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Home , Bomb Culture, Brian Gibson (director), Dilys Powell, John Russell Taylor, Leslie Halliwell, Penelope Gilliatt

Notes

1 Introduction

1. Anonymous, ‘Tommy Steele for Anglo Rock’n’Roll Film’, Kinematograph Weekly, 24 January 1957. 2. It is merely listed amongst ‘nineteen support films’ in Peter Hutchings’ monograph, Terence Fisherr (Manchester University Press, 2002), p. 57. 3. ‘While the use of the word “popular” in relation to the lighter forms of music goes back to the mid-19th century, the abbreviation “pop” was not in use as a generic term until the 1950s when it was adopted as the umbrella name for a special kind of musical product aimed at a teenage market.’ Peter Gammond, The Oxford Companion to Popular Music (, 1991), p. 457. 4. Arthur Marwick, The Sixties: Cultural Revolution in Britain, France, and the , c. 1958–1974 (Oxford University Press, 1998), p. 7. 5. Arthur Marwick, British Society since 1945, 4th edn (Harmondsworth: Penguin, 2003), p. 13. 6. Ibid., pp. 131–2. 7. Dick Hebdige, Hiding in the Light: On Images and Things (: Routledge, 1988), p. 19. 8. Christine Gledhill, ‘Genre’, in Pam Cook (ed.), The Cinema Book, 3rd edn (London: , 2008), pp. 254, 259. 9. The book will not treat (those rare) British productions or co-productions where the star is not British, such as ’s 200 Motels (Frank Zappa, Tony Palmer, 1971), nor (those numerous) films where British pop artists make brief cameo appearances but do not star, such as in Saturday Night Outt (Robert Hartford-Davis, 1963). 10. Eric Barnouw, Documentary: History of the Non-Fiction Film, 2nd edn (Oxford University Press, 1993), pp. 231–53; Michael Renov (ed.), Theorising Documentary (London: Routledge, 1993), pp. 37–57. For studies of the ‘rockumentary’, see Jonathan Romney and Adrian Wootton (eds), Celluloid Jukebox: Popular Music and the Movies since the 50s (London: British Film Institute, 1995), pp. 82–105; Thomas F. Cohen, Playing to the Camera: Musicians and Musical Performance in Documentary Cinema (London: Wallflower, 2012). 11. Romney and Wootton, Celluloid Jukebox, p. 7. 12. André Bazin, What Is Cinema, Vol. 2 (Berkeley: University of Press, 2005); Robert Warshow, The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture (Cambridge, MA: Harvard University Press, 2002). While Bazin accesses a very limited archive, Warshow deduces generic shape from a reading of just three films. 13. Barry Langford, Film Genre: Hollywood and Beyondd (Edinburgh University Press, 2005), p. 135. 14. For informative surveys of ‘the king’ on celluloid, see Eric Braun, The Elvis Film Encyclopedia (London: Batsford, 1997) and Douglas Brode, Elvis, Cinema and Popular Culture (New York: McFarland, 2006).

213 214 Notes to Chapter 1

15. Steve Neale, Genre and Hollywoodd (London: Routledge, 1999), p. 51. 16. Andrew Caine, Interpreting Rock Movies: The Pop Film and its Critics in Britain (Manchester University Press, 2004), p. 8. 17. Rick Altman, Film / Genre (London: British Film Institute, 1999), p. 14. 18. Steve Neale, Genre (London: British Film Institute, 1980), p. 19. 19. Gregory Lukow and Steven Ricci, ‘The “Audience” goes “Public”: Inter- Textuality, Genre and the Responsibilities of Film Literacy’, On Film, 12, 1984, pp. 29–36. 20. Susan Hayward, Key Concepts in Cinema Studies (London: Routledge, 1996), p. 160. 21. Caine, Interpreting Rock Movies, pp. 15–33. 22. Ibid., p. 8. 23. Franco Moretti, Graphs, Maps, Trees: Abstract Models for a Literary Theory (London: Verso, 2005), p. 14. 24. Andrew Dix, Beginning Film Studies (Manchester University Press, 2008), p. 178. 25. Ibid. 26. David Buckingham, Children Talking Television: The Making of Television Literacyy (London: Falmer Press, 1993), p. 137. 27. Thomas Schatz, Hollywood Genres: Formulas, Filmmaking and the Studio System (New York: Random House, 1981). 28. Richard Dyer, The Movie, no. 75 (1981), p. 1484. 29. Jane Feuer, The Hollywood Musical (London: Macmillan, 1982), p. 88. 30. John G. Cawelti, ‘Chinatown and Generic Transformation in Recent American Films’, in Barry Keith Grant (ed.), Film Genre Reader (Austin: University of Texas Press, 1986), p. 200. 31. Brian Taves, The Romance of Adventure: The Genre of Historical Adventure Movies (Jackson: Mississippi University Press, 1993), p. 22. 32. Dyer, The Movie, p. 1484. 33. James Leggott, ‘Nothing to Do Around Here: British Realist Cinema in the 1970s’, in Robert Shail (ed.), Seventies British Cinema (London: Palgrave Macmillan, 2008), p. 98. 34. Terry Threadgold, ‘Talking about Genre: Ideologies and Incompatible Discourses’, Cultural Studies, vol. 3, no. 1, January 1989, p. 109. 35. John Fiske, Television Culture (London: Routledge, 1987), p. 110. 36. Will Wright, Six Guns and Society: A Structural Study of the Western (Berkeley: University of California Press, 1975). 37. Tim O’Sullivan et al., Key Concepts in Communication (London: Methuen, 1983), p. 128. 38. Hayward, Key Concepts in Cinema Studies, p. 161. 39. Neale, Genre, p. 62. 40. Hayward, Key Concepts in Cinema Studies, p. 165. 41. Christine Gledhill (ed.), Stardom: The Industry of Desire (London: Routledge, 1991), p. 215. 42. Margaret Hinxman, Daily Herald, 29 October 1960. 43. Additional Beatles’ histories include Bill Harry’s illustrated filmography, : The History of on Film (London: Virgin, 1984) and Edward Gross’ anecdotal The Fab Films of the Beatles (Las Vegas: Pioneer Books, 1990). Even Bob Neaverson’s academic study The Beatles Movies (London: Cassell, 1997) is predominantly contextual and ‘leaves plenty of Notes to Chapter 2 215

room for further analysis and debate’. Rowana Agajanian, ‘Nothing Like any Previous Musical, British or American’, in Anthony Aldgate et al. (eds), Windows on the Sixties (London: I.B. Tauris, 2000), p. 110. 44. See also Fred Dellar, NME Guide to Rock Cinema (London: Hamlyn, 1981) and David Ehrenstein and Bill Reed, Rock on Film (London: Virgin, 1982). 45. Danny Graydon, Empire, no. 150, December 2001, p. 164. 46. Julian Petley, ‘The Lost Continent’, in Charles Barr (ed.), All Our Yesterdays: 90 Years of British Cinema (London: British Film Institute, 1986), p. 98. For the transformation from ‘scarcity to abundance’, see Alan Lovell, ‘The British Cinema: The Known Cinema’, in Robert Murphy (ed.), The British Cinema Book, 2nd edn (London: British Film Institute, 2002), p. 200. 47. One could cite inter alia Pam Cook (ed.), (London: Cassell, 1997); Steve Chibnall and Robert Murphy (eds), British Crime Cinema (London: Routledge, 1999); I.Q. Hunter (ed.), British Science Fiction Cinema (London: Routledge, 1999); Steve Chibnall and Julian Petley (eds), British Horror Cinema (London: Routledge, 2001); I.Q. Hunter and Laraine Porter (eds), British Comedy Cinema (London: Routledge, 2012). Peter Hutchings’ ground-breaking Hammer and Beyond: The British Horror Film (Manchester University Press, 1993) influences the subtitle of this study. 48. John Mundy, The British Musical Film (Manchester University Press, 2007), p. 9. 49. Steve Chibnall, Review of K.J. Donnelly and John Mundy, Music, Sound and the Moving Image, vol. 3, no. 2, 2009, p. 256.

