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List of Films List of Films Black Narcissus. Dir. Michael Powell and Emeric Pressburger. Perf. Deborah Kerr, David Farrar, and Kathleen Byron. 1947. Brief Encounter. Dir. David, Lean. Perf. Celia Johnson and Trevor Howard. 1945.Comm. Bruce Eder. DVD. Criterion, 1998. Brighton Rock. Dir. John Boulting. Perf. Richard Attenborough. 1947. Optimum Home Entertainment, 2006. The Browning Version. Dir. Anthony Asquith. Perf. Michael Redgrave. 1951. Comm. Bruce Eder. DVD. Criterion, 2005. The Canterbury Tale. Dir. Michael Powell and Emeric Pressburger. Perf. Eric Portman, Sheila Sim, and Sergt. John Sweet, U.S. Army. 1944. DVD. Criterion, 2006. The Captain’s Paradise. Dir. Anthony Kimmons. Perf. Alec Guinness and Celia Johnson. 1953. DVD. Anchor Bay, 2005. The Captive Heart. Dir. Basil Dearden. Perf. Michael Redgrave. 1946. Videocassette. Madacy Records, 1997. Dead of Night. Dir. Alberto Cavalcanti, Basil Dearden, Charles Critchon, Robert Hamer. Perf. Michael Redgrave, Basil Radford, and Naunton Wayne. 1945. Videocassette. Republic Picture, 1998. Double Indemnity. Dir. Billy Wilder. Perf. Fred MacMurray and Barbara Stanwyck 1944. DVD. Image Entertainment, 1998. The Fallen Idol. Dir. Carol Reed. Perf. Ralph Richardson. 1948. Laser Disc. Criterion, 1992. Great Expectations. Dir. David Lean. Perf. John Mills and Valeris Hobson. 1946. Criterion, 1999. Hamlet. Dir. Laurence Olivier. Perf. Laurence Olivier. 1948. Criterion, 2006. Henry V. Dir. Laurence Olivier. Perf. Laurence Olivier. 1944. Criterion, 2006. Hue and Cry. Dir. Charles Crichton. Perf. Alastair Sim and Jack Warner. 1946. Videotape. In Which We Serve. Dir. David Lean and Noel Coward. Perf. Noel Coward and Celia Johnson. 1942. DVD. MGM, 2004. It Always Rains on Sundays. Dir. Robert Hamer. Perf. Googie Withers and Jack McCallum. 1947. Kind Hearts and Coronets. Dir. Robert Hamer. Perf. Alec Guinness and Derek Price. 1949. DVD. Criterion, 2006. 180 L IST OF F ILMS The Lady Vanishes. Dir. Alfred Hitchcock. Perf. Margaret Lockwood, Michael Redgrave and Dame May Whitty. 1938. Comm. Bruce Eder. DVD. Crite- rion, 1997. The Ladykillers. Dir. Alexander Mackendrick. Perf. Alec Guinness and Katie Johnson. 1955. Anchor Bay, 2005. The Lavender Hill Mob. Dir. Charles Crichton. Perf. Alec Guinness and Stanley Holloway. 1951. DVD. Anchor Bay, 2005. The Life and Death of Colonel Blimp. Dir. Michael Powell and Emeric Pressburger. Perf. Roger Livesay, Deborah Kerr, and Anton Walbrook. 1943. DVD. Criterion, 2002. Nicholas Nickleby. Dir. Alberto Cavalcanti. Perf. Derek Bond and Cedric Hardwicke. 1947. Night and the City. Dir. Jules Dassin. Perf. Richard Widmark. Comm. Glenn Erickson. 1950. DVD. Criterion, 2005. Oliver Twist. Dir. David Lean. Perf. John Howard Davies and Alec Guinness. 1948. DVD. Criterion, 1999. Odd Man Out. Dir. Carol Reed. Perf. James Mason. 1947. Videocassette. Paramount, 1988. Passport to Pilmico. Dir. Henry Cornelius. Perf. Stanley Holloway and Margaret Rutherford. 1949. Anchor Bay, 2005. Perfect Strangers. Dir. Alexander Korda. Perf. Deborah Kerr and Robert Donat. 1945. Richard III. Dir. Laurence Olivier. Perf. Laurence Olivier. 1955. Criterion, 2006. A Run For Your Money. Dir. Charles Frend. Perf. Alec Guinness and Moira Lister. 