DOCSLIB.ORG

Week Beginning Monday 14Th January 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Week Beginning Monday 14Th January 2019 Highlights: Week beginning Monday 14th January 2019 Monday 14th January 2019 – 12:40 DILEMMA (1962) (also showing 18-January at 04:40 & 21-January at 03:40) Director: Peter Maxwell Starring: Peter Halliday, Ingrid Hafner, Patricia Burke and Joan Heath. A respectable schoolmaster returns from work on the eve of a wedding anniversary holiday to find a strange man dead in their bathroom and his wife missing… Monday 14th January 2019 – 14:35 THEY WERE SISTERS (1945) Director: Arthur Crabtree Starring: Phyllis Calvert, James Mason, Hugh Sinclair, Anne Crawford and Dulcie Gray. The story of three sisters who marry men of widely different character as their individual and widely-different married lives unfold. Tuesday 15th January 2019 – 14:35 ANOTHER MAN’S POISON (1951) Director: Irving Rapper Starring: Bette Davis, Gary Merrill, Emlyn Williams and Anthony Steel. In an isolated house, an English mystery writer Janet Frobisher is involved in potentially murderous relationships. Tuesday 15th January 2019 – 21:00 VICIOUS CIRCLE (1957) Director: Gerald Thomas Starring: John Mills, Lionel Jeffries, Wilfrid Hyde-White and Derek Farr. When Dr Howard Latimer finds the German Actress that he has just met at London Airport murdered in his flat, it leads him into the world of murder and blackmail. th Wednesday 16 January 2019 – 08:25 WHERE THERE’S A WILL (1936) (also showing Tues 15 January at 03:45) Director: William Beaudine Starring: Will Hay, Graham Moffatt, H.F. Maltby and Norma Varden. A bungling solicitor Benjamin Stubbins, is unwittingly involved in a bank robbery when he takes a job from a group of Americans. Wednesday 16th January 2019 – 11:10 THE FINAL TEST (1953) Director: Anthony Asquith Starring: Jack Warner, Robert Morley, George Relph and Adrienne Allen. Sam Palmer is a cricket player who is playing the last Test match of his career. He hopes his son – a budding poet – will attend the match but he has another invitation… Features many legendary cricketers of the era including Denis Compton and Lee Hutton. Thursday 17th January 2019 – 08:05 DOUBLE CONFESSION (1950) Director: Ken Annakin Starring: Derek Farr, Joan Hopkins, Peter Lorre, Naunton Wayne and William Hartnell. When his wife is murdered, a husband tries to divert suspicion from himself to someone else, but his plan gets him mixed up with some real murderers. Thursday 17th January 2019 – each weekday at 17:30 FOR THE LOVE OF ADA (TV Series 1970) S1, Ep1: Walter meets Ada Director: Ronnie Baxter Starring: Irene Handl, Wilfrid Pickles, Jack Smethurst and Barbara Mitchell. Walter Bingley is the local gravedigger who meets Ada Cresswell for the first time on a visit to her late husband’s grave. Thursday 17th January 2019 – 18:00 WHEN THE WHALES CAME (1989) Director: Clive Rees Starring: Paul Scofield, Helen Mirren, David Threlfall and Jeremy Kemp. Two children befriend a strange old man, who lives isolated on the far shore of their island home. But it turns out that the old man knows a terrible secret… Friday 18th January 2019 – 07:45 SUDDEN FEAR (1952) Director: David Miller Starring: Joan Crawford, Jack Palance, Gloria Grahame and Bruce Bennett. After a whirlwind romance, an actor marries a wealthy middle-aged playwright and then plots with his secret mistress to murder her. Friday 18th January 2019 – 21:00 ROYAL FLASH (1975) Director: Richard Lester Starring: Malcolm McDowell, Alan Bates, Oliver Reed, Britt Ekland and Tom Bell. Captain Harry Flashman of the British army is a cad, a coward, and a lecher who always seems to come off inadvertently heroic, but while romancing Lola Montes, he is coerced by Otto von Bismark into impersonating a prince. Saturday 19th January 2019 – 13:25 ANNE OF THE INDIES (1951) Director: Jacques Tourneur Starring: Jean Peters, Louis Jourdan, Debra Paget and Herbert Marshall. In order to recover his ship impounded by the British, former pirate captain LaRochelle agrees to spy on the notorious Caribbean Sea pirates Blackbeard and Anne