2 The Primitive Film

1. Fred Dellar, NME Guide to Rock Cinema (London: Hamlyn, 1981), p. 10; David Ehrenstein and Bill Reed, Rock on Film (London: Virgin, 1982), p. 14. 2. Sue Harper and Vincent Porter, British Cinema of the 1950s: The Decline of Deference (Oxford University Press, 2003), p. 1. 3. Jeffrey Richards, ‘New Waves and Old Myths: British Cinema in the Sixties’, in B. Moore-Gilbert and J. Seed (eds), Cultural Revolution? The Challenge of the Arts in the 1960s (London: Routledge, 1992), p. 218. 4. Anthony Bicat, ‘Fifties Children: Sixties People’, in V. Bogdanor and R. Skidelsky (eds), The Age of Affluence 1951–1964 (London: Macmillan, 1970), p. 324. 5. Nik Cohn, AwopBopALooBopAWopBamBoom: Pop from the Beginningg (London: Weidenfeld and Nicolson, 1969), p. 21. 6. Anonymous, Kinematograph Weekly, 23 May 1957. ‘B’ features rarely figured in the national press and there are no extant reviews in the BFI archive. 7. Matthew Sweet, British B-movies: Truly Madly Cheaply, BBC4, broadcast 21 June 2008. 8. George Melly, Revolt into Style (Harmondsworth: Penguin, 1972), p. 4. 9. Trevor Philpott, ‘Bermondsey Miracle’, Picture Post, 25 February 1957. 10. Anonymous, Sunday Times, 9 July 1957. 11. David Robinson, Sight and Sound, vol. 27, no. 1, Summer 1957, p. 43. 12. Harper and Porter, British Cinema of the 1950s, p. 308. 13. For the ‘real’ story of Steele’s apprenticeship, see Pete Frame, The Restless Generation: How Changed the Face of 1950s Britain (London: Rogan 216 Notes to Chapter 2

House, 2007), pp. 138–50; Vickie Holt, ‘Tommy Steele: Before the Invasion’, Blue Suede News, vol. 69, Winter 2004, pp. 5–9. 14. Melly, Revolt into Style, p. 39. 15. Ibid., p. 47. 16. Colin MacInnes, ‘Pop Songs and Teenagers’, The Twentieth Century, February 1958, reprinted in and Jon Savage (eds), The Faber Book of Pop (London: Faber and Faber, 1995), p. 85. 17. Press of Anglo-Amalgamated Film Distributors Ltd – BFI microfiche. 18. Maureen Turim, Flashbacks in Film: Memory and History (London: Routledge, 1989), p. 17. 19. Susan Hayward, Key Concepts in Cinema Studies (London: Routledge, 1996), p. 124. 20. Turim, Flashbacks in Film, p. 17. 21. Melly, Revolt into Style, p. 48; Andrew Caine, Interpreting Rock Movies: The Pop Film and its Critics in Britain (Manchester University Press, 2004), p. 115. 22. Richard Dyer, Stars (London: British Film Institute, 1980), p. 35. 23. Advertisement, Kinematograph Weekly, 23 May 1957, p. 12. 24. Caine, Interpreting Rock Movies, p. 122. 25. MacInnes, ‘Pop Songs and Teenagers’, p. 89. 26. Harper and Porter, British Cinema of the 1950s, p. 192. 27. Turim, Flashbacks in Film, p. 171. 28. Philpott, ‘Bermondsey Miracle’, p. 66. Steele himself recalled how, in his first Variety performance, at the Sunderland Empire, ‘a mass scream started in the darkness of the auditorium and rolled over the footlights towards me like a giant killer wave’. Tommy Steele, Bermondsey Boyy (London: Michael Joseph, 2006), p. 253. 29. Jane Feuer, The Hollywood Musical (London: Macmillan, 1982), p. 27. 30. See Charlie Gillett, The Sound of the Cityy (London: Sphere, 1971), pp. 25–6. 31. David Bordwell and Kristin Thompson, Film Art: An Introduction, 4th edn (New York: McGraw Hill, 1993), p. 159. 32. This reading predicts Steele’s own feelings two years later: ‘How many records had I sold today and how many would I sell tomorrow? I didn’t want the mathematics of pop. I wanted the majesty of the theatre and I wanted the thrill of it forever.’ Steele, Bermondsey Boy, p. 305. 33. Colin MacCabe, Performance (London: British Film Institute, 1998), pp. 78, 24. 34. Kinematograph Weekly, 19 September 1957. For a fuller treatment of Dene’s career, see Frame, The Restless Generation, pp. 258–67. 35. Donald Zec, Daily Mirrorr, 14 March 1958. 36. Nina Hibbin, Daily Workerr, 15 March 1958. 37. Sue Harper, Women in British Cinema (London: Continuum, 2000), p. 81. 38. Frank Jackson, Reynolds News, 16 March 1958. 39. Feuer, The Hollywood Musical, p. 45. 40. Jon Savage, ‘The Simple Things You See Are All Complicated’, in Kureishi and Savage (eds), The Faber Book of Pop, p. xxiii. 41. Colin Larkin (ed.), Encyclopedia of Stage and Film Musicals (London: Virgin, 1999), p. 198. 42. For full changes, see Ian Bevan and Kurt Ganzl, The British Musical Theatre, Vol. II: 1915–1984 (London: Palgrave Macmillan, 1986), pp. 715–19. Notes to Chapter 2 217

43. Val Guest, So You Want to Be in Pictures (London: Reynolds and Hearn, 2001), p. 136. 44. Ibid. 45. Josh Billings, Kinematograph Weekly, 28 January 1960. 46. William Whitebait, , 5 December 1959. 47. Paul Dehn, News Chronicle, 27 November 1959. 48. Hollis Albert, Saturday Review, 12 March 1960. 49. David Robinson, , 30 November 1959. 50. Fred Majdalany, , 27 November 1959. 51. Isabel Quigly, Spectatorr, 4 December 1959. 52. Ben Thompson, ‘Pop and Film: The Charisma Crossover’, in Jonathan Romney and Adrian Wootton (eds), Celluloid Jukebox: Popular Music and the Movies since the 50s (London: British Film Institute, 1995), p. 40. 53. Geoff Brown in John Pym (ed.), Time Out Film Guide 177 (London: Time Out Guides, 2007), p. 330. 54. Bruce Eder in Marshall Crenshaw, Hollywood Rockk (London: Plexus, 1994), p. 78. 55. Angela Dalle Vacche, Cinema and Painting: How Art is Used in Film (Austin: University of Texas Press, 1996), p. 114. 56. Charles Barr, ‘Broadcasting and Cinema’, in Charles Barr (ed.), All Our Yesterdays: 90 Years of British Cinema (London: British Film Institute, 1986), p. 216. 57. See John Hill, Sex, Class and Realism: British Cinema 1956–1963 (London: British Film Institute, 1986), p. 174. 58. Arthur Marwick, ‘Room at the Top, Saturday Night and Sunday Morningg and the “Cultural Revolution” in Britain’, Journal of Contemporary History, vol. 19, no. 1, January 1984, p. 129. 59. Arthur Marwick, British Society since 1945, 4th edn (Harmondsworth: Penguin, 2003), p. 134. 60. Hill, Sex, Class and Realism, p. 132. 61. John Mundy, Popular Music on Screen: From Hollywood Musical to Musical Video (Manchester University Press, 1999), p. 167. 62. Stuart Hall and Tony Jefferson (eds), Resistance through Rituals: Youth Sub- Cultures in Post-War Britain, 2nd edn (London: Routledge, 2006), p. 71. 63. See Tony Aldgate, ‘From Script to Screen: Serious Charge and Film Censorship’, in Ian MacKillop and Neil Sinyard (eds), British Cinema of the 1950s: A Celebration (Manchester University Press, 2003) and Anthony Aldgate and James C. Robertson, Censorship in Theatre and Cinema (Edinburgh University Press, 2005), pp. 86–101. 64. Steve Turner, Cliff Richard: The Biographyy (Oxford: Lion Publishing, 1993), p. 140. 65. BBFC File, Serious Charge, Examiner’s Report by John Trevelyan, 14 September 1958. 66. David Robinson, The Times, 20 May 1959. 67. William Whitebait, New Statesman, 23 May 1959. 68. Anonymous, Sunday Express, 17 May 1959. 69. Dilys Powell, Sunday Times, 17 May 1959. 70. George Sterling, Sunday Dispatch, 17 May 1959. 71. Josh Billings, Kinematograph Weekly, 17 December 1959, p. 3. 72. Melly, Revolt into Style, p. 55. 218 Notes to Chapter 2

