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
45. Andrew Moor, Powell and Pressburger: A Cinema of Magic Spaces (London and New York: I.B. Tauris & Co. Limited, 2005), 79–80. 46. Aldgate and Richards, Best of British: Cinema and Society from 1930 to Present, 96. 47. When Clive and Barbara visit the German POW camp to see Theo, Barbara reflects, “How odd they are. Queer. For years and years, they’re writing and dreaming beautiful poetry. And all of a sudden they start a war. They sink undefended ships, shoot innocent hostages and bomb and destroy whole streets in London, killing little children. Then they sit down in the same butcher’s uniforms and listen to Mendelssohn and Schubert. Something hor- rible about that.” The weight of Barbara’s statement is undermined by the implied abuses by Britain and her allies, most notably Van Zijl’s looting and methods for “making people talk.” As Moor notes, “while it is done by the South African Van Zijl (Reginald Tate), the geographical displace- ment cannot absolve the British. Van Zijl’s looting is, we are told, something ‘learnt from the English in the Boer War’ (the ghost of that unhappy episode, disturbed by Kaunitz earlier in the film, is still not settled)” (76). 48. Moor, Powell and Pressburger: A Cinema of Magic Spaces, 61. 49. Ibid. 50. Ibid., 80. 51. Lant, Blackout: Reinventing Women for Wartime British Cinema, 85. 52. Moor, Powell and Pressburger: A Cinema of Magic Spaces, 80. 53. Butler, Film and Community: Britain and France, 130. 54. The original tagline of the film (“Mr. Chips Is Back in a New Thrilling Romance!”) draws comparisons to Robert Donat’s screen persona, particu- larly the celebrated role as the beloved, and aged, schoolteacher in Goodbye, Mr Chips (1939). I find it interesting that Donat’s transformation reverses the aging process so praised in Goodbye, Mr Chips.WhenPerfect Strangers begins, Donat resembles a middle-aged Chipping, with his bushy moustache. When he shaves off the moustache, Donat appears dramatically younger, looking much like the young Mr. Chipping who first arrived at Brookfield. 55. Terry Eagleton, Literary Theory: An Introduction, 2nd ed. (Minneapolis: University of Minnesota Press, 1998), 143. 56. Cavell, The World Viewed: Reflections on the Ontology of Film, 26. 57. Rothman and Keane, Reading Cavell’s the World Viewed: A Philosophical Perspective of Film, 74. 58. With Kerr bound by her MGM contract, the Archers cast unknown Sheila Sim as Alison Smith in A Canterbury Tale. They cast Wendy Hiller, whom, incidentally, Kerr had replaced in LADOCB, in ‘I Know Where I’m Going!’ 59. Kevin MacDonald, Emeric Pressburger: The Life and Death of a Screenwriter (London and Boston: Faber & Faber Limited, 1994), 576. 60. Harper, Women in British Cinema: Mad, Bad and Dangerous to Know, 59. 61. Natacha Thiery, “That Obscure Subject of Desire: Powell’s Women, 1945–1950,” The Cinema of Michael Powell: International Perspectives on an N OTES 185
English Filmmaker, eds. Ian Christie and Andrew Moor (London: British Film Institute, 2005), 226. 62. Priya Jaikumar, “‘Place’ and the Modernist Redemption of Empire in Black Narcissus (1947),” Cinema Journal 40.2 (2001): 58. 63. Jean Louis Leutrat, “The Invisible and the ‘Intruder Figure’ in Black Narcissus,” The Cinema of Michael Powell: International Perspectives on an English Filmmaker, eds. Ian Christie and Andrew Moor (London: British Film Institute, 2005), 133. 64. Moor, Powell and Pressburger: A Cinema of Magic Spaces, 194.
Chapter 2
1. Andrew Spicer, Typical Men: The Representation of Masculinity in Popular British Cinema (London and New York: I.B. Tauris Publishers, 2001), 94. 2. Ibid. 3. The bisexuality of both Michael Redgrave and Alec Guinness could, in part, account for this muted sexuality. 4. Michael Roper and John Tosh, eds., Manful Assertions: Masculine Identities in Britain since 1800 (London and New York: Routledge, 1991), 2. 5. Kelly Boyd, “Knowing Your Place: The Tensions of Manliness in Boys’ Story Papers, 1918–39,” Manful Assertions: Masculine Identities in Britain since 1800, eds. Michael Roper and John Tosh (London and New York: Routledge, 1991), 145. 6. Ibid. 7. Ibid. 8. Steve Cohan, “Feminizing the Song-and-Dance Man: Fred Astaire and the Spectacle of Masculinity in the Hollywood Musical,” Screening the Male: Exploring Masculinities in Hollywood Cinema, eds. Steve Cohan and Ina Rae Hark (London and New York: Routledge, 1993), 46. 9. Lucy Fischer, “Mama’s Boy: Filial Hysteria in White Heat,” Screening the Male: Exploring Masculinities in Hollywood Cinema,eds.SteveCohanand Ina Rae Hark (London and New York: Routledge, 1993), 75. 10. Richard Dyer, Stars (Worcester: BFI Publishing, 1979), 53. 11. Sarah Street, British National Cinema (London and New York: Routledge, 1997), 119. 12. Andrew Spicer, “Male Stars, Masculinity and British Cinema,” The British Cinema Book, ed. Robert Murphy, 2nd ed. (London: BFI Publishing, 2001), 93. 13. Walter Kerr, The Silent Clowns (New York: Alfred A. Knopf, 1975), 85. 14. Geoff Nunberg, “Understanding the Brits’ ‘Stiff Upper Lip’,” NPR (2005). 15. Raymond Durgnat, A Mirror for England: British Movies from Austerity to Affluence (London: Faber & Faber, 1970), 130. 16. Christine Geraghty, British Cinema in the Fifties (London and New York: Routledge, 2000), 175. 186 N OTES