Providence. Saturday 19th January 2019 – 16:00 NO HIGHWAY IN THE SKY (1951) Director: Henry Koster Starring: James Stewart, Marlene Dietrich, Glynis Johns and Jack Hawkins. An aeronautical engineer predicts that a new model of plane will fail as he believes they are susceptible to metal fatigue after a specific amount of time in the air. Saturday 19th January 2019 – 17:55 THE GAMES (1970) Director: Michael Winner Starring: Michael Crawford, Ryan O'Neal, Charles Aznavour and Stanley Baker. The motivation stories of four marathon runners – from England, America, Czechoslovakia and an Australian aborigine – as they prepare to run in the Olympic games. Saturday 19th January 2019 – 20:00 CIRCLE OF DECEPTION (1960) Director: Jack Lee Starring: Suzy Parker, Bradford Dillman, Harry Andrews and Robert Stephens. In 1944, prior to the Allied landings in Normandy, British Intelligence is anxious to mislead the Germans regarding the actual landing sites and plans to drop an officer in their lap to in order to carry out the plan. The officer however will be unaware of the actual plan. Sunday 20th January 2019 – 06:20 STORM OVER TIBET (1952) Director: Andrew Marton Starring: Rex Reason, Diana Douglas, Myron Healey and Robert Karnes. During World War II, David Simms pilots supplies between India and China over the Himalaya Mountains. One day he's forced to miss a flight and is replaced by his friend, Bill March but the plane is lost enroute… Sunday 20th January 2019 – 16:00 THE WICKED LADY (1945) Director: Leslie Arliss Starring: Margaret Lockwood, James Mason and Patricia Roc. A noblewoman begins to lead a dangerous double life by impersonating a notorious highwayman in order to alleviate her boredom. Sunday 20th January 2019 – 18:55 FATHOM (1967) Director: Leslie H. Martinson Starring: Anthony Franciosa, Raquel Welch, Ronald Fraser and Richard Briers. In Spain, an American skydiver is recruited by Western intelligence agents to recover a lost H-bomb detonator from hostile foreign agents. Sunday 20th January 2019 – 22:10 MODESTY BLAISE (1966) Director: Joseph Losey Starring: Monica Vitti, Terence Stamp, Dirk Bogarde and Harry Andrews. Modesty Blaise, a secret agent whose hair style and mod clothing change at a snap of her fingers, is being used by the British government as a decoy in an effort to thwart a diamond heist. Based on the comic book adventures of Modesty Blaise. .
Load more

Recommended publications
  • Look at Life on Talking Pictures TV Talking Pictures TV Are Delighted to Bring to the ‘Small Screen’ the ‘Big Screen’ Production: “Look at Life”
    Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 3rd May 2021 FREESAT 306 | VIRGIN 445 Look at Life on Talking Pictures TV Talking Pictures TV are delighted to bring to the ‘small screen’ the ‘big screen’ production: “Look at Life”. All shot on 35mm, this iconic Rank production, made from the late 50s through to the early 60s, was a mainstay at all rank cinemas. Enjoy the cars, fashions, transport, and much more when you “Look at Life” again on Talking Pictures TV. The films will be airing throughout May. Monday 3rd May 12:10pm Tuesday 4th May 6:30pm Bank Holiday (1938) The Net (1953) Drama. Director: Carol Reed. Thriller. Director: Anthony Asquith. Stars: John Lodge, Margaret Lockwood, Stars: James Donald, Phyllis Calvert, Hugh Williams, Rene Ray, Wally Patch, Robert Beatty, Herbert Lom. A scientist Kathleen Harrison, Wilfrid Lawson and in a supersonic flight project risks his life. Felix Aylmer. A group of people encounter strange situations when they Wednesday 5th May 8:45am visit a resort to spend the weekend. The Sky-Bike (1967) Director: Charles Frend. Stars: Monday 3rd May 3pm Liam Redmond, William Lucas, Ian Ellis, Pollyanna (2002) Ellen McIntosh, Spencer Shires, Drama. Director: Sarah Harding. Della Rands, John Howard, Bill Shine, Stars: Amanda Burton, Georgina Terry David Lodge and Guy Standeven. and Kenneth Cranham. Adaptation of Young Tom builds a flying machine. the classic tale. Young orphan Pollyanna goes to stay with Aunt Polly, bringing Wednesday 5th May 12:20pm mirth and mayhem to her new home.