73. Cohn, Pop from the Beginningg, p. 70. 74. Patrick Doncaster and Tony Jasper, Clifff (London: Octopus Books, 1983), p. 619. 75. Thomas Elsaesser, ‘Tales of Sound and Fury: Observations on the Family Melodrama’, in Christine Gledhill (ed.), Home is Where the Heart is: Studies in Melodrama and the Woman’s Film (London: British Film Institute, 1987), p. 51. 76. Hayward, Key Concepts in Cinema Studies, p. 205. 77. Ibid. 78. For ‘the male weepie’, see Thomas Schatz, Hollywood Genres: Formulas, Filmmaking and the Studio System (New York: Random House, 1981), pp. 239–43. For film’s deployment of Freud’s Oedipus complex theories, see Stella Bruzzi, Bringing Up Daddy: Fatherhood and Masculinity in Postwar Hollywoodd (London: British Film Institute, 2005). 79. Geoffrey Nowell-Smith, ‘Minnelli and Melodrama’, in Gledhill (ed.), Home is Where the Heart is, p. 73. 80. Stephen Bourne, Brief Encounters: Lesbians and Gays in British Cinema 1930–1971 (London: Cassell, 1996), p. 138. 81. Marcia Landy, British Genres: Cinema and Society, 1930–60 (Princeton University Press, 1991), p. 480. 82. Andy Medhurst, ‘Victim: Text as Context’, in Andrew Higson (ed.), Dissolving Views: Key Writings on British Cinema (London: Cassell, 1996), p. 128. 83. Ibid. 84. For a survey of Faith’s career, see Frame, The Restless Generation, pp. 412–19. 85. Adam Faith, Poor Me (London: Four Square, 1961), p. 48. 86. Anonymous, Monthly Film Bulletin, vol. 15, no. 172, April 1948, p. 47. 87. For an assessment of her crime fiction, see Steve Holland, ‘The Lady Holds a Gun: On the Trail of Dail Ambler’, in Steve Holland, Mean Streetmaps: Essays into Crime (Colchester: Bear Alley Books, 2011). 88. BBFC file, Beat Girl, Reader’s Report by Frank Crofts, 7 March 1959. 89. BBFC file, letter from John Trevelyan to George Willoughby, 7 April 1959. 90. BBFC file, Exception Form by Frank Crofts, 30 November 1959. 91. See Anthony Aldgate, Censorship and the Permissive Society: British Cinema and Theatre 1955–65 (Oxford: Clarendon Press, 1995), p. 98. 92. Donald Gomery, Daily Express, 28 October 1960. 93. Anonymous, Kinematograph Weekly, 6 October 1960. 94. Faith, Poor Me, p. 51. 95. Ehrenstein and Reed, Rock on Film, p. 267. 96. Lez Cooke, ‘British Cinema: A Struggle for Identity’, in Clive Bloom and Gary Day (eds), Literature and Culture in Modern Britain, Vol. 3: 1956–1999 (London: Longman, 2000), pp. 151, 150, 149. 97. Peter Hutchings, ‘Beyond the New Wave: Realism in British Cinema, 1959–63’, in Robert Murphy (ed.), The British Cinema Book, 2nd edn (London: British Film Institute, 2002), p. 149. 98. Hill sees ‘exploitation’ films like Beat Girl as ‘looking back less to documen- tary and Ealing than to the more melodramatic offerings of Gainsborough, such as Good Time Girl (1947) and The Boys in Brown (1949)’. Hill, Sex, Class and Realism, p. 117. 99. Hayward, Key Concepts in Cinema Studies, p. 202. Notes to Chapter 2 219

100. The scene is glimpsed in Val Guest’s tale of apocalyptic angst The Day the Earth Caught Fire (1961) and Guy Hamilton’s exploitative/elegiac The Party’s Overr (1963). 101. Nowell-Smith, ‘Minnelli and Melodrama’, p. 73. 102. This became the eponymous phrase for Max Décharné’s Straight from the Fridge, Dad: A Dictionary of Hipster Slangg (Harpenden: No Exit Press, 2000). 103. Andy Medhurst, ‘It Sort of Happened Here: The Strange, Brief Life of the British Pop Film’, in Romney and Wootton (eds), Celluloid Jukebox, p. 65. 104. Laura Mulvey, ‘Notes on Sirk and Melodrama’, in Gledhill (ed.), Home is Where the Heart is, p. 77. 105. Hill, Sex, Class and Realism, p. 119. 106. John Mundy, The British Musical Film (Manchester University Press, 2007), p. 185. 107. Mulvey, ‘Notes on Sirk and Melodrama’, p. 77. 108. Nowell-Smith, ‘Minnelli and Melodrama’, pp. 73–4. 109. Pam Cook, ‘Melodrama and the Women’s Picture’, in Sue Aspinall and Robert Murphy (eds), BFI Dossier No. 18: Gainsborough Melodrama (London: British Film Institute, 1983), p. 18. 110. Caine, Interpreting Rock Movies, p. 149. 111. Gillett, The Sound of the City, p. 256. 112. Cohn, Pop from the Beginningg, p. 75. 113. Turner, Cliff Richard, p. 143. 114. Hayward, Key Concepts in Cinema Studies, p. 241. 115. Rick Altman, The American Film Musical (Bloomington: Indiana University Press, 1989), p. 127. 116. Cliff Richard, Which One’s Cliff? (London: Hodder and Stoughton, 1977), pp. 59–60. 117. The Shadows comprised Hank Marvin on lead guitar, Bruce Welch on rhythm guitar and Brian Bennett on drums. Jet Harris was then on bass. 118. Josh Billings, Kinematograph Weekly, 11 January 1962. 119. Paul Dehn, Daily Herald, 16 December 1961. 120. Nina Hibbin, Daily Workerr, 16 December 1961. 121. Anonymous, Monthly Film Bulletin, January 1962, p. 15. 122. David Robinson, Financial Times, 15 December 1961. 123. Patrick Gibbs, Daily Telegraph, 16 December 1961. 124. Altman, The American Film Musical, p. 57. 125. Richard Dyer, ‘Entertainment and Utopia’, in Bill Nichols (ed.), Movies and Methods, Vol. 2 (Berkeley: University of California Press, 1985), pp. 224–5. 126. Ibid., pp. 225–8. 127. Feuer, The Hollywood Musical, p. 17. 128. Ibid., p. 228. 129. Dyer, ‘Entertainment and Utopia’, p. 228. 130. Harper, Women in British Cinema, p. 135. 131. Rick Altman, Film / Genre (London: British Film Institute, 1999), pp. 190–1. 132. Dyer, ‘Entertainment and Utopia’, pp. 225–8. 133. Harper, Women in British Cinema, p. 135. 134. Dyer, ‘Entertainment and Utopia’, p. 228. 135. Ibid. 136. Feuer, The Hollywood Musical, p. 94. 220 Notes to Chapter 2

