for The Prodigy's song "Firestarter" was filmed in the disused eastern tunnel and one of the unused lift shafts.

Read more about this topic:  Aldwych Tube Station

Famous quotes containing the words films and/or television:

    Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.
    David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)

    The television critic, whatever his pretensions, does not labour in the same vineyard as those he criticizes; his grapes are all sour.
    Frederic Raphael (b. 1931)