    [Show full text]
  • They Were Sisters Free Ebook
    FREETHEY WERE SISTERS EBOOK Dorothy Whipple,Celia Brayfield | 464 pages | 22 Mar 2005 | Persephone Books Ltd | 9781903155462 | English | London, United Kingdom They Were Sisters by Dorothy Whipple We can send a book a month for six or twelve months - the perfect gift. This, the fourth Dorothy Whipple novel we have republished, is, like the others, apparently gentle but has a very strong theme, in this case domestic violence. Three sisters marry very different They Were Sisters and the choices they make determine whether they will flourish, be tamed or be repressed. Lucy's husband is her beloved companion; Vera's husband They Were Sisters her and she turns elsewhere; and Charlotte's husband is a bully who turns a high-spirited naive young girl into a deeply They Were Sisters woman. I eavesdropped on the lives of Lucy, Charlotte and Vera, compelled to go on but with a sense of simmering dread. The endpaper is 'Pattern of Anemones', a printed They Were Sisters crepe dress fabric manufactured by Calico Printers' Association, Manchester. It was thus manufactured in the part of the world in which Dorothy Whipple lived and wrote; and could have been worn by any of the three sisters but perhaps most especially by Vera. Read reviews about all Persephone books Read blogs about all Persephone books. Categories: Family Woman and Home. Instagram Twitter Find a book Select A Book a Month We can They Were Sisters a book a month for six or twelve months - the perfect gift. They Were Sisters by Dorothy Whipple. Persephone book no: 55 56 Still from the film of They Were Sisters.
    [Show full text]
  • British Movies from Austerity to Affluence, Which Deals Extensively with British films of the 1950S, Was Written in the Mid-1960S and Was Published in 1970
    Raymond Durgnat and A Mirror for England robert murphy If clearly marked personal style is one’s criterion of interest, then few British films reward the concern given to such directors as, say, Dreyer, Buñuel, Franju and Renoir. But other criteria of interest exist, whereby many of the subtlest meanings behind a personal style may be related to the collective vision of a particular tradition, period, background or ‘school’. It’s logical and usual to consider even impersonal and anonymous artworks as an expression of a general consensus (A Mirror for England, p. 4).1 R ’ A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. Given the shifts in attitudes over the past thirty years – in society generally as well as in the little world of film studies – one might expect the judgments expressed there, the choices of what is important, to have become dated and irrelevant. If one reads Roy Armes’s A Critical History of British Cinema, which was published in 1978, one is propelled into a time warp where academics with long hair wore tank tops and flared jeans, and had posters of La Hora de los Hornos on their walls. Armes draws inspiration from a deadly cocktail of Althusserian Marxism and the languid snobbery of C. A. Lejeune to take to task an industry which ‘has never created an adequate working Raymond Durgnat died in June 2002 at the age of 69. The Australian online journal Senses of Cinema devoted a substantial part of its June issue to a Fest- schrift planned to honour his seventieth birthday <www.sensesofcinema.
    [Show full text]
  • Thesis Hum 2008 Morris J (1).Pdf
    The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town University of Cape Town Faculty of Humanities 2008 Two Shadows in the Moonlight Music in British Film Melodrama of the 1940s John Morris MRRJOH014 A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Arts in Film Studies Programme Code: FAM5005Z Due date: 1 April 2008 University of Cape Town This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Two Shadows in the Moonlight Music in British Film Melodrama of the 1940s John Morris Town Cape of Acknowledgements ........................................................................................................ 1 Abstract ........................................................................................................................... 3 Introduction .................................................................................................................... 5 CHAPTER 1 - Nineteenth-century Roots ...................................................................
    [Show full text]
  • Googie Withers and John Mccallum Brian Mcfarlane
    CLASS ACT: GOOGIE WITHERS AND JOHN MCCALLUM BRIAN MCFARLANE s I talked to the McCallums in May this year, I had to keep reminding myself that they are both in their nineties and that they’ve been in the business of entertaining us for over seventy years. Anyone who saw them in any of the films or plays in which they co-starred will know how well they Aplayed together professionally. As you watch them together now, complementing (and complimenting) each other, you can’t help wondering how much of their professional success was a spin-off from a stimulating partnership off-screen or off-stage. It seems timely to pay tribute to them for what they achieved in the performing arts in Australia and elsewhere. googie Googie Withers came to prominence in British films in the 1940s, when British cinema was enjoying its finest hours and when there was a flurry of memorable women stars. If they are not well known today, they certainly were then: Sally Gray with the eloquent voice and slightly melancholy mien; patrician Valerie Hobson; Ann Todd of the ambiguous, chiselled blonde features; Phyllis Calvert, so much smarter than the goody- goody image that was foisted on her; Margaret Lockwood, flaring her nostrils and baring her cleavage in a refined version of passion; sexy bad-girl Jean Kent getting into a lot of entertaining trouble; and Anna Neagle being so ladylike that you wanted her to slip 103 04_Essays.indd 103 29/7/09 3:36:53 PM on a banana skin. But Googie Withers was something else.