17. Ibid. 18. Spicer, Typical Men: The Representation of Masculinity in Popular British Cinema, 2. 19. Patrice Petro, “Rematerializing the Vanishing ‘Lady’: Feminism, Hitchcock, and Interpretation,” A Hitchcock Reader, eds. Marshall Deutelbaum and Leland Poague (Iowa: Iowa State University Press, 1986), 129. 20. Judith Lewis Herman, Trauma and Recovery (New York: Basic Books, 1997), 70. 21. Kenneth O. Morgan, Twentieth Century Britain: A Very Short Introduction (Oxford and New York: Oxford University Press, 2005), 63. 22. Ibid., 63–4. 23. Geraghty, British Cinema in the Fifties, 176. 24. Anthony Aldgate and Jeffrey Richards, Best of British: Cinema and Society from 1930 to Present (London and New York: I.B. Tauris, 1999), 150. 25. Jim Leach, British Film (Cambridge UK and New York: Cambridge Univer- sity Press, 2004), 18. 26. Robert Murphy, “War,” Screeonline, December 17, 2006
37. Much of the praise for The Browning Version has been directed at Michael Redgrave’s wonderfully understated performance. Redgrave’s son, Corin, cites the role as the best performance his father ever gave: “In the climactic scene my father is really crying. That’s not a difficult thing as it may sound— it’s not really difficult to cry on stage—but to cry again and again, and to be so clearly distraught, I mean really physically distraught as this long film scene required him to be, called for real artistry.” Corin Redgrave, “Michael Redgrave and the Mountebank’s Tale,” British Cinema of the 1950s: A Cele- bration, eds. Ian MacKillop and Neil Sinyard (Manchester and New York: Manchester University Press, 2003), 228–9. 38. Boyd, “Knowing Your Place: The Tensions of Manliness in Boys’ Story Papers, 1918–39,”150. 39. Ibid. 40. Ibid., 156. 41. Alison Platt, “Boys, Ballet and Begonias: The Spanish Gardener and Its Analogues,” British Cinema of the 1950s: A Celebration, eds. Ian MacKillop and Neil Sinyard (Manchester and New York: Manchester University Press, 2003), 101. 42. Paul Langford, Englishness Identified: Manners and Character (Oxford and New York: Oxford University Press, 2000), 165. 43. Platt, “Boys, Ballet and Begonias: The Spanish Gardener and Its Analogues,” 102. 44. Sue Harper and Vincent Porter, British Cinema of the 1950s (London, New York and Toronto: Oxford University Press, 2003) 250. In addition to Guinness, Kinematograph Weekly listed Trevor Howard, Stewart Granger, and Glynis Johns as the most popular British actors; Motion Picture Herald listed Guinness, John Mills, Anna Neagle, and Jean Simmons. 45. Richard Dacre, “Traditions of British Comedy,” The British Cinema Book, ed. Robert Murphy, 2nd ed. (London: BFI Publishing, 2001), 236. 46. I am indebted to my advisor, George Toles, for suggesting this story and its possible implication when theorizing about Alec Guinness. 47. Henry James, “The Private Life,” Ladder: a Henry James Website (1893), January 10 2007
54. Quoted in Spicer, Typical Men: The Representation of Masculinity in Popular British Cinema, 108. 55. Spicer, Typical Men: The Representation of Masculinity in Popular British Cinema, 108. 56. There is an obvious connection between The Lavender Hill Mob and a later Guinness film, The Captain’s Paradise (1953), in which Guinness plays a ship’s captain who leads two completely different lives. In Tangiers, he has an energetic wife (Yvonne DeCarlo) with whom he parties and dances; in Britain, he has a quiet, middle-class housewife who secretly desires for a more exciting life (Celia Johnson!). 57. Naremore, Acting in the Cinema, 88. 58. Aldgate and Richards, Best of British: Cinema and Society from 1930 to Present, 157. 59. Aldgate and Richards also discuss director Mackendrick’s disappointments with what he perceived as the limitations in Ealing and in Britain itself: “It is hard, in the light of Mackendrick’s career, to see The Ladykillers as anything other than an irreverent farewell to England—that England of the Conserva- tive mid-1950s that has been characterized by Arthur Marwick as suffering from ‘complacency, parochialism, lack of serious, structural change’—and to Ealing, the well-run ‘Academy for Young Gentlemen’ with its resident nanny [Michael Balcon]. It is a sardonic recognition of the impossibility of change in either institution” (159). 60. Barr, Ealing Studios, 171–2. 61. Aldgate and Richards, Best of British: Cinema and Society from 1930 to Present, 161. 62. Ibid., 160. 63. The portrait of the man whom Mrs. Wilberforce identities as her hus- band is actually Guinness as the admiral from Kind Hearts and Coronets. The story she tells about him going down with his ship describes Admiral d’Ascoyne’s death. In a film about Guinness portraying the role of a (sup- posedly) respectable, middle-class professor, such reminders of Guinness’s multifaceted screen identity are curious. 64. Neame’s film details Operation “Mincemeat,” a deception by the British Intelligence during World War II to supply the enemy with erroneous mil- itary plans about the location of a British invasion. A body was planted with secret papers and identification, and left near enemy lines. Knowing the enemy would look into the history of this body, the British Intelligence created a convincing identity.
