
Seven Up! started in 1964 as a Granada Television report for ITV’s World In Action. It evolved into a marathon series that ended this week with those still taking part having reached 70.
The original idea was to see how one group of children might measure up to the Jesuitical motto – “Give me the child for the first seven years and I will give you the man”.
That first episode was shot in black and white. I can’t recall if the world was all in grainy monochrome back then, or just the television.
Doctor Who began on the BBC one year earlier with an episode called The Unearthly Child, and that was in black and white. Viewers had to wait until 1970 for the corridors of time and space to be coloured in.
The children gathered for Seven Up! were earthly rather than unearthly, and every seven years they grew as we did. This made for a series that was magisterial, engrossing and emotional, although not without its problems.
In her Observer column last Sunday, Melanie Reid wrote that the Seven Up! series was ‘brilliant but exploitative’ and ‘should never have been made’. That seems to be a cake-and-eat-it moral position to take, and a redundant one too as it was made and has been enjoyed by so many people.
For some the problems lay in a set-up bluntly based on class divisions. The children were chosen from hugely different socioeconomic backgrounds as if to prove a point about advantage.
The Hollywood director Michael Apted, who shaped the series, emphasised this aspect crudely at first, but drew back later.
There were ten boys and four girls, and this uneven split was later acknowledged by Apted to have been a mistake.
Jackie appeared in the first episode alongside her friends Lynn and Sue. The working-class trio were asked about boys at school and their hopes for the future. Jackie, sparky from the off, said she would like to marry a boy “that’s not got a lot of money, but has got some money”.
The remaining girl, Suzy, was from an advantaged background, but her life was upended when her parents divorced. In the last episode she seems almost serene with age.
Jackie bristled against Apted, but then mellowed over the years, and this time round she was happily retired in Norfolk, still sharp, no longer kicking out. She became tearful in the end when talking about Apted, who died five years ago.
Neil, a wide-eyed boy from Liverpool, said in that first episode that he planned to become an astronaut or a coach driver. Instead his life has been a long trial, marked by episodes of mental ill health, homelessness, and an inability to settle or make friends. Yet at 70, living in a cold rented house in France, he seems content, apart from his loneliness. “But that is a characteristic of the age… I’m probably as happy as I can be, given my life.”
Bruce, a thoughtful boy from a more privileged background, said earnestly that his “heart’s desire” was to see his “daddy who is 6,000 miles away” in Rhodesia. The older Bruce becomes an engaging, kindly teacher who works in a tough part of London, in the area where some of the others grew up, moves to a private school, then retires.
In that first episode, three boys from well-off backgrounds, John, Andrew and Charles, were gathered in the headmaster’s office, or so it appeared, to map lives drawn out for them by well-heeled fate.
John later said that Apted had “a sneering and somewhat supercilious manner” and he felt they had been portrayed as privileged bogeymen.
Charles withdrew from the series altogether, eventually working in television for Channel 4. He did not appear in this finale, although his voice was heard from an interview, and he shared pictures of himself mountain climbing.
Peter Davies, a Liverpudlian teacher who stepped away from the series for 27 years to return in 49 Up, talks in the last episode about the difficulties of being cast as a troublesome left-winger. Now retired, but busier than ever, he is a gigging musician who has written a musical.
Sad-eyed Symon, who lived in a children’s home, married once, then again, and with his second wife has fostered more than 100 children in 20 years. The sadness seems to have gone, and the children he cared for often return to visit. His friend Paul, also from the home, moved to Australia, where he still lives, white-bearded and surrounded by his family. In the end family is everything for him, and for many of the others. And for many of us watching, or the lucky ones.
That’s to forget two key ‘players’. Eastender Tony dreamed of being a jockey but ended up a taxi driver. He called himself a “Little Artful Dodger” and had a winning charm, apart from outbursts of racism (he denies this, unconvincingly).
In that first episode, Nick Hitchon, a farmer’s son from the Yorkshire Dales, charmingly explained that he wanted to learn about the moon but wouldn’t be drawn on what he thought of girls.
Nick died aged 65 in 2023. His brother Andrew, who used to work on the same newspaper as me in York, wrote in an obituary for the Guardian that Nick “was an expert in nuclear fusion who eventually accepted that he would always be best known for appearing in a groundbreaking TV documentary rather than as a scientist”.
Nick gave a final interview to the series shortly before he died. It was, like much of this finale, deeply moving. He came to regard the series as something to look forward to, as a pleasing measure of his life.
Asif Kapadia, known for his documentaries on Amy Winehouse and Diego Maradona, took over the directing duties here. His thoughtful wrapping up gently explored the risks of filming children, giving due space to those with doubts, while also celebrating a series like few others.
Stories were told, or retold, with a novelistic eye, letting events repeat, almost to the point of wondering why you were seeing this again, only to then show a different angle.
The emotional weight came with watching people age, and in some cases die, much as everyone else ages and dies. The tousle-haired child turned into an ageing baldie. Something that can happen, or so the mirror tells me.
Three must have been a draft in the room as I watched for there were tears in my eyes by the end.