    [Show full text]
  • Reconstructing Boundaries: Gender, War and Empire in British Cinema, 1945-1950
    University of Huddersfield Repository Webster, Wendy Reconstructing Boundaries: Gender, war and empire in British cinema, 1945-1950 Original Citation Webster, Wendy (2003) Reconstructing Boundaries: Gender, war and empire in British cinema, 1945-1950. Historical Journal of Film, Radio, and Television, 23 (1). pp. 43-57. ISSN 0143-9685 This version is available at http://eprints.hud.ac.uk/id/eprint/13016/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 1 Reconstructing boundaries: gender, war and empire in British cinema, 1945-50 In Against the Wind (1947), a British film released soon after the Second World War, the fate of Max -- who is shown working for the British-led resistance in Belgium -- is sealed by two women. 1 The film is careful to establish that Max (Jack Warner) does not identify as British before he is revealed as a traitor.
    [Show full text]
  • 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.
    [Show full text]
  • CRITERION COLLECTION PRESENTS the Forgiveness of Blood
    AVAILABLE on BLU-RAY AnD DVD! THE CRITERION COLLECTION PRESENTS ThE FoRgIVEnEss oF BLooD THE STARTLING NEW DRAMA FROM THE DIRECTOR OF MARIA FULL OF GRACE FRESH FROm its THEaTRICaL RuN! american director JOSHUA MARSTON broke out in 2004 with his jolting, Oscar-nominated Maria Full of Grace, about a young Colombian woman working as a drug mule. In his remarkable follow-up, The Forgiveness of Blood, he turns his camera on another corner of the world: contemporary northern albania, a place still troubled by the ancient custom of interfamilial blood feuds. From this reality, marston sculpts a fictional narrative about a teenage brother and sister physically and emotionally trapped in a cycle of violence, a result of their father’s entanglement with a rival clan over a piece of land. The Forgiveness of Blood is a tense and perceptive depiction of a place where tradition and progress have an uneasy coexistence, as well as a dynamic coming-of-age drama. WINNER DIRECTOR-APPROVED Best SCREENPLay, BERLIN FILm FestivaL, 2011 SPECIAL EDITION FEATURES · New high-definition digital transfer, approved by producer Paul mezey, with 5.1 surround DTS-HD “Marston may be indie cinema’s finest master audio soundtrack on the Blu-ray edition immersive journalist.” · Audio commentary featuring director and cowriter —David Fear, Time Out New York Joshua marston · Two new video programs: Acting Close to Home, “An accomplished and suspenseful drama.” a discussion between marston and actors Refet —The Hollywood Reporter abazi, Tristan Halilaj, and Sindi Laçej, and Truth on the Ground, featuring new and on-set interviews with mezey, abazi, Halilaj, and Laçej BLU-RAY EDITION SRP $39.95 PREBOOk 9/18/12 STREET 10/16/12 · audition and rehearsal footage CaT.
    [Show full text]
  • Trottie True
    Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 9th March 2020 FREESAT 306 | VIRGIN 445 Trottie True on Talking Pictures TV A rare British Technicolour film from the late 1940s, Trottie True offers an abundance of visual pleasures, not least of which is Jean Kent who stars as a ‘Gaiety Girl’ of the 1890s. She is supported by James Donald and Hugh Sinclair along with Lana Morris, Andrew Crawford and Michael Medwin. Trottie attracts the attention of some very well-bred admirers, including love-struck Lord Digby Landon who she marries, but is her heart really in it or is she still sweet on intrepid balloonist Sid Skinner? Sprinkled throughout with song and dance routines and lavish sets and costumes, Trottie True is a feast for the eyes and a humorous take on romance. The film contains a host of famous faces, including Hattie Jacques, Christopher Lee, Roger Moore and also Bill Owen, who features in an exclusive Talking Pictures interview before the film on Sunday. Trottie True Airs on Sunday 15th March at 7pm. Mon 9th March 3:55pm Wed 11th March 7:15pm and Sat 14th March 6:05pm Pool of London (1951) Angels One Five (1952) Crime. Director: Basil Dearden. War drama. Director: George More Stars: Earl Cameron, Bonar Colleano, O’Ferrall. Stars: Jack Hawkins, Susan Shaw & Renee Asherson. When Michael Denison, John Gregson, their ship docks, the crew disembark to Dulcie Grey and Veronica Hurst. pick up their lives in post war London. The story of life in the RAF during the Battle of Britain.