Chapter 3
1. Mark Bould, Film Noir: From Berlin to Sin City (London and New York: Wallflower, 2005), 3. 2. Ibid., 2. N OTES 189
3. Mark T. Conrad, “Nitzsche and the Meaning and Definition of Noir,” The Philosophy of Film Noir, ed. Mark T. Conrad (Lexington: The University of Kentucky Press, 2006), 8. 4. Ibid., 10. 5. Paul Duncan further complicates the argument of noir as genre by listing 1,028 films he considers to be film noir, many of which belong to other gen- res. This list includes 5 German expressionist films, 26 American precur- sors, 8 French poetic realist films, and 7 American “noir westerns”—films like Pursed (1947), Ramrod (1947), and High Noon (1952) (qtd. in Bould 3–4). Andrew Spicer, while acknowledging that there “is as yet no defini- tive filmography of British film” (175), lists 18 “Antecedents/Experimental” British film noir and 79 “Classical British Noir” (234–35). 6. Andrew Spicer, Film Noir (London, New York, Toronto Pearson Education Limited, 2002), 2. 7. Bould, Film Noir: From Berlin to Sin City, 15. 8. The Third Man won the Palm d’Or at the Cannes Film Festival, tops the BFI Top 100 British Films list, and is regularly cited as one of, if not the best, British film ever made. 9. Robert Moss, The Films of Carol Reed (London: MacMillan, 1987), 179. 10. Raymond Durgnat, A Mirror for England: British Movies from Austerity to Affluence (London: Faber & Faber, 1970), 167. 11. Marcia Landy, British Genres: Cinema and Society, 1930–1960 (Princeton: Princeton University Press, 1991), 266–7. 12. Andrew Klevan, for example, argues that Fritz Lang’s The Woman in the Window (1944) does not have a femme fatale character at all, but rather “evokes and exploits elements of a genre—film noir incorporating a femme fatale—while avoiding too slavish an attachment to attitudes normally asso- ciated with it.” See Andrew Klevan, “The Purpose of Plot and Place of Joan Bennett in Fritz Lang’s the Woman in the Window,” Cineaction 62 (2003): 16. 13. Spicer, Film Noir, 183. 14. Jeffrey Richards draws a connection between the look of the British Gothic films and Hollywood film noir in Films and British National Identity: From Dickens to Dad’s Army. He does not, as Spicer does, argue that these films are noir, only that they bear evidence of noir’s influence. 15. In “Notes on Film Noir,” for example, Paul Schrader argues that “were it not for the war, film noir would have been at full steam by the early forties. The need to produce allied propaganda abroad and promote patriotism at home blunted the fledgling moves towards a dark cinema.” Quoted in Sheri Chinen Biesen, Blackout: World War 2 and the Origins of Film Noir (Baltimore: The Johns Hopkins University Press, 2005), 4. 16. Biesen, Blackout: World War 2 and the Origins of Film Noir, 6. 17. Bould, Film Noir: From Berlin to Sin City, 93. 18. Quoted in Spicer, Film Noir, 5. 190 N OTES
19. Frank Krutnik, “Something More Than the Night: Tales of the Noir City,” The Cinematic City, ed. D. B. Clarke (New York and London: Routledge, 1997), 34–5. 20. Spicer, Film Noir, 5. 21. Elizabeth Bowen, “Preface to The Demon Lover,” Elizabeth Bowen: A Study of the Short Story, ed. Phyllis Lassner (New York: Twayne Publishers, 1991), 132. 22. Ibid., 132–3. 23. Elizabeth Bowen, The Demon Lover and Other Stories (London: Jonathan Cape, 1946), 81. 24. Ibid., 82. 25. Ibid., 87. 26. Ibid. 27. Robert Calder, “ ‘A More Sinister Troth’: Elizabeth Bowen’s ‘The Demon Lover’ as Allegory,” Studies in Short Fiction 31 (1994): 93. 28. Hughes focuses on the disturbed mental state of Mrs. Drover, arguing that Bowen’s story “is a masterful dramatization of acute psychological delu- sion, of the culmination of paranoia in a time of war.” (Quoted in Calder, “ ‘A More Sinister Troth’: Elizabeth Bowen’s ‘The Demon Lover’ as Alle- gory,” 91.) Fraustino, while challenging some of Hughes’s claims, posits that “The Demon Lover” is a realistic murder story. 29. Calder, “ ‘A More Sinister Troth’: Elizabeth Bowen’s ‘The Demon Lover’ as Allegory,” 92. 30. Heather Bryant Jordan, How Will the Heart Endure: Elizabeth Bowen and the Landscape of War (Ann Arbor: The University of Michigan Press, 1992), 132. 31. Bowen, The Demon Lover and Other Stories, 84. 32. Ibid. 33. Phyllis Lasser, Elizabeth Bowen: A Study of the Short Fiction (New York: Twayne Publishers, 1991), 68. 34. Bowen, The Demon Lover and Other Stories, 57. 35. Ibid., 52. 36. Lasser, Elizabeth Bowen: A Study of the Short Fiction, 67. 37. This is especially frequent in novels that have upper-class characters and feature British estate homes, such as the novels of Evelyn Waugh and P. G. Wodehouse. 38. Bowen, The Demon Lover and Other Stories, 53. 39. Ibid., 57. 40. Ibid., 81. 41. Ibid., 7. 42. Nicholas Christopher, Somewhere in the Night: Film Noir and the American City (New York: The Free Press, 1997), 69. 43. This is not meant to undermine the credentials of director Jules Dassin, who had previously directed three important noir films: Brute Force (1947), The Naked City (1948), and Thieves’ Highway (1949). N OTES 191
44. Angus Calder, The People’s War: Britain—1939–1945 (New York: Pantheon Books, 1969), 308. 45. Powell and Pressburger’s wartime films are generally considered to be sup- portive of Anglo-American cooperation, particularly A Canterbury Tale, which depicts an American GI (played by amateur actor and actual GI, John Sweet) participating in the modern-day pilgrimage, and A Matter of Life and Death (1946). Sweet was credited as Sgt. John Sweet, U.S. Army. 46. Calder, The People’s War: Britain—1939–1945, 302. 47. Calder describes the recollections of one former GI, whose sergeant informed his troop, “ ‘we’ve got thirty thousand rubbers in the supply room. I want you people to do something about this.’ A litter of used contracep- tives in shop doorways was a common testimony to the American presence” (309). Many British referred to the GIs as “overpaid, overfed, oversexed and over here!” 48. Donald Thomas, The Enemy Within: Hucksters, Racketeers, Deserters & Civilians During the Second World War (Washington Square, New York: New York University Press, 2003), 235. Thomas lists some of the items stolen from the U.S. Army: boots, sheets, tins of pears, and tins of meat (235–6). Thomas also notes that the British authorities, mindful of not appearing lenient to their American allies, issued harsh punishments for such thefts. 49. Calder, The People’s War: Britain—1939–1945, 309. 50. Christine Geraghty, British Cinema in the Fifties (London and New York: Routledge, 2000), 134. 51. Edward Smithies, Crime in Wartime: A Social History of Crime in World War II (London, Boston and Sydney: George Allen & Unwin, 1982), 4. 52. Thomas, The Enemy Within: Hucksters, Racketeers, Deserters & Civilians During the Second World War, xi. 53. Smithies, Crime in Wartime: A Social History of Crime in World War II, 73. 54. John Anderson, “New York Film Critics’ Circle Series: Foreign Affairs,” Museum of Moving Picture (2006), 16 Aug 2006