137. Dyer, ‘Entertainment and Utopia’, p. 228. 138. Altman, The American Film Musical, p. 223. 139. Feuer, The Hollywood Musical, p. 30 (my italics). 140. Altman, The American Film Musical, p. 25. 141. Richard, Which One’s Cliff?, p. 61. 142. John Huntley, Back Row, Radio 4, 21 October 2000. 143. Turner, Cliff Richard, p. 205. 144. Anonymous, Kinematograph Weekly, 10 January 1963. 145. Richard, Which One’s Cliff?, p. 61. 146. Margaret Hinxman, Daily Herald, 9 January 1963. 147. Penelope Gilliatt, Observerr, 13 January 1963. 148. Anonymous, Daily Mail, 9 January 1963. 149. Felix Barker, Evening News, 10 January 1963. 150. Between 1951 and 1961 travel abroad had doubled to four million annu- ally. Marwick, British Society since 1945, p. 248. 151. Feuer, The Hollywood Musical, p. 67. 152. Altman, The American Film Musical, p. 108. 153. Ibid., p. 24. 154. Ibid., p. 176. 155. Ibid., p. 109. 156. Nina Hibbin, Daily Workerr, 9 January 1963. 157. Altman, The American Film Musical, p. 109. 158. Ibid. 159. Ibid., p. 158. 160. Ibid., p. 177. 161. Ibid., p. 180. 162. Ibid., p. 183. 163. Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen, vol. 16, no. 3, Autumn 1975. 164. M.A. Doane, ‘The Woman’s Film: Possession and Address’, in M.A. Doane, P. Mellencamp and L. Williams (eds), Re-Vision: Essays in Feminist Film Criticism (Frederick, MD: American Film Institute, 1984). 165. Altman, The American Film Musical, pp. 190–1. 166. Ibid., p. 109. 167. K.J. Donnelly, British Film Music and Film Musicals (Basingstoke: Palgrave Macmillan, 2007), p. 147. 168. Altman, The American Film Musical, p. 163. 169. Ibid., p. 109. 170. Mike Read, The Story of the Shadows (London: Elm Tree Books, 1983), p. 132. 171. Richard Dyer, Heavenly Bodies: Film Stars and Societyy (London: Macmillan, 1987), p. 182. 172. Richard, Which One’s Cliff?, p. 63. 173. P.G.B., Films and Filmingg, vol. 10, no. 11, August 1964, p. 26. 174. Leonard Mosley, Daily Express, 1 July 1964. 175. John Coleman, New Statesman, 3 July 1964. 176. Dilys Powell, Sunday Times, 5 July 1964. 177. Michael Thornton, Sunday Express, 5 July 1964. 178. Feuer, The Hollywood Musical, p. 68. Notes to Chapter 3 221

179. Peter Wollen, ‘Godard and Counter Cinema: Vent d’Estt (1972)’, Afterimage, Autumn 1972, p. 11. 180. Feuer, The Hollywood Musical, p. 90. 181. Ibid. 182. Ibid.

3 The Mature Pop Music Film

1. Harold Wilson, Purpose in Politics: Selected Speeches of Harold Wilson (London: Riverside, 1964), p. 10. 2. Philip Norman, Shout! The True Story of the Beatles (London: Elm Tree Books, 1981), p. 257. 3. Robert Murphy, Sixties British Cinema (London: British Film Institute, 1992), p. 307. 4. There are no extant reviews from national newspapers in the BFI Library files. In the sole study to date of Winner’s films, Play It Cooll is curtly dismissed: ‘a detailed description would be futile, a critical discussion almost impossible’. Bill Harding, The Films of Michael Winnerr (London: Frederick Muller, 1978), p. 17. 5. Andrew Caine, Interpreting Rock Movies: The Pop Film and its Critics in Britain (Manchester University Press, 2004), p. 175. 6. Bruce Eder in Marshall Crenshaw, Hollywood Rock (London: Plexus, 1994), p. 173. 7. Michel Ciment, (London: Faber and Faber, 1986), p. 10. 8. John Mundy, The British Musical Film (Manchester University Press, 2007), p. 200. 9. Phil Hardy and Dave Laing, The Faber Companion to 20th-Century Popular Musicc (London: Faber and Faber, 1990), p. 96. 10. Caine, Interpreting Rock Movies, p. 158. 11. Anonymous, Monthly Film Bulletin, vol. 30, no. 359, December 1963, p. 175. The film was consigned to the lowest III rating. 12. Alexander Walker, Evening Standard, 5 December 1963. 13. Simon Frith and Angela McRobbie, ‘Rock and Sexuality’, in Simon Frith and Andrew Goodwin (eds), On Record: Rock, Pop and the Written Wordd (London: Routledge, 1990), p. 371. 14. Susan Hayward, Key Concepts in Cinema Studies (London: Routledge, 1996), p. 153. 15. For ‘the crisis of masculinity’ in The Full Monty, see John Hill, ‘Failure and Utopianism: Representations of the Working Class in British Cinema of the 1990s’, in Robert Murphy (ed.), British Cinema of the 90s (London: British Film Institute, 2000). 16. Hayward, Key Concepts in Cinema Studies, p. 246. 17. Dilys Powell, Sunday Times, 1 April 1962. 18. Felix Barker, Evening News, 29 March 1962. 19. Anonymous, Kinematograph Weekly, 14 April 1960. 20. Anonymous, Kinematograph Weekly, 5 December 1963. 21. Alexander Walker, Hollywood, : The British Film Industry in the Sixties (London: Michael Joseph, 1974), p. 222. 22. Neil Sinyard, The Films of Richard Lesterr (Beckenham: Croom Hill, 1985), p. 6. 222 Notes to Chapter 3

