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Notes and References Notes and References CHAPTER 1 To provide an intellectual and cultural framework for examining Carol Reed's films, a history of the British cinema from its origins through to the Second World War is offered in this chapter. Although Reed began directing in 1935, 1939 seemed a tidier, more logical cut-off point for the survey. All the information in the chapter is synthesized from several excellent works on the subject: Roy Armes's A Critical History of the British Cinema, Ernest Betts' The Film Business, Ivan Butler's Cinema in Britain, Denis Gifford's British Film Catalogue, Rachel Low's History of the British Film, and George Perry's The Great British Picture Show. CHAPTER 2 1. Michael Korda, Charmed Lives (New York, 1979) p. 229; Madeleine Bingham, The Great Lover (London, 1978). 2. Frances Donaldson, The Actor-Managers (London, 1970) p. 165. 3. Interview with the author. Unless otherwise identified, all quota­ tions in this study from Max Reed, Michael Korda and Andrew Birkin derive from interviews. 4. C. A. Lejeune, 'Portrait of England's No.1 Director', New York Times, 7 September 1941, p. 3. 5. Harvey Breit, ' "I Give the Public What I Like" " New York Times Magazine, 15January 1950, pp. 18-19. 6. Korda, Charmed Lives, p. 244. 7. Kevin Thomas, 'Director of "Eagle" Stays Unflappable', The Los Angeles Times, 24 August 1969. CHAPTER 3 1. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Film, no. 17 (Spring 1974) 34. 2. 'Midshipman Easy', The Times, 23 December 1935. 271 272 Notes and References 3. Graham Greene, The Pleasure Dome (London, 1927) p. 42 (Greene's collected film criticism from The Spectator). 4. Voigt, 'Pictures of Innocence', p. 18. 5. Frederick Marryat, Mr. Midshipman Easy (New York, 1866) p. 127. 6. Ibid., p. 132. 7. Greene, The Pleasure Dome, p. 91. 8. Andrew Sarris, 'Carol Reed in the Context of His Time', Film Culture, 2,4 (1956) 15. 9. Basil Wright, 'The Director: Carol Reed', in The Year's Work in Film, ed. by Roger Manvell (London, 1950) p. 11 10. Frank S. Nugent, 'Talk ofthe Devil', New York Times, 15 May 1937, p.23. 11. 'Three on a Weekend', Va riety, 9 February 1938, p. 15. 12. Otis Ferguson, 'Pictures From England', The New Republic, 146 (14 September 1938) 160. 13. 'Three on a Weekend', New York Times, 2 June 1938, p. 19. 14. Wright, 'The Director', p. 11. 15. 'Climbing High', New York Times,S June 1939, p. 20. 16. 'Climbing High',VariefV, 14 December 1938, p. 12. 17. Archer Winston, 'Climbing High', New York Post,S June 1939. 18. Wanda Hale, 'Climbing High', New York Daily News, 4 June 1939. 19. 'Climbing High', New York Morning Telegraph, 4 June 1939. 20. Bosley Crowther, 'A Girl Must Live', New York Times, 24 March 1942. p. 25. 21. Winston, New York Post, 24 May 1942. 22. 'A Girl Must Live', VariefV 10 May 1939. CHAPTER 4 1. Pauline Kael, Kiss Kiss Bang Bang (New York, 1969) pp. 439-41. 2. Richard Whitehall, 'The Stars Look Down', Films and Filming, 4 (January 1962) pp. 22-3, 45-6. 3. 'The Stars Look Down', The Times, 22 January 1940. 4. Aubrey Flanagan, 'The Stars Look Down', Motion Picture Herald, 27 January 1940. 5. Graham Greene, The Pleasure Dome, (London, 1972) p. 265. 6. Paul Rotha, 'The Stars Look Down', Documentary News Letter, no. 3 (March 1940) p. 12. 7. 'The Stars Look Down', Va riety, 15 July 1941. 8. 'The Stars Look Down', New York Times, 24 July 1941, p. 15. 9. 'The Stars Look DouJn', Newsweek, 18 (28 July 1941) 53. 10. Archer Winston, 'The Stars Look Down',New York Post, 24July 1941. 11. Kael, Kiss Kiss Bang Bang, p. 441. Notes and References 273 12. Crowther, 'The Stars Look Down', p. 15. 13. Andrew Sarris, 'Carol Reed in the Context of His Time', Film Culture, 2, 4 (1956) 15. 14. Michael Redgrave, Mask or Face (New York, 1958) p. 135. 15. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Films, no. 17 (Spring 1974) 21. 16. Rudyard Kipling, Something ofMyself (London, 1937) p. 225. 17. 'Night Train', Time, 37 (13 January 1941) 73. 18. 'Night Train', New York Times, 30 November 1940, p. 21. 19. Otis Ferguson, 'A Hit and a Miss', The New Republic, 124 (13 January 1941) 54. 20. Basil Wright, 'The Director: Carol Reed', in The Year's Work in Film, ed. by Roger Manvcll (London, 1950) p. 11. 21. Sarris, 'Carol Reed in the Context of His Time', p. 15. 22. Voight, 'Pictures of Innocence', p. 21. 23. Bosley Crowther, 'The Girl in the News', New York Times, 5 May 1941, p. 13. 