58. In fact, Greene’s screenplay introduces Holly (called Rollo in the script) Martins by highlighting his nationality, with an insert of his Canadian passport. 59. Jerold J. Abrams, “From Sherlock Holmes to the Hard-Boiled Detective in Film Noir,” The Philosophy of Film Noir, ed. Mark T. Conrad (Lexington: The University Press of Kentucky, 2006), 70. 60. Moss, The Films of Carol Reed, 180. 61. Michael Sinowitz, “Graham Greene’s and Carol Reed’s the Third Man: When a Cowboy Comes to Vienna,” MFS: Modern Fiction Studies 52.3 (2007): 415. 62. Moss, The Films of Carol Reed, 181. 63. Graham Greene, The Third Man (London: Faber & Faber, 1988), 7. 64. Peter William Evans, Carol Reed (Manchester and New York: Manchester Univesity Press, 2005), 100. 65. The narrator establishes German as the common language of Vienna in the prologue. He claims that while the various nationalities cannot communicate to each other in their own language, they all know a “smat- tering of German.” By not speaking the most common of the many languages of Vienna, Martins is unable to understand much of what goes on around him. 66. Moss, The Films of Carol Reed, 183. 67. Evans, Carol Reed, 101. 68. Moss misidentifies Hansl as the son of the murdered porter; however, in Greene’s screenplay, which translates the child’s accusations into English, it is clear that the man Hansl speaks to, the same man who informs Martins of the porter’s death, is the boy’s father. 69. Moss, The Films of Carol Reed, 183. 70. Sinowitz, “Graham Greene’s and Carol Reed’s the Third Man:Whena Cowboy Comes to Vienna,” 416. 71. Moss, The Films of Carol Reed, 180. 72. Greene, The Third Man, 8. 73. Abrams, “From Sherlock Holmes to the Hard-Boiled Detective in Film Noir”, 80. 74. Evans, Carol Reed, 97. 75. Christopher, Somewhere in the Night: Film Noir and the American City, 71. 76. Moss, The Films of Carol Reed, 186. 77. Evans, Carol Reed, 98. 78. Much of the critical response to The Third Man has placed Carol Reed in the role of Calloway, muting his own involvement in the film in favor of trumpeting the involvement of Orson Welles, and attributing the look and style of the film to Welles, as seen in Nicholas Christopher’s reading of the film. John Anderson describes the film as “Carol Reed, Graham Greene, and Orson Welles’ classic tale.” 79. Moss, The Films of Carol Reed, 186. 80. Sue Harper and Vincent Porter, British Cinema of the 1950s (London, New York and Toronto: Oxford University Press, 2003), 124. N OTES 193
81. Durgnat, A Mirror for England: British Movies from Austerity to Affluence, 245–6. 82. This longer British version was edited by Sidney Stone. The American version of the film was edited by Nick De Maggio and scored by Franz Waxman. The Criterion DVD of Night and the City features the shorter cut of the film, but contains a documentary “Two Versions, Two Scores,” which compares and contrasts the different musical scores. This documentary features the six minutes of additional footage used in the British release. 83. Christopher, Somewhere in the Night: Film Noir and the American City, 76. 84. Ibid., 77. 85. Andrew Spicer, “Male Stars, Masculinity and British Cinema,” The British Cinema Book, ed. Robert Murphy, 2nd ed. (London: BFI Publishing, 2001), 128. 86. Raymond Durgnat, “Some Lines of Inquiry into Post-War British Crimes,” The British Cinema Book, ed. Robert Murphy, 2nd ed. (London: BFI Pub- lishing, 2001), 142. 87. Roland Barthes, Mythologies, trans. Annette Lavers (London: Paladin, 1970), 15. 88. Ibid. 89. Donald Woods Winnicott, Deprivation and Delinquency (London and New York: Tavistock, 1984), 212–3. 90. Ibid., 125. 91. Christopher, Somewhere in the Night: Film Noir and the American City, 81. 92. Ibid., 37. 93. Biesen, Blackout: World War 2 and the Origins of Film Noir, 24. 94. Allan Siegel, “After the Sixties: Changing Paradigms in the Representation of Urban Space,” Screening the City, eds. Mark Shiel and Tony Fitzmaurice (London and New York: Verso, 2003), 148. 95. Ibid., 149. 96. Edward Dimendberg, Film Noir and the Spaces of Modernity (Cambridge MA and London: Harvard University Press, 2004), 90–1. 97. Ibid., 91. 98. Charlotte Brunsdon, London in Cinema: The Cinematic City since 1945 (London: BFI, 2007), 9. 99. Bowen, “Preface to The Demon Lover,” 132. 100. Christopher, Somewhere in the Night: Film Noir and the American City, 72. 101. Richard Widmark, “Adrian Wooton at the National Film Theatre,” BFI Screenonline (July 2002), December 12, 2006
and more American-looking underbelly of British society. Dassin flatly denies the charge: “I invented nothing. It was all there.” Dassin credits Percy Hoskins of Scotland Yard for introducing him to the various clubs, streets, and alleyways used in the film. Hoskins showed Dassin a side of London that reflected the increasing influence and presence of American popular culture. The neon signs of Piccadilly and the American Club where Fabian picks up tourists all suggest this encroachment of America and American culture. 105. Brunsdon, London in Cinema: The Cinematic City since 1945, 24. 106. Durgnat, “Some Lines of Inquiry into Post-War British Crimes,” 142. 107. Andrew Spicer, Typical Men: The Representation of Masculinity in Popular British Cinema (London and New York: I.B. Tauris Publishers, 2001), 128. 108. Durgnat, A Mirror for England: British Movies from Austerity to Afflu- ence, 169.