1949. DVD. Anchor Bay, 2005. Scrooge. Dir. Brian Desmond Hurst. Perf. Alastair Sim. 1951. DVD. Morning Star Entertainment, 2005. The Seventh Veil. Dir. Compton Bennett. Perf. James Mason and Ann Todd. 1945. Videocassette. Hallmark, 1997. The Third Man. Dir. Carol Reed. Perf. Trevor Howard, Joseph Cotten, and Orson Welles. 1949. Criterion, 1999. Notes Introduction 1. Charles Barr, Ealing Studios, 3rd ed. (London: University of California Press, 1977. Reprint, 1998), 95. 2. In his January 6, 2010, article for the New York Times, Landon Thomas Jr. wrote of the “excitable coverage in the British press, with tabloid newspa- pers deploying a rallying spirit that evoked the doughty, resilient Londoner during the Blitz, Germany’s bombing of the city during World War II.” 3. See Angus Calder, The Myth of the Blitz (London: Pimlico, 2008). Calder argues that the Blitz, during which the majority of the population pulled together for the common good, and two preceding events—the evacua- tion of British soldiers from Dunkirk and “The Battle of Britain”—“have acquired a similar aura of absoluteness, uniqueness, definitiveness” (1). Also see Nick Hubble, Mass Observation and Everyday Life: Culture, History, The- ory (Hampshire, New York: Palgrave Macmillan, 2010), 221–22, in which Hubble presents challenges to the popular versions of the war. 4. Quoted in Hubble, Mass Observation and Everyday Life: Culture, History, Theory, 221. 5. Richard Tames, London: A Cultural History (Oxford and New York: Oxford University Press, 2006), 151. 6. As T. E. B. Clarke indicated, recalling the first screening of Hue and Cry: “The winter was exceptionally cruel—we were being rationed more severely than at any time during the war”; quoted in Barr, Ealing Studios, 94. 7. Re-titled Vacation From Marriage for North American audiences. 8. Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–1948 (London and New York: Routledge, 1989), 81. 9. Raymond Durgnat, A Mirror For England: British Movies from Austerity to Affluence (London: Faber & Faber, 1970), 130. 10. David A. Cook, Narrative Film, 3rd ed. (New York and London: WW Norton & Company, Inc., 1996), 567. 11. Christine Geraghty, British Cinema in the Fifties (London and New York: Routledge, 2000), xiii. 182 N OTES Chapter 1 1. Sue Harper, Women in British Cinema: Mad, Bad and Dangerous to Know (London and New York: Continuum, 2000), 176. 2. Marcia Landy, British Genres: Cinema and Society, 1930–1960 (Princeton: Princeton University Press, 1991), 225. 3. Ibid., 227. 4. Ibid., 226. 5. Ibid. 6. Margaret Butler, Film and Community: Britain and France (London and New York: I.B. Tauris & Co Ltd, 2004), 125. 7. Sue Aspinall, “Women, Realism and Reality in British Films, 1943–1953,” British Cinema History, eds. James Curran and Vincent Porter (London: Weidenfeld and Nicolson, 1983), 274. 8. Sydney Box Productions and Gainsborough Pictures worked together on When the Bough Breaks (1947), Miranda (1948), and The Astonished Heart (1950). Sydney Box also served as producer on a number of Gainsborough Pictures, including Holiday Camp (1947), Jassy (1947), Easy Money (1948), Broken Journey (1948), and Quartet (1948). Muriel Box also cowrote a number of these Gainsborough films. 9. Christine Geraghty, British Cinema in the Fifties (London and New York: Routledge, 2000), 76. 10. Harper, Women in British Cinema: Mad, Bad and Dangerous to Know, 34. 11. Antonia Lant, Blackout: Reinventing Women for Wartime British Cinema (Princeton: Princeton University Press, 1991), 10. 12. Angus Calder, The People’s War: Britain—1939–1945 (New York: Pantheon Books, 1969), 267. 