23. , ‘Richard Lester’, Movie, no. 14, Autumn 1965, p. 10. 24. Robert Hughes, The Shock of the New, 2nd edn (London: Thames and Hudson, 1991), p. 351. 25. Roy Armes, A Critical History of British Cinema (London: Secker and Warburg, 1978), p. 259. 26. Murphy, Sixties British Cinema, p. 135. 27. Walker, Hollywood, England, p. 222. 28. , Bomb Culture (London: MacGibbon and Kee, 1968), p. 49. 29. Nigel Young, An Infantile Disorder? The Crisis and Decline of the New Left (London: Routledge, 1977), p. 28. 30. Sinyard, The Films of Richard Lesterr, p. 11. 31. Nuttall, Bomb Culture, p. 51. 32. George Melly, Revolt into Style (Harmondsworth: Penguin, 1972), p. 60. 33. David Robinson, The Times, 29 March 1962. 34. You Can’t Do That: The Making of A Hard Day’s Nightt, MPI Home Video, 1994. 35. Roy Carr, Beatles at the Movies: Scenes from a Careerr (London: HarperCollins, 1996), p. 30. 36. Bill Harry, The Ultimate Beatles Encyclopedia (London: Virgin, 1992), p. 506. 37. Carr, Beatles at the Movies, p. 47. 38. Michael Thornton, Sunday Express, 13 July 1964. 39. Dick Richards, Daily Mirrorr, 8 July 1964. 40. Cecil Wilson, Daily Mail, 7 July 1964. 41. Isabel Quigly, Spectator, 10 July 1964. 42. Geoffrey Nowell-Smith, Sight and Sound, vol. 33, no. 4, Autumn 1964, pp. 196–7. 43. Anonymous, Monthly Film Bulletin, August 1964. 44. Andrew Sarris, Village Voice, 27 August 1964. 45. Hunter Davies, The Beatles (London: Heinemann, 1968), p. 212. 46. Alongside Rowana Agajanian, ‘Nothing Like any Previous Musical, British or American’, in Anthony Aldgate, James Chapman and Arthur Marwick (eds), Windows on the Sixties (London: I.B. Tauris, 2000) and Bob Neaverson, The Beatles Movies (London: Cassell, 1997), see Stephen Glynn, A Hard Day’s Nightt (London: I.B. Tauris, 2004) and Melanie Williams, ‘A Hard Day’s Nightt’, in Sarah Barrow and John White (eds), Fifty Key British Films (London: Routledge, 2008). 47. Ian MacDonald, Revolution in the Headd (London: Fourth Estate, 1994), p. 102. 48. Quoted in Joseph Gelmis (ed.), The Film Director as Superstarr (London: Secker and Warburg, 1971), p. 316. 49. Eric Shanes, Warhol: The Masterworks (London: Studio Editions, 1991), p. 100. 50. Klaus Honnof, Andy Warhol (Berlin: Taschen, 1990), p. 68. 51. Neaverson, The Beatles Movies, p. 17. 52. Michael Braun, ‘Love Me Do!’ – The Beatles’ Progress (London: Penguin, 1964), p. 74. 53. Jane Feuer, The Hollywood Musical (London: Macmillan, 1982), p. 107. 54. Francis Wheen, The Sixties (London: Century/, 1982), p. 23. 55. Jann Wenner, Lennon Remembers (London: Verso, 2000), p. 84. 56. Richard Lester, Hollywood UK, BBC, broadcast 1993. 57. Michael Thornton, Sunday Express, 1 August 1965. 58. Penelope Houston, Financial Times, 30 July 1965. Notes to Chapter 3 223

59. Patrick Gibbs, Daily Telegraph, 30 July 1965. 60. Alexander Walker, Evening Standard, 27 July 1965. 61. Hollis Alpert, Saturday Review, 28 August 1965. 62. , For Keeps: 30 years at the Movies (New York: E.P. Dutton, 1994), p. 221. 63. Sinyard, The Films of Richard Lesterr, p. 34. 64. , Getting Away with Itt (London: Faber and Faber, 1999), p. 56. 65. French, ‘Richard Lester’, p. 10. 66. Hughes, The Shock of the New, p. 340. 67. Ibid. 68. Soderbergh, Getting Away with Itt, p. 49. 69. Hughes, The Shock of the New, p. 341. 70. Walker, Hollywood, England, p. 268. 71. Neaverson, The Beatles Movies, p. 38. 72. For a fuller elaboration of this argument, see Stephen Glynn, ‘The Beatles’ Help!: Pop Art and the Perils of Parody’, Journal of British Cinema and Television, vol. 8, no. 1, 2011. 73. Tony Bennett, ‘ as Popular Hero’, Politics, Ideology and Popular Culture 2, Unit 21 (Milton Keynes: Open University Press, 1982), p. 13. 74. Melly, Revolt into Style, p. 168. 75. Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (London: Routledge, 1994), p. 140. 76. Raymond Durgnat, A Mirror for England: British Movies from Austerity to Affluence (London: Faber and Faber, 1970), p. 151. 77. Shohat and Stam, Unthinking Eurocentrism, p. 2. 78. Jim Pines, ‘British Cinema and Black Representation’, in Robert Murphy (ed.), The British Cinema Book, 2nd edn (London: British Film Institute, 2002), p. 211. 79. The Beatles Anthologyy (London: Weidenfeld and Nicolson, 2000), p. 171. 80. Norman, Shout!, p. 259. 81. Demitri Coryton and Joseph Murrells, Hits of the Sixties (London: B.T. Batsford, 1990), p. 76. 82. Walker, Hollywood, England, p. 384. 83. Ciment, John Boorman, p. 236. 84. Ibid., p. 56. 85. Kenneth Tynan, Observerr, 7 July 1965. 86. Anonymous, The Times, 8 July 1965. 87. Cecil Wilson, Daily Mail, 7 July 1965. 88. Margaret Hinxman, Sunday Telegraph, 11 July 1965. 89. Anonymous, Kinematograph Weekly, 8 July 1965. 90. Pauline Kael, 5001 Nights at the Movies, rev. edn (New York: Henry Holt, 1991), p. 244. 91. David Ehrenstein and Bill Reed, Rock on Film (London: Virgin, 1982), p. 172. 92. James Monaco, Alain Resnais (London: Secker and Warburg, 1978), p. 85. 93. Andy Medhurst, ‘It Sort of Happened Here: The Strange, Brief Life of the British Pop Film’, in Jonathan Romney and Adrian Wootton (eds), Celluloid Jukebox: Popular Music and the Movies since the 50s (London: British Film Institute, 1995), p. 68. 224 Notes to Chapter 4

94. Ibid. 95. Peter Conrad, Modern Art, Modern Places: Life and Art in the Twentieth Century (London: Thames and Hudson, 1999), p. 289. 96. Marco Livingstone, Pop Art: A Continuing History (London: Thames and Hudson, 2000), p. 148. 97. Ciment, John Boorman, p. 55. 98. Richard Hamilton, ‘Letter to Peter and Alison Smithson’, in Collected Words (London: Thames and Hudson, 1982), p. 28. 99. Hughes, The Shock of the New, p. 344. 100. Jon Savage, ‘Snapshots of the Sixties: Swinging London in Pop Films’, in Time Travel: Pop, Media and Sexuality 1977–96 (London: Chatto and Windus, 1996), p. 306. 101. Ciment, John Boorman, p. 56. 102. Ibid., p. 14. 103. Ibid., p. 47. 104. Ibid., p. 14. 105. Ibid., pp. 28–9. 106. Carl Jung, Symbols of Transformation, in Collected Works, Vol. 5 (Princeton University Press, 1967), p. 375. 107. Ciment, John Boorman, p. 20. 108. Murphy, Sixties British Cinema, p. 139. 109. Ciment, John Boorman, p. 56. 110. Savage, ‘Snapshots of the Sixties’, p. 306. 111. Anonymous, Monthly Film Bulletin, vol. 33, no. 385, February 1966, p. 22. 112. Medhurst, ‘It Sort of Happened Here’, pp. 68–9. 113. For the period’s popular music on British television, see John Hill, ‘Television and Pop: The Case of the 1950s’, in John Corner (ed.), Popular Television in Britain: Studies in Cultural Historyy (London: British Film Institute, 1991) and John Mundy, Popular Music on Screen: From Hollywood Musical to Musical Video (Manchester University Press, 1999), pp. 193–208.