Chapter 4
1. Henry V was nominated for four Academy Awards, including Best Actor in a Lead Role and Best Picture. Olivier was given an Honorary Award for his efforts. Hamlet was nominated for seven Academy Awards and won four, including Best Actor and Best Picture. Richard III received only one Academy Award nomination, Best Actor in a Lead Role. 2. Although Shakespeare purist preferred the measured, authentic delivery of John Gieguld, the majority of audiences preferred the naturalized acting of Olivier. 3. Maurice Hindle, Studying Shakespeare on Film (Hampshire and New York: Palgrave Macmillan, 2007), 19–20. 4. Kenneth S. Rothwell, A History of Shakespeare on Screen: A Century of Film and Television (Cambridge and New York: Cambridge University Press, 1999), 7. 5. Ibid. 6. One of the reasons some pioneering filmmakers chose to adapt Shakespeare plays was the belief that these films would add culture to what was considered a low-brow art form. The Vitagraph Company of Brooklyn, in particular, specialized in 10-15 minutes one reelers in order to attract a better quality audience and to increase the social status of movies. 7. Hindle, Studying Shakespeare on Film, 20. 8. Anthony Davies, Filming Shakespeare’s Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa (Cambridge and New York: Cambridge University Press, 1988), 2. 9. Roger Manvell, Shakespeare and the Film (New York and Washington: Praeger Publications, 1971), 30. 10. Rothwell notes that this film is commonly mistaken as the first talking Shakespeare film. It is the first feature length adaptation with synchronized sound. “The first Shakespeare movie that coordinated sound and image on N OTES 195
screen came from England, a ten-minute extract from the trial scene in an experimental De Forest Phonofilms’ The Merchant of Venice (1927)” (29). 11. For Hindle, one of the main failings of Romeo and Juliet, besides its aging actors, was Thalberg’s reverence for the ambition of the silent Shakespeare films to appeal to classier audiences. 12. Anthony Davies, “The Shakespeare Films of Laurence Olivier,” in The Cambridge Companion to Shakespeare on Film, ed. Russell Jackson (Cambridge and New York: Cambridge University Press, 2007), 167. 13. Ibid. 14. Davies, Filming Shakespeare’s Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa, 26. 15. Davies, “The Shakespeare Films of Laurence Olivier,” 170. Davies recounts the story of the origins of Henry V from Olivier’s biographer Anthony Holden. Olivier was “summoned to Jack Beddington, the Information Min- ister in charge of showbiz propaganda” specifically to be enlisted for the task of filming Shakespeare’s history. 16. Linda Hutcheon, A Theory of Adaptation (London and New York: Routledge, 2006), xiii. 17. The best of these is, in my opinion, is Chapter 3 of Brian McFarlane, Novel to Film: And Introduction to the Theory of Adaptation (London: Oxford Uni- versity Press, 1996) in which MacFarlane shows how Lean condenses adapts the literary aspects of Great Expectations to the film. 18. According to Joan Lord Hall, Oliver’s film has been dismissed as “pageant- like and overstylized” after the release of Branagh’s version. Joan Lord Hall, Henry V: A Guide to the Play (London: Greenwood Press, 1997), 129. The choice to model the film’s look on the Book of House rather speaks to Olivier’s evocation of a mythic history, which does not need to look authentic. 19. “Cinema: Masterpiece,” Time (1946), http://www.time.com/time/magazine/ article/0,9171,852787-1,00.html. 20. Quoted in Jack J. Jorgens, Shakespeare on Film (Maryland and London: University Press of America, 1991), 133. 21. Quoted in Davies, “The Shakespeare Films of Laurence Olivier,” 171. 22. Raymond Durgnat, Films and Feelings (London: Faber and Faber, 1967), 262. 23. Margaret Butler, Film and Community: Britain and France (London and New York: I.B. Tauris & Co Ltd, 2004), 4. 24. Quoted in Davies, Filming Shakespeare’s Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa, 36. 25. Hindle, Studying Shakespeare on Film, 143. 26. Quoted in Hindle, Studying Shakespeare on Film, 143. 27. Hindle, Studying Shakespeare on Film, 140. 28. Peter Donaldson, Shakespearean Films/Shakespearean Directors (Boston: Unwin Hyman, 1990), 16. 196 N OTES
29. Michael Manheim, “The English History Play on Screen,” in Shakespeare and the Moving Image: The Plays on Film and Television, ed. Anthony Davies and Stanley Wells (Cambridge and New York: 1994), 122. 30. Ibid., 123–4. 31. Davies, “The Shakespeare Films of Laurence Olivier,” 174. 32. Anthony R. Guneratne, Shakespeare, Film Studies and the Visual Culture of Modernity (New York and Hamsphire: Palgrave Macmillan, 2008), 57. 33. Jim Leach, British Film (Cambridge UK and New York: Cambridge Univer- sity Press, 2004), 18. 34. Only Winston Churchill’s wartime speeches approach the rousing patriotism of this speech. 35. Davies, “The Shakespeare Films of Laurence Olivier,” 177. 36. Rothwell, A History of Shakespeare on Screen: A Century of Film and Te l e v i s i o n , 59. 