24. Sarris, 'Carol Reed in the Context of His Time', p. 15. 25. 'Kipps', Va riety, 1 April 1941. 26. Robert W. Dana, 'Kipps', New York Herald Tribune, 5 May 1942. 27. Irene Thirer, 'Kipps', New York Post, 25 May 1942. 28. 'Kipps', New York Times, 25 May 1942, p.II. 29. Milton Meltzer, 'Kipps', The Daily Worker, 25 May 1942. 30. Sarris, 'Carol Reed in the Context of His Time', p. 15. CHAPTER 5 1. Arthur Winston, 'Young Mr. Pitt', New York Post, II March 1943. 2. Kate Cameron, 'Young Mr. Pitt', New York Daily News, 11 March 1943. 3. 'Young Mr. Pitt', Va riety, 1 July 1942. 4. Philip T. Hartung, 'Milton! Thou Shouldst Be', Commonweal, 37 (26 March 1943),568. 5. Bosley Crowther, 'Young Mr. Pitt', New York Times, 11 March 1943, p. 17. 6. Basil Wright, 'The Director: Carol Reed', in The Year's Work in Film, ed. Roger Manvell (London, 1950) pp. 11-12. 7. Raymond Durgnat, A Mirror for England: British Moviesfrom Auster­ iry to Aifluence (London, 1970) p. 106. 8. Andrew Sarris, 'Carol Reed in the Context of His Time', Film Culture, 2, 4 (1956) 16. 9. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Films, no. 17 (Spring 1974) 22. 10. Reed obituary, The Times, 27 April 1976. 274 Notes and References 11. Reed obituary, New York Times, 27 April 1976, p. 38. 12. C. A. Lejeune, 'The Way Ahead', Observer, 9 July 1944. 13. 'The Way Ahead', Va riety, 21 June 1944. 14. 'The Wqy Ahead', Time, 45 (28 May 1945) 56. 15. 'England Expects', Newsweek, 25 (28 May 1945) 114. 16. Crowther, 'The Way Ahead', New York Times, 4 June 1945, p. 22. 17. Jesse Zunser, 'The True Glory', Cue, 3 (8 September 1945) 11. 18. 'The True Glory', Time, 46 (17 September 1945) 95. 19. Crowther, 'The True Glory', New York Times, 7 September 1945. 20. James Agee, 'The True Glory', The Nation, 161 (29 September 1945) 321 21. Sarris, 'Carol Reed in the Context of His Time', p. 16. 22. Ezra Goodman, 'Carol Reed', Theatre Arts, 5 (May 1947) 57. CHAPTER 6 1. John Huntley, 'Film Music in Britain, 1947-48' in British Film Yearbook, ed. Peter Noble (London, 1948) p. 39. 2. Andrew Sarris, 'Carol Reed in the Context of His Time', Film Culture, 2, 4 (1956) 17. 3. 'Odd Man Out', The Times, 31 January 1947,4. 4. Arthur Vesselo, Odd Man Out', Sight and Sound, 61 (Spring- 1947) 39. 5. William Whitebait, 'Odd Man Out', The New Statesman andNation (8 February 1947), 13. 6. James Agee, 'Odd Man Out', Time, 49 (3 March 1947) 81. 7. John McCarten, 'A Man Hunt', The New Yorker, 23 (3 May 1947) 94. 8. John Mason Brown, 'The Hunt and the Hunted', Saturday Review, 30 (24 May 1947) 25. 9. Bosley Crowther, 'Odd Man Out', New York Times, 24 April 1947, p.30. 10. Philip T. Hartung, 'No Tinkling Cymbal', Commonweal, 46 (9 May 1947) 94. 11. Abraham Polonsky, 'Odd Man Out and Monsieur Verdoux', Holly­ wood Quarterly, 4 (July 1947). 12. Julia Symmonds, 'Reflections on Odd Man Out', Film Quarterly (Summer 1947) 52-6. 13. Karel Reisz, The Technique of Film Editing (New York, 1953) pp. 261-71. 14. James De Felice, Filmguide to Odd Man Out (Bloomington, 1975). 15. F. L. Green, Odd Man Out (London, 1947) p. 36. 16. Ibid., p. 103. Notes and References 275 17. Ezra Goodman, 'Carol Reed', Theatre Arts, 5 (May 1947) 57. 18. Green, Odd Man Out, p. 82. 19. Roger Manvell, Three British Screen Plays (London, 1950) p. 85. 20. De Felice, Filmguide, p. 26. 21. Ibid., p. 30. 22. Ibid., p. 29. 23. Manvell, Three British Screen Plays, p. 95. 24. Reisz, Film Editing, p. 263. 25. Ibid., p. 264. 26. Sarris, 'Carol Reed in the Context of His Time', p. 17. 27.. Agee, 'Odd Man Out', The Nation, 165 (19 July 1947) 81. 28. John Hadsell, 'Odd Man Out', Classics of Film, edt by Arthur Lenning (Madison, 1965) pp. 179-87. 29. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Films, no. 17 (Spring, 1974) 24. 30. Sarris, 'Carol Reed in the Context of His Time', p. 17. CHAPTER 7 1. 'The Fallen Idol', Time, 53 (4 April 1949) 98. 2. Bosley Crowther, 'The Fallen Idol', New York Times, 16 November 1949, p. 39. 3. 'The Fallen Idol',Va rie!)J, 16 November 1949). 4. John McCarten, 'Good Boy', The New Yorker, 25 (19 November 1949) 110. 5. Graham Greene, The Third Man and The Fallen Idol (London, 1974) pp. 151, 193, 183, 180, 151. 6. Ibid., p. 152. 7. Raymond Durgnat, A Mirror for England.' British Movies from Austerity to AjJluence (London, 1970) p. 167. 8. Greene, The Third Man, p. 151. 9. Ibid., p. 3. 10. 'The Third Man', Variery, 7 September 1949. 11. 'The Third Man', Time, 55 (6 February 1950) 82.
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