4 The Decadent Pop Music Film

1. Anonymous, Monthly Film Bulletin, vol. 34, no. 405, October 1967, p. 157. 2. , Celluloid Jukebox, Radio 2, August 1999. 3. Steve Turner, Cliff Richard: The Biographyy (Oxford: Lion Publishing, 1993), p. 234. 4. Ian MacDonald, Revolution in the Headd (London: Fourth Estate, 1994), p. 166. 5. Brian McFarlane, Lance Comfortt (Manchester University Press, 1999), p. 122. 6. Jim Pines, Blacks in Films (London: Studio Vista, 1977), p. 117. 7. John Russell Taylor, The Times, 7 September 1967. 8. Robert Robinson, Sunday Telegraph, 10 September 1967. 9. Robert Murphy, Sixties British Cinema (London: British Film Institute, 1992), p. 149. 10. Paul Jones, ‘On Privilege’, Sight and Sound, vol. 3, no. 5, May 1993, p. 18. Burdon would finally land the lead as a self-destructive rock star in Comeback (Christel Buschmann, 1982). 11. Robin Bean, Films and Filmingg, vol. 13, no. 9, June 1967, p. 27. Notes to Chapter 4 225

12. Anonymous, Daily Express, 19 April 1967. 13. Alexander Walker, Hollywood, England: The British Film Industry in the Sixties (London: Michael Joseph, 1974), p. 350. 14. Alexander Walker, Evening Standard, 27 April 1967. 15. Dilys Powell, Sunday Times, 30 April 1967. 16. Nina Hibbin, Morning Star, 26 April 1967. 17. Penelope Gilliatt, Observerr, 30 April 1967. 18. Joseph A. Gomez, Peter Watkins (Boston: Twayne Publishers, 1979), p. 74. 19. Jean Shrimpton, An Autobiographyy (London: Ebury Press, 1990), pp. 156–7. 20. Lester Friedman, ‘The Necessity of Confrontation Cinema – Peter Watkins Interviewed’, Literature/Film Quarterly, vol. 11, no. 4, 1983, p. 241. 21. Patrick Doncaster and Tony Jasper, Clifff (London: Octopus Books, 1983), p. 683. 22. Cliff Richard, Which One’s Cliff? (London: Hodder and Stoughton, 1977), p. 80. 23. Anonymous, Monthly Film Bulletin, vol. 35, no. 415, August 1968, p. 123. 24. Jones, ‘On Privilege’, p. 18. 25. Gilliatt, Observer. 26. Quoted in J. Philip di Franco, The Beatles in Richard Lester’s A Hard Day’s Night – a Complete Pictorial Record of the Movie (Harmondsworth: Penguin, 1977), p. 5. 27. Garry Mulholland, Popcorn: Fifty Years of Rock’n’Roll Movies (London: Orion, 2010), p. 70. 28. Bean, Films and Filmingg, p. 27. 29. Anonymous, Time, 11 August 1967. 30. Andrew Sarris, Village Voice, 3 August 1967. 31. Turner, Cliff Richard, p. 242. 32. S.M.J. Arrowsmith, ‘Peter Watkins’, in George W. Brandt (ed.), British Television Drama (Cambridge University Press, 1981), p. 231. 33. Gilliatt, Observer. 34. Guy Debord, Society of the Spectacle, trans. Donald Nicholson-Smith (London: Zone Books, 1994 [1967]), paragraph 218. 35. Watkins later admitted that the film’s conclusion demonstrated ‘a certain dismissal of the public which I very much regret now’. Gomez, Peter Watkins, p. 84. 36. Roy Carr, Beatles at the Movies: Scenes from a Careerr (London: HarperCollins, 1996), p. 148. 37. For the film’s troubled production, see Robert R. Hieronimus’ Inside the Yellow Submarine (Iola: Krause, 2002) and Al Brodax’s own, more partial memoir, Up Periscope Yellow: The Making of the Beatles Yellow Submarine (New York: Limelight Editions, 2004). 38. Bill Harry, Beatlemania: The History of the Beatles on Film (London: Virgin, 1984), p. 37. 39. John Coleman, New Statesman, 28 July 1968. 40. Anonymous, Time, 27 December 1968. 41. Anonymous, Time, 22 November 1968. 42. John Russell Taylor, The Times, 18 July 1968. 43. David Robinson, Financial Times, 19 July 1968. 44. Tom Milne, Observerr, 21 July 1968. 45. Alexander Walker, Evening Standard, 18 July 1968. 226 Notes to Chapter 4

46. Coleman, New Statesman. 47. Tim Riley, Tell Me Why: A Beatles Commentaryy (London: Bodley Head, 1988), p. 234. 48. For the wealth of accompanying merchandise, including alarm clocks, snow- domes, watches and ‘the world’s first ever full colour paperback’, see Richard Buskin, Beatle Crazy!: Memories and Memorabilia (London: Salamander, 1994), p. 84. 49. Nina Hibbin, Morning Star, 17 July 1968. 50. Ian Christie, Daily Express, 17 July 1968. 51. Walker, Evening Standard. 52. Nigel Gosling, Observerr, 28 July 1968. 53. Cecil Wilson, Daily Mail, 17 July 1968. 54. For example, Ray Connolly, Evening Standard, 6 August 1968; Judith Simons, Daily Express, 6 August 1968. 55. Harry, Beatlemania, p. 712. 56. Bob Neaverson, The Beatles Movies (London: Cassell, 1997), p. 88. 57. MacDonald, Revolution in the Head, p. 220. 58. Quoted in Hieronimus, Inside the Yellow Submarine, p. 166. 59. Quoted in Gavin Martin, ‘Yellow Fever’, The Times – Guide, 28 August– 3 September 1999. 60. Dilys Powell, Sunday Times, 21 July 1968. 61. David Bowman, ‘Scenarios for the Revolution in Pepperland’, Journal of Popular Film, vol. 1, no. 3, Summer 1972, p. 178. 62. Anonymous, Time, 27 December 1968. 63. George Orwell, Nineteen Eighty-Fourr (London: Penguin Books, 1989 [1948]), p. 230. 64. Robinson, Financial Times. 65. Wilfrid Mellers, Twilight of the Gods: The Beatles in Retrospect (London: Faber and Faber, 1976 [1973]), p. 89. 66. Neaverson, The Beatles Movies, p. 90. 67. MacDonald, Revolution in the Head, p. 203. 68. For a more detailed comparison, see Stephen Glynn, ‘From Pepperland to The Prisoner: Yellow Submarine and Social Change’, in Jorg Helbig and Simon Warner (eds), Summer of Love: The Beatles, Art and Culture in the Sixties (Trier: WVT, 2008). 69. Daniel O’Brien, SF:UK: How British Science Fiction Changed the Worldd (London: Reynolds and Hearn, 2000), p. 98. 70. , Halliwell’s Television Companion, 3rd edn (London: Grafton, 1986), p. 499. 71. Matthew de Abaitua, SF:UK, Channel Four, broadcast March 2001. 72. Greg Rowland, ibid. 73. MacDonald, Revolution in the Head, p. 243. 74. de Abaitua, SF:UK. 75. Russell Taylor, The Times, 1968. 76. Simon Frith and Angela McRobbie, ‘Rock and Sexuality’, in Simon Frith and Andrew Goodwin (eds), On Record: Rock, Pop and the Written Wordd (London: Routledge, 1990), p. 375. 77. Andrew Loog Oldham, Stonedd (London: Secker and Warburg, 2000), p. 30. 78. Ibid., p. 31. Notes to Chapter 4 227