37. Harry Keyishian, “Shakespeare and Movie Genre,” in The Cambridge Companion to Shakespeare on Film, ed. Russell Jackson (Cambridge and New York: Cambridge University Press, 2007), 75–7. 38. Rothwell, A History of Shakespeare on Screen: A Century of Film and Te l e v i s i o n , 57. 39. Hindle, Studying Shakespeare on Film, 31. 40. After attempting suicide, Rose awakes up in the hospital, her husband by her side. His presence and her confession about Tommy imply a reunion. 41. Olivier’s interpretation of Hamlet was in large part due to his relationship with psychoanalyst Ernest Jones. In Charles Barr, Ealing Studios,3rded. (London: University of California Press, 1977; reprint, 1998), Barr calls Hamer “the Ealing director most concerned about the psychology of the individual. (72). 42. J. Lawrence Guntner, “Hamlet, Macbeth and King Lear on Film,” in The Cambridge Companion to Shakespeare on Film, ed. Russell Jackson (Cambridge and New York: Cambridge University Press, 2007), 123. 43. Margaret Butler, Film and Community: Britain and France (London and New York: I.B. Tauris & Co Ltd, 2004), 91. 44. Barr, Ealing Studios, 68–9. 45. Peter Donaldson, “Olivier, Hamlet, and Freud,” Cinema Journal 26, no. 4 (1987): 22. Donaldson’s argument is that Olivier goes “beyond his sources in Freud and Jones,” working through his own personal issues. 46. Wither and McCallum were married. 47. Davies, Filming Shakespeare’s Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa, 65. 48. Barbara Freedman, “Critical Junctures in Shakespeare Screen History: The Case of Richard III,” in The Cambridge Companion to Shakespeare on Film, ed. Russell Jackson (Cambridge and New York: Cambridge University Press, 2007), 57. Guneratne, however, argues that with Vistavision’s 1.67:1 screen aspect ratio, Richard III, “with the possible exception of Prospero’s Books, ... may be the one most deeply marked by technological innovation” (54). N OTES 197
49. Olivier follows the tradition established in the eighteenth century by Colley Cibber, (whom Oliver acknowledges along with David Garrick in the cred- its) of incorporating lines from the previous play to establish some narrative context. 50. Hindle, Studying Shakespeare on Film, 35. 51. Kenneth O. Morgan, Twentieth Century Britain: A Very Short Introduction (Oxford and New York: Oxford University Press, 2005), 60. 52. Labour won 394 seats, a gain of 203; the Conservatives won 210. 53. Labour narrowly won the General Election of 1950. 54. Morgan, Twentieth Century Britain: A Very Short Introduction, 61. 55. Tony Williams, “The Repressed Fantastic in Passport to Pimlico,” in Re-Viewing British Cinema, 1900–1992, ed. Wheeler Winston Dixon (Albany, NY: State University of New York Press, 1994), 99. 56. Donald Thomas, The Enemy Within: Hucksters, Racketeers, Deserters & Civil- ians During the Second World War (Washington Square, New York: New York University Press, 2003), 353. 57. Ibid., 378-9. 58. As Williams, “The Repressed Fantastic in Passport to Pimlico.” notes that the portrait of the ancient duke “uncannily resembles that of Richard III, last king of the House of York, in the National Portrait Gallery” (104). 59. Barr, Ealing Studios, 96. 60. Manheim, “The English History Play on Screen,” 125–6.
Chapter 5
1. Sergei Eisenstein, “Dickens, Griffith and Film Today,” in Film Theory and Criticism, eds. Gerald Mast and Marshall Cohen (London and New York: Oxford University Press, 1974), 303. 2. Russia produced Sverchok na pechi (1915), based on the holiday story “The Cricket on the Hearth.” Oliver Twist was adapted in Hungary, as Twist Olivér (1919), and in Germany, as Die Geheimnisse von London—Die Tragödie eines Kindes (1920). Germany also adapted Little Dorrit (Klein Dorrtje) in 1917. 3. Jeffrey Richards, Films and British National Identity: From Dickens to Dad’s Army (Manchester and New York: Manchester University Press, 1997), 328, 31. 4. Ibid., 340. 5. James Chapman, “ ‘God Bless Us Everyone’: Movie Adaptations of a Christmas Carol,” in Christmas at the Movies: Images of Christmas in American, British and European Cinema, ed. Mark Connelly (London and New York: I.B. Tauris Publishers, 2000), 20. 6. Ibid., 21. 7. Richards, Films and British National Identity, 336–7. 8. David A. Cook, Narrative Film, 3rd ed. (New York and London: WW Norton & Company, Inc., 1996), 567. 9. Richards, Films and British National Identity, 341. 198 N OTES
10. Sarah Fishman, The Battle for Children: World War II, Youth Crime and Juvenile Justice in Twentieth Century France (Cambridge Mass and London: Harvard University Press, 2002), 1. 11. Quoted in Angus Calder, The People’s War: Britain—1939–1945 (New York: Pantheon Books, 1969), 226. 12. Ibid. 13. Ibid. 14. Donald Woods Winnicott, Deprivation and Delinquency (London and New York: Tavistock, 1984), 50. 15. Ibid., 40. 16. The Sub-Committee of the Women’s Group on Public Welfare defined “cru- elty” as “deliberate physical ill-treatment. Neglect has been interpreted widely as failure to make adequate provision for the physical, emotional, and intel- lectual needs of a child.” See The Neglected Child and His Family: A Study Made in 1946–7 of the Problem of Child Neglected in His Own Home, Together with Certain Recommendations Made by a Sub-Committee of the Women’s Group on Public Welfare, Priestley, J. B. Introduction (London, New York, Toronto: Oxford University Press, 1948), 16. 