13. HMD Parker, quoted in Calder, The People’s War: Britain—1939–1945, 267. 14. Harper, Women in British Cinema: Mad, Bad and Dangerous to Know, 34. 15. Angus Calder and Dorothy Sheridan, eds., Speak for Yourself: A Mass Obser- vation Anthology, 1937–1949 (New York and London: Oxford University Press, 1985), 177. 16. Sue Aspinall notes in “Women, Realism and Reality in British Films 1943–1953” that Kerr accepted the role of Karen Holmes in From Here to Eternity (1953) with relief because she was tired of the chaste roles she was offered in British cinema (247). 17. Robert Warshow, “The Gangster as Tragic Hero,” The Immediate Experience: Movies, Comics, Theatre, and Other Aspects of Popular Culture (Garden City, New York: Doubleday, 1962), 85. 18. James Naremore, Acting in the Cinema (Berkeley, Los Angeles and London: University of California Press, 1988), 23. 19. Charles Affron, Acting: Gish, Garbo, Davis (New York: E.P.Dutton, 1977), 3. 20. William Rothman and Marian Keane, Reading Cavell’s the World Viewed: A Philosophical Perspective of Film (Detroit: Wayne State University Press, 2000), 74–5. N OTES 183 21. Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, Enlarged ed. (Cambridge MA and London: Harvard University Press, 1979), 28. 22. Ibid. 23. In The King and I, though Kerr’s character has a child of her own, it is Kerr’s relationship to the king’s children that becomes the focus of the film. By the second half of the film, her child is noticeably absent. 24. The Daily Telegraph 11/22 /1945, quoted in Lant, Blackout: Reinventing Women for Wartime British Cinema, 183. 25. Butler, Film and Community: Britain and France, 21. 26. Sarah Street, British National Cinema (London and New York: Routledge, 1997), 51. 27. Anthony Aldgate and Jeffrey Richards, Best of British: Cinema and Society from 1930 to Present (London and New York: I.B. Tauris, 1999), 59. 28. Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–1948 (London and New York: Routledge, 1989), 56. 29. Most critics acknowledge the influence of the real-life experiences of Cow- ard’s friend Lord Louis Mountbatten on the film. 30. William Blake, “The Tyger,” English Romantic Writers,ed.DavidPerkins, 2nd ed. (London and New York: Harcourt Brace College Publishers, 1995), l. 9–16. 31. Cavell, The World Viewed: Reflections on the Ontology of Film, 17. 32. Rothman and Keane, Reading Cavell’s the World Viewed: A Philosophical Perspective of Film, 56. 33. Noel Carroll, Philosophical Problems of Classical Film Theory (Princeton: Princeton University Press, 1998), 102. 34. Richard Dyer, Brief Encounter (Worcester: BFI Publishing, 1993), 32. 35. Ibid., 16. 36. Michael A. Anderegg, David Lean (Boston: Twayne Publishers, 1984), 27–8. 37. Dyer, Brief Encounter, 28. 38. Pam Cook, Screening the Past: Memory and Nostalgia in Cinema (London and New York: Routledge, 2005), 102. 39. Landy, British Genres: Cinema and Society, 1930–1960, 226–27. 40. Michael Powell, ALifeinMovies(New York: Alfred A. Knopf, 1987), 413. 41. Kerr appeared in Michael Powell’s Contraband (1940), but her scenes were cut from the final film: “Oh, disappointment! When I saw the edited version of the film they had cut out my short scene” (Picture Post 7/12/1940). 42. “Is This a New Star?” Picture Post (December 7, 1940), May 24, 2006 <http://www.powell-pressburger.org/Reviews/Deborah/PicturePost.html>.
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