79. William Rees-Mogg, The Times, 1 July 1967. 80. Tom Milne (ed.), Godard on Godardd (New York: Da Capo, 1986), p. 182. 81. Anonymous, Monthly Film Bulletin, vol. 32, no. 376, May 1965, p. 79. 82. David Ehrenstein and Bill Reed, Rock on Film (London: Virgin, 1982), p. 77. 83. Anonymous, ‘Thump … Then Exit Godard’, Guardian, 30 November 1968. 84. Alexander Walker, Evening Standard, 2 December 1968. 85. Quoted in Demitri Coryton and Joseph Murrells, Hits of the Sixties (London: B.T. Batsford, 1990), p. 219. 86. Philip Strick, Films and Filmingg, vol. 15, no. 5, February 1969, p. 67. 87. Jonathan Cott and Sue Cox, ‘An Interview with Mick Jagger’, in David Dalton (ed.), : An Unauthorised Biography in Words, Photographs and Musicc (New York: AMSCO Music, 1972), p. 100. 88. Philip Norman, The Stones (London: Hamish Hamilton, 1984), p. 283. 89. Raymond Durgnat, ‘One Plus One’, in Ian Cameron (ed.), The Films of Jean- Luc Godardd (London: Studio Vista, 1967), p. 183. 90. David Sterritt, The Films of Jean-Luc Godard: Seeing the Invisible (Cambridge University Press, 1999), p. 112. 91. Durgnat, ‘One Plus One’, p. 178. 92. Richard Roud, Sight and Sound, vol. 37, no. 4, Autumn 1968, p. 182. 93. Jan Dawson, Sight and Sound, vol. 39, no. 2, Spring 1970, p. 91. 94. Ginette Vincendeau, The Companion to French Cinema (London: British Film Institute, 1996), p. 84. 95. Jill Forbes, The Cinema in France after the New Wave (London: Palgrave Macmillan, 1992), p. 26. 96. Kent E. Carroll, ‘Film and Revolution’, in Royal S. Brown (ed.), Focus on Godard (Englewood Cliffs, NJ: Prentice-Hall, 1972), p. 62. 97. Vincendeau, The Companion to French Cinema, p. 84. 98. Eric Rhode, Listener, 12 December 1968. 99. Nick Dagger, Uncut, no. 56, January 2002, p. 72. 100. Carey Schofield, Jagger (London: Methuen, 1983), p. 161. 101. Walker, Hollywood, England, p. 417. 102. For a full production history, see Paul Buck, Performance: A Biography of the 60s Masterpiece (London: Omnibus Press, 2012). 103. Peter Schjeldahl, New York Times, 16 August 1970. 104. John Simon, New York Times, 23 August 1970. 105. Andrew Sarris, Village Voice, 30 July 1970. 106. Michael Goodwin, , 17 September 1970. 107. Derek Malcolm, Guardian, 8 January 1971. 108. Michael Wood, New Society, 21 January 1971. 109. Alexander Walker, Evening Standard, 7 January 1971. 110. Nina Hibbin, Morning Starr, 1 January 1971. 111. John Coleman, New Statesman, 8 January 1971. 112. John Russell Taylor, The Times, 8 January 1971. 113. Gavin Millar, The Listenerr, 14 January 1971. 114. David Robinson, Financial Times, 8 January 1971. 115. Cecil Wilson, Daily Mail, 8 January 1971. 116. Ann Pacey, Sun, 2 January 1971. 117. Colin MacCabe, Performance (London: British Film Institute, 1998), p. 24. 228 Notes to Chapter 5

118. For example, Jon Savage, ‘Performance: Interview with Donald Cammell’, in Steve Chibnall and Robert Murphy (eds), British Crime Cinema (London: Routledge, 1999), pp. 110–16. 119. K.J. Donnelly, ‘Performancee and the Composite Film Score’, in K.J. Donnelly (ed.), Film Music: Critical Approaches (Edinburgh University Press, 2001), p. 153. 120. Gordon Gow, Films and Filmingg, vol. 17, no. 7, April 1971, p. 48. 121. Coleman, New Statesman. 122. John Izod, The Films of : Myth and Mindd (London: Palgrave Macmillan, 1992), p. 20. 123. Jon Savage, ‘Snapshots of the Sixties: Swinging London in Pop Films’, in Time Travel: Pop, Media and Sexuality 1977–96 (London: Chatto and Windus, 1996), p. 309. 124. Walker, Evening Standard. 125. Gow, Films and Filming. 126. Mick Brown, Performancee (London: Bloomsbury, 1999), p. 181. 127. Tony Sanchez, Up and Down with the Rolling Stones (New York: Da Capo Press, 1996), p. 182. Faithfull broadly concurs with this reading: Marianne Faithfull, Faithfulll (London: Michael Joseph, 1994), p. 213. 128. Norman, The Stones, p. 203. 129. John Walker, The Once and Future Film: British Cinema in the Seventies and Eighties (London: Methuen, 1985), p. 95. 130. Simon Reynolds and Joy Press, The Sex Revolts: Gender, Rebellion and Rock’n’Roll (London: Serpent’s Tail, 1995), p. 145. 131. Marjorie Bilbow, Today’s Cinema, 7 May 1971. 132. Michael Goodwin, Rolling Stone, 3 September 1970.

5 Afterlife

1. Steve Turner, Cliff Richard: The Biographyy (Oxford: Lion Publishing, 1993), p. 263. 2. John Mundy, The British Musical Film (Manchester University Press, 2007), p. 226. 3. Andrew Yule, Enigma: David Puttnam, the Story So Farr (Edinburgh: Mainstream, 1988), p. 86. 4. Anonymous, Sight and Sound, vol. 43, no. 4, Autumn 1974, p. 254. 5. Alexander Walker, National Heroes: British Cinema in the Seventies and Eighties (London: Harrap, 1985), p. 71. 6. Ben Thompson, ‘Pop and Film: The Charisma Crossover’, in Jonathan Romney and Adrian Wootton (eds), Celluloid Jukebox: Popular Music and the Movies since the 50s (London: British Film Institute, 1995), p. 40. 7. Tony Rayns, Monthly Film Bulletin, vol. 42, no. 494, March 1975, p. 54. 8. Thompson, ‘Pop and Film’, p. 40. 9. Geoff Brown, Monthly Film Bulletin, vol. 42, no. 497, June 1975, p. 143. 10. Justin Smith, Withnail and Us: Cult Films and Film Cults in British Cinema (London: I.B. Tauris, 2010), p. 137. 11. Alexander Walker, Evening Standard, Friday 28 March 1975. 12. Dilys Powell, Sunday Times, Sunday 30 March 1975. 13. David Wilson, Sight and Sound, vol. 44, no. 3, Autumn 1975, p. 193. Notes to Chapter 5 229