17. Ibid., ix. 18. Ibid., 69. 19. Ibid. 20. Winnicott, Deprivation and Delinquency, 45. 21. Ibid., 32. 22. The Neglected Child, 69–70. 23. Ibid., 13. 24. Ibid. 25. Christine Geraghty, British Cinema in the Fifties (London and New York: Routledge, 2000), 133. 26. Ibid., 139. 27. Gerald Pratley, The Cinema of David Lean (Cranbury, New Jersey: A. S. Barnes and Co., Inc., 1974), 62. 28. Ibid., 67. 29. Quoted in Philip V. Allingham, “Great Expectations in Film and Television,” The Victorian Web (2005), http:Victorian.lang.nagoya-u.ac.jp/victorianweb/ authors/dickens/ge/filmadapt.html. 30. Quoted in Pratley, The Cinema of David Lean, 63. 31. Michael A. Anderegg, David Lean (Boston: Twayne Publishers, 1984), 41. 32. Alain Silver and James Ursini, David Lean and His Films (London: Leslie Frewin Publishers Limited, 1974), 55. 33. William Wordsworth, “We Are Seven,” in English Romantic Writers,ed. David Perkins (London and New York: Harcourt Brace College Publishers, 1995), l. 35–6. 34. Silver and Ursini, David Lean and his Films, 60. 35. Anderegg, David Lean, 43. 36. Ibid., 45. 37. Quoted. in Pratley, The Cinema of David Lean, 76. N OTES 199
38. Anderegg, David Lean, 49. 39. Ibid., 46. 40. Richards, Films and British National Identity, 341. 41. Winnicott, Deprivation and Delinquency, 73. 42. Calder, The People’s War: Britain—1939–1945, 41. 43. Ibid., 43. 44. Ibid. 45. Calder, The People’s War: Britain—1939–1945, 42. 46. Ibid., 225. 47. Winnicott, Deprivation and Delinquency, 41, 46. 48. While Lean softens some of Fagin’s sinister nature and Bumble’s violence, Michael A. Anderegg states that for the role of Sikes, Robert Newton “lets out all the stops ...squinting one eye and shaking with anger in his best melodramatic manner. And the effect, somehow, is just right: Bill Sikes is both malevolent and comic (but not funny—one does not laugh at Sikes), a frightening, eccentric figure” (58). 49. Silver and Ursini, David Lean and His Films, 80, 82. 50. Bosley Crowther, “Nicholas Nickleby, from the Book by Dickens, Has Derek Bond Playing the Title Role,” The New York Times (December 1, 1947), http://movies.nytimes.com/movie/review?res=9C03E7DC1E3AE233A257 52C0A9649D946693D6CF. 51. “The Life and Adventures of Nicholas Nickleby,” The Monthly Film Bulletin 14, no. 159 (March 1947): 35. 52. Richards, Films and British National Identity, 342. 53. Charles Drazin, The Finest Years: British Cinema of the 1940s (London and New York: I.B. Tauris & Co Ltd., 2007), 130. Drazin argues that Dickens’s caricatures and sentimentality escaped Cavalcanti, who admitted years later that he did not like Dickens’s novels. 54. Calder, The People’s War: Britain—1939–1945, 225. 55. Ibid., 48–9. 56. Ibid., 225. 57. Quoted. in Chapman, “ ‘God Bless Us Everyone’: Movie Adaptations of a Christmas Carol,” 24. 58. James Chapman writes: “[Scrooge] was well received by the British trade press, with The Cinema remarking that ‘[o]nce more the old tale comes to us as stimulating and salutary’ and praising the ‘strength and versatility’ of Sim’s performance .... But the Hollywood trade bible Variety considered that the film ...‘hasn’t enough entertainment merit to rate it anything but slim chances .... There’s certainly no Yuletide cheer to be found in this latest adaptation of Charles Dickens’ Christmas classic’ ” (24). 59. Chapman, “ ‘God Bless Us Everyone’: Movie Adaptations of aChristmas Carol,” 21. 60. Ibid., 22–3. 61. Silver and Ursini, David Lean and His Films, 57. 62. Regina Barreca, “David Lean’s Great Expectations,” in Dickens on Screen,ed. John Galvin (Cambridge: Cambridge University Press, 2003), 40. Bibliography
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Acting, 14, 15–16, 48, 49, 54–5, 66, Brighton Rock, 83, 91, 92, 179 71, 73, 74 British New Wave, 177 Adaptation, 3, 5, 66, 83, 84, 115, The Browning Version, vii, 4, 50, 61–6, 119–20, 122, 143–5, 148, 150, 75, 176, 179, 187 154, 155, 158, 164, 165, Byron, Kathleen, 41, 42 169–70, 173, 174, 175, 177, 194, 199 Cagney, James, 49, 121 American Occupation, 5, 85, Calder, Angus, ix, 89, 90, 145, 155, 89–90 158–9, 160, 167, 181 Angry Young Man films, 2, 177 The Canterbury Tale, 40, 126, 179, The Archers, see Powell and 184, 190 Pressburger The Captain’s Paradise, 16, 179, see also Powell, Michael; 188 Pressburger, Emeric The Captive Heart, 49, 51, 53–6, 57, 75, 179 Beveridge report, 101 Cavalcanti, Alberto, 5, 49, 56, 144, Black market, 2, 90–1, 99, 111, 137, 164–5, 166, 169, 173, 179, 180, 141 199 Black Narcissus, vii, 3, 4, 15, 29, 40–5, Cavell, Stanley, 15–16, 19, 38 46, 176, 179 Chaplin, Charlie, 50, 67 Blake, William “The Tyger”, Children, 1, 2, 3, 6, 16, 19–22, 63, 18–19 93, 94, 97, 124, 145–74 The Blitz, 2, 5, 50, 89, 124, 146, 156, and delinquency, 160–1 175, 181 and evacuation of, 2, 145–6, Bond, Derek, 55, 165 154–5, 158–9 Bowen, Elizabeth, 5, 84–5, 88, 110, and neglect, 6, 145, 146–7, 148–9, 115 157 “The Cheery Soul”, 86–7 Churchill, Winston, 14, 29, 136, 158, “The Demon Lover”, 85–6, 169, 196 87–8 Clarke, T.E.B., 181 Box, Muriel, 11, 150, 182 Conservative government, 72, 136, Box, Sydney, 12, 182 169, 188, 197 Brief Encounter, vii, 4, 12, 13, Costume, 13, 31, 35, 42, 43, 71, 15, 16, 17, 20, 22–8, 43, 44, 46, 127–8 176, 179 Cotten, Joseph, 89, 98–9 210 I NDEX
