This short film was made in 1962 by a team of amateur filmmakers. Camera enthusiasts Ennis Hall, John Stone and John Butler, having learned the basics of movie-making at the Deeside Cine Club, Shotton, had found a subject to test their skills -and tell a story! The 60s saw the start of a steep rise in UK private car-ownership. And the burgeoning industries of Deeside towns paid the wages that made the dream of four-wheeled personal transport a possibility for many. But was there a price to pay? The trio wanted to draw attention to the potential dangers to motorists of ever-increasing traffic on Flintshire highways; in particular, at the sharp, hilltop bend on a critical North Wales trunk-road. In its day, what was known as the A548 road at Aston Hill, was part of the main route that connected North West of England with North Wales coastal resorts -and for heavy freight traffic onward-bound to the Irish ferry port of Holyhead.And so, one weekend, armed with fair weather, a 8mm camera loaded with Agfa monochrome stock and a young, fearless actor/driver - a local garage-owner, well-known in county motor-sport circles, at the ready. A local-themed drama was captured for posterity!The bend, which curves up towards Ewloe and down in the direction of Queensferry, has retained its notoriety. The opening of the A494 "Aston-Hill bypass" shortly after the making of this film, reduced usage of this road to a trickle compared to the days when it formed part of a major highway. Nevertheless, this tortuous corner remains a hazard for any moving traffic and pedestrians who might be using the footpaths today. Although the original warning signs -so obvious in this film- are long-overgrown, the margins of the highway and its footpaths now serve as as an impromtu car-park for the customers and staff of a commercial development with access directly off the sharpest point of the bend. TechNote: The original footage contains a rare example of, "multiple-exposure". To budding filmmakers of the 1960s, this was "cutting-edge" stuff! It involved rewinding and re-exposing a timed section of the same film roll through the camera for every layered shot. Forward-planning and a good eye in the editing were key! Getting an acceptable mix was not for the faint-hearted. Estimates of exposure values for each pass-through and a one-time, unforgiving moment for a "cut" or slice, left little margin for error. Amateur movemaking in the sixties was always a thrilling if, sometimes, a "hit-and miss" process!Music: "Busy Streets" a powerful, emotive -and most appropriate piece by the talented Chris Worth.