    [Show full text]
  • The Representation of Transgressive Female Desire in Daughter Of
    43 ‘Unsettling the men’: the representation of transgressive female desire in Daughter of Darkness (Lance Comfort, 1948) Paul Mazey The British film Daughter of Darkness (1948) is remarkable in the way it depicts its female protagonist. Not only is she presented as a psychologically complex character who is both a serial killer and a victim of her own dark desires, but her unbridled sexuality is expressed in a surprisingly forthright manner. In a break with the traditions of 1940s British Gothic melodrama films, she is neither an innocent young girl used by powerful men, in the manner of Caroline (Jean Simmons) in Uncle Silas (1947), nor is she a villainous woman who, in the pursuit of pleasure and comfort, scandalises the conventions of the period, as Barbara (Margaret Lockwood) does in The Wicked Lady (1945). With the added immediacy of a contemporary time-frame, Daughter of Darkness presents an exploration of the repression and desire of its lead character with recourse to the modes of Gothic melodrama and Gothic horror. ‘Melodrama’ and ‘Gothic’ both evade clear definition as cinematic terms owing to their varied evolution through literary and theatrical traditions. As a theatrical form, melodrama is characterised by ‘a structure based on moral polarities, an appeal to excitement and the emotions’ (Barefoot 1994: 95). In cinema, the wider usage of the term has distilled primarily into a description of forms that prioritise feelings and emotion, typically in films aimed at a female audience, with female protagonists and concerns (Gledhill 1987: 33). When considering the problem of defining the Gothic, David Punter notes that, in literature, elements of a Gothic style emerge in a range of literary traditions (1980: 403).
    [Show full text]
  • The Cultural Impact of British Film
    Appendices June 2009 Appendices I Database of British films: methodology Intuitive list of UK films 1946-2006 Random list of UK films 1946-2006 II Film case studies III Statistical analysis of UK film releases in Europe and the US VI Marketing case studies V Analytical tables VI Image clearances I Database of British films Methodology Research for this study was partly based on building, for the first time, a database of all UK feature-length films known to have been released over the reference period 1946- 2006. The database was then used to produce two samples: the intuitive list of 200 UK films and the random list. For further details please contact the Research and Statistics Unit at the UK Film Council. Intuitive list of UK films 1946-2006 This list contains 200 of the UK films that have been regarded by critical consensus as the best in the canons of national cinema. The selection was based on intuitive criteria which took into account existing scholarship and film review literature, ongoing contemporary demand for those films in new media such as DVD or downloads, and evidence of those films being referred to, quoted or evoked in the wider context of UK culture. The list is not comprehensive; by definition, any such list cannot be, because it is based on largely subjective criteria which are not stable over time, as templates of taste and popular appeal are in a constant state of flux. However, the authors have taken particular care to ensure that the sample does not merely reflect the taste range and aesthetic preoccupations of a chosen elite, but features as wide a range of films as possible in terms of genre, form, themes and audience appeal.
    [Show full text]
  • Moma to OCNCLUDE PART ONE of BRITISH FILM RETROSPECTIVE
    The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART #81 FOR IMMEDIATE RELEASE MoMA TO CONCLUDE PART ONE OF BRITISH FILM RETROSPECTIVE WITH POST-WAR FILMS OF EALING STUDIOS MICHAEL BALCON: THE PURSUIT OF BRITISH CINEMA, Part One of The Museum of Modern Art's massive survey of British film history, will be devoted in its final weeks to the post-war work of producer Michael Balcon at Ealing Studios. This section of the two-part series, shown in the Museum's Roy and Niuta Titus Theater 1, will conclude on February 5. The period after World War II was one of the most productive for Balcon, who, as the unofficial statesman and spokesman of the British film industry, worked tire­ lessly to help create an indigenous British cinema. The January and February pro­ grams at MoMA will include not only the celebrated Whisky Galore (known in the U.S. as Tight Little Island) but also three of Alec Guinness's most famous comedies, The Lavender Hill Mob, The Man in the White Suit, and The Ladykillers. Also among the best-known Ealings are the moving, almost pacific reminiscence of corvette duty during World War II, The Cruel Sea, and Alexander Mackendrick's poignant and unsen­ timental account of a deaf child's education, Mandy. From Basil Dearden come two thrillers: the popular police procedural The Blue Lamp, in which a young Dirk Bo- garde plays a murderous delinquent, and the lesser-known Pool of London, a shadowy dockside drama.
    [Show full text]