Coward, Noel, 16–18, 150, 183 Gainsborough Studio, 12–13, 14, 45, Crichton, Charles, 1, 50, 56, 70, 71, 47, 52, 82, 149, 182 149 Gilliat, Sidney, 3, 126, 186 Crime and Criminality, 2, 26–7, Government, and bureaucracy, 6, 71–2, 83–4, 87, 90–1, 93, 99, 136–7 107, 136–7, 149, 161 Granger, Stewart, 12, 47, 187 Curtis Report, 146, 148 Great Expectations, vii, 5, 66, 68, 82, 143, 144, 150–5, 165, 174, 179, Dassin, Jules, 5, 81, 85, 87, 89, 195 102–3, 104, 105, 108, 111, 112, Greene, Graham, 83, 91, 92, 114, 190, 193 93–4, 96, 97, 98, 101, 115, Dead of Night, 4, 50, 56–61, 75, 179, 192 187 Guinness, Alec, vii, 3, 4, 47–8, 49, Dearden, Basil, 49, 53, 55–6 50–1, 66–75, 144, 150, 159, Dickens, Charles, 3, 5, 6, 83, 143–74, 185, 187, 188 175, 177 Double Indemnity, 80, 84, 87, 109, Hamer, Robert, 3, 50, 56, 82, 131, 179 132, 133, 140, 196 Hamlet, vii, 5–6, 119, 120, 121, 122, 130–5, 137, 140, 176, 179, 194, Eagleton, Terry, 38 196 Ealing Studios, 1, 3, 13, 14, 45, 47, Hammer Film Productions, 56, 53, 56, 67, 72, 83, 122, 137, 177 144, 149, 169, 188, 196 Henry V, vii, 5, 6, 119, 121, 122–30, Education, 61–3, 145, 160, 166–8 135, 140, 179, 194, 195 Eisenstein, Sergei, 143 Hitchcock, Alfred, 49, 51, 119 Howard, Leslie, 14, 121 The Fallen Idol, 83–4, 91, 92, 149, Howard, Trevor, 22, 187 179 Hue and Cry, 1, 149, 179 Fawlty Towers,1 Femininity, British, 3–4, 11–46 In Which We Serve, vii, 4, 16–22, 24, and clothing, 34–5, 42 25, 46, 179 and domestic, 4, 14–15, 16–18, It Always Rains on Sundays, 3, 6, 122, 20–3, 24, 27–8, 37 131–5, 140, 179 and mobile women, 29, 30–1, 34, 36, 37, 40 James, Henry, 67 and sexuality, 12, 41–4 Johnson, Celia, vii, 3–4, 14–15, and transformation, 30, 36, 39–40, 16–28, 29, 32, 45, 46, 188 46 Jones, Ernest, 133, 196 Film noir, 5, 79–80, 81–4, 85, 86–9, 94, 103, 107, 108–11, 112, Kerr, Deborah, vii, 3–4, 14–15, 16, 114–15, 130, 131, 144, 149, 189 28–46, 182, 183, 184 literary foundations of, 80, 84, Kind Hearts and Coronets, vii, 3, 4, 50, 114–15 66, 67–9, 72, 75, 82, 83, 84, Freud, Sigmund, Oedipal complex, 6, 179, 188 130, 133–4, 196 Kitchen sink dramas, 131 I NDEX 211
Korda, Alexander, 16, 36, 37, 39 Olivier, Laurence, vii, 3, 5–6, 119, Korda, Zoltan, 18 121–41, 150, 194, 195, 196
Labour government, 72, 101, 136, Passport to Pimlico, 137, 180, 145, 197 186, 197 Lacan, Jacques and mirror stage, 38 Perfect Strangers, vii, 3, 4, 15, 29, The Lady Vanishes, 4, 49, 51, 56, 57, 36–40, 42, 44, 46, 180, 184 58, 180, 186 Photographs and photography, The Ladykillers, vii, 3, 4, 50, 66, 69, 19, 68 72–5, 83, 84, 180, 188 Powell, Michael, 16, 28–9, 30, 40 Lean, David, 3, 5, 16–17, 21, see also Powell and Pressburger 25–8, 66, 82, 122, 144, 150–64, Powell and Pressburger, 3, 17, 29–30, 165, 173–4, 175–6, 195, 31, 33, 34, 43, 126, 191 199 Pressburger, Emeric, 16, 40 The Life and Death of Colonel Blimp, see also Powell and Pressburger vii, 3, 4, 17, 29–36, 37, 40, 42, Priestley, J.B., 146–7 43, 123, 126, 180 Lockwood, Margaret, 12 Radford Basil, 56–7, 186 Rationing, 2, 3, 53, 90, 122, 137, Masculinity, British, 4, 11, 16–18, 144, 169 47–75 Redgrave, Michael, vii, 3, 4, 47–8, American, 49 49–50, 51–66, 75, 185, 186–7 and sexuality, 47–8, 52, 58–9, 63, Reed, Carol, 3, 5, 16, 80, 81–2, 85, 70, 113 87, 91–102, 110–12, 149, 186, and sport, 63–4, 124 192 and “the stiff upper lip”, 4, 50–1, Richard III, vii, 5–6, 119, 121, 122, 52, 54–5, 56, 60, 61, 63–4, 127, 135–41, 180, 194, 196 65, 75, 100 A Run For Your Money, 69, 180 Mason, James, 11, 12–13, 47, 52, 59, 91 Mass Observation, 14, 27, 147 Scrooge, vii, 5, 144, 165, 169–73, 174, Miles, Bernard, vii, 17, 144, 153 176, 180, 199 Mills, John, 17, 51, 150, 151, 187 The Seventh Veil, 11–13, 28, 45–6, Ministry of Information (MOI), 180 13–14, 22, 30 Sexuality, 6, 12, 41–2, 47–8, 52, 57, 59, 70, 113, 130–1, 133–4, 140, Nicholas Nickleby, 5, 144, 164–9, 170, 166 174, 180 Shakespeare, William, 3, 5, 119–21, Night and the City, vii, 5, 81, 88–9, 125, 126, 128, 130, 137, 138, 91, 102–8, 111, 112–15, 180, 140, 141, 150, 177, 194, 195 193 Sullivan, Francis L., 102, 144, 156
Odd Man Out, 91–2, 180 The Third Man, vii, 5, 80–2, 88–9, Oliver Twist, vii, 5, 66, 82, 122, 144, 92–102, 110–14, 115, 189, 192 155–64, 171, 173, 174, 175–6, Todd, Ann, 11, 38 180, 197 Trauma, 52–3, 56, 175 212 I NDEX
War films Wilder, Billy, 80, 109 first generation, 5, 17, 53, 122, Winnicott, Donald Wood, 6, 105–6, 124–5, 129 145–8, 158, 160 and masculinity, 17–19, 51 Withers, Googie, 102, 131 second generation, 2, 18, 51, 82, Wordsworth, William “We Are 176 Seven”, 152 Wayne, Naunton, 56–7 World War II, 2, 6, 15, 30, 32–3, Welles, Orson, 89, 92, 93, 98, 99, 192 37, 46, 48, 54, 83, 108–9, Widmark, Richard, vii, 89, 102–3, 122, 126, 145, 175–6, 181, 105, 111, 113 188