14. , Tommyy DVD interview, 2004. 15. Jon Lewis, The Road to Romance and Ruin: Teen Films and Youth Culture (London: Routledge, 1992), p. 162. 16. Andrew Sarris, Village Voice, 31 March 1975. 17. Wilson, Sight and Sound. 18. Jonathan Rosenbaum, Monthly Film Bulletin, vol. 42, no. 495, April 1975, p. 88. 19. Smith, Withnail and Us, p. 137. 20. Jon Landau, Rolling Stone, 24 April 1975. 21. Ali Catterall and Simon Wells, Your Face Here: British Cult Movies since the Sixties (London: Fourth Estate, 2001), p. 147. 22. Richard Barkley, Sunday Express, 19 August 1979. 23. Felix Barker, Evening News, 16 August 1979. 24. Anonymous, Films and Filmingg, January 1980, p. 29. 25. Pierre Sorlin, The Film in History: Restaging the Pastt (Oxford: Basil Blackwell, 1980), p. 83. 26. Notable are Kevin J. Donnelly, ‘British Punk Films: Rebellion into Money, Nihilism into Innovation’, Journal of Popular British Cinema, no. 1, 1988; Stacy Thompson, ‘Punk Cinema’, Cinema Journal, vol. 43, no. 2, 2004, pp. 47–66; Claire Monk, ‘Jubilee, Punk and British Film in the Late 1970s’, in Robert Shail (ed.), Seventies British Cinema (London: Palgrave Macmillan, 2008); David Laderman, Punk Slash Musicals (Austin: University of Texas Press, 2010). 27. Steve Jenkins, Monthly Film Bulletin, vol. 48, no. 574, November 1981, p. 225. 28. Jon Savage, England’s Dreaming: Sex Pistols and (London: Faber and Faber, 1991), p. 377. 29. Quoted in Julie Birchill, ‘The Kid Who Wouldn’t Wear Clarke’s Sandals’, New Musical Express, 18 April 1978. 30. Vivienne Westwood, ‘Open T-shirt to Derek Jarman’ http://collections.vam. ac.uk/item/O68609/top/ (accessed 23 May 2012). 31. Monk, ‘Jubilee, Punk and British Film in the Late 1970s’, p. 91. 32. Derek Jarman, Dancing Ledge (London: Quartet Books, 1984), p. 172. 33. Robert Rosenstone, Visions of the Past: The Challenge of Film to our Idea of Historyy (London and Cambridge, MA: Harvard University Press, 1980), p. 149. 34. Joel McIver, The Sex Pistols: The Making of The Great Rock’n’Roll Swindle (London: Unanimous, 2005), pp. 116–17. 35. Donnelly, ‘British Punk Films’, p. 108. 36. John Pym, Monthly Film Bulletin, vol. 47, no. 555, April 1980, p. 75. 37. Whitehead’s full footage of was released in 2005 as London ’66–’67. 38. Mark Blake (ed.), Pink Floyd: Q Special Edition (London: EMAP Metro, 2004), p. 93. 39. Alan Parker, Rolling Stone, 16 September 1982. 40. Quoted in Jeff Bench and Daniel O’Brien, Pink Floyd’s The Wall: In the Studio, on Stage and on Screen (London: Reynolds and Hearn, 2004), p. 118. 41. Roger Ebert, Chicago Sun-Times, 24 February 2010. 42. Steve Jenkins, Monthly Film Bulletin, vol. 49, no. 583, August 1982, p. 173. 43. Paul Taylor, Time Out, 29 July 1982. The punning put-down earned itself an entry in Colin Jarman (ed.), The Book of Poisonous Quotes (London: Guinness Books, 1992), p. 186. 230 Notes to Chapter 5

44. Marjorie Bilbow, Screen International, 24 July 1982, p. 20. 45. Ibid. 46. Andy Mabbett, The Complete Guide to the Music of Pink Floydd (London: Omnibus Press, 1995), p. 85. 47. Bench and O’Brien, Pink Floyd’s The Wall, p. 119. 48. Susan Sontag, ‘Fascinating Fascism’, in Under the Sign of Saturn (London: Penguin, 2009), p. 91. 49. Ibid. 50. ‘The tastes for the monumental and for mass obeisance to the hero are com- mon to both fascist and communist art, reflecting the view of all totalitarian regimes that art has the function of “immortalizing” its leaders and doc- trines.’ Ibid. 51. Bench and O’Brien, Pink Floyd’s The Wall, p. 124. 52. I do not include here the Joan Collins MILF vehicle The Studd (Quentin Masters, 1978) which, as K.J. Donnelly points out, could also be considered ‘a backstage disco film’. Pop Music in British Cinema (London: British Film Institute, 2001), p. 58. 53. Marjorie Bilbow, Screen International, 5 August 1978. 54. Ian Birch, Time Outt, 7 November 1980. 55. Paul Taylor, Monthly Film Bulletin, vol. 46, no. 544, May 1979, p. 100. 56. Steve Jenkins, Monthly Film Bulletin, vol. 47, no. 562, November 1980, p. 209. 57. Richard Dyer, ‘Feeling English’, Sight and Sound, vol. 4, no 3, March 1994, pp. 16–19. 58. Julie Birchill, Time Out, 12 September 1985, p. 8. 59. Jake Eberts and John Ilott, My Indecision is Final: The Rise and Fall of (London: Faber and Faber, 1990), pp. 633–4. 60. Alexander Walker, Icons in the Fire: The Decline and Fall of Almost Everybody in the British Film Industryy (London: Orion, 2004), p. 29. 61. Anonymous, Sun, 5 April 1986. 62. Kim Newman, Monthly Film Bulletin, vol. 53, no. 627, April 1986, p. 103. 63. Marjorie Bilbow, Screen International, 5 April 1986. 64. Todd McCarthy, Variety, 26 March 1986. 65. Walker, Icons in the Fire, pp. 52–3. 66. Marco Calavito, ‘MTV Aesthetics at the Movies: Interrogating a Film Criticism Fallacy’, Journal of Film and Video, vol. 59, no. 3, Fall 2007, pp. 15–31. 67. Chris Peacock, Time Out, 2 April 1986. 68. Andrew Goodwin, Dancing in the Distraction Factory: Music Television and Postmodern Culture (London: Routledge, 1993), p. 33. 69. Caryn James, New York Times, 18 April 1986. 70. Lewis, The Road to Romance and Ruin, p. 82. 71. Mundy, The British Musical Film, p. 238. 72. Newman, Monthly Film Bulletin. 73. Todd McCarthy, Variety, 26 March 1986. 74. Newman, Monthly Film Bulletin. 75. Fredric Jameson, ‘Postmodernism and Consumer Society’, in Hal Foster (ed.), Postmodern Culture (London: Pluto Press, 1983), p. 113. 76. For an application of Baudrillard to film, see Giuliana Bruno, ‘Ramble City: Postmodernism and Blade Runner’, Octoberr, 41, 1987. Notes to Chapter 5 231

77. Susan Hayward, Key Concepts in Cinema Studies (London: Routledge, 1996), p. 301. 78. Bilbow, Screen International. 79. Donnelly, Pop Music in British Cinema, p. 106. 80. James, New York Times. 81. K.J. Donnelly, British Film Music and Film Musicals (Basingstoke: Palgrave Macmillan, 2007), p. 169. 82. Andy Medhurst, ‘It Sort of Happened Here: The Strange, Brief Life of the British Pop Film’, in Jonathan Romney and Adrian Wootton (eds), Celluloid Jukebox: Popular Music and the Movies since the 50s (London: British Film Institute, 1995), pp. 65–7. 83. Ibid. 84. Vicky Hayward (ed.), The Beginners’ Guide to Absolute Beginners The Musical (London: Corgi, 1986), p. 83. 85. Colin MacInnes, Absolute Beginners (London: Allison and Busby, 2011 [1959]), p. 64. 86. James Hoberman, Village Voice, 29 April 1986. 87. Adam Barker, Monthly Film Bulletin, vol. 55, no. 655, August 1988, p. 234. 88. Medhurst, ‘It Sort of Happened Here’, p. 70. 89. E. Ann Kaplan, Rocking Around the Clock: Music Television, Postmodernism, and Consumer Societyy (London: Methuen, 1987), p. 3. 90. John Mundy, Popular Music on Screen: From Hollywood Musical to Musical Video (Manchester University Press, 1999), p. 232. 91. Matthew Sweet, Independent on Sunday, 28 December 1997. 92. Roger Ebert, Chicago Sun-Times, 23 January 1998. 93. Maureen Turim, Flashbacks in Film: Memory and History (London: Routledge, 1989), p. 17. 94. Elizabeth Eva Leach, ‘Vicars of “Wannabe”: Authenticity and the Spice Girls’, Popular Music, vol. 20, no. 2, May 2001, p. 161. 95. Cynthia Fuchs, ‘Too Much of Something is Bad Enough: Success and Excess in Spice World’, in Frances K. Gateward and Murray Pomerance (eds), Sugar, Spice and Everything Nice: Cinemas of Girlhoodd (Detroit: Wayne State University Press, 2002), p. 348. 96. Mark Sinker, Sight and Sound, vol. 8, no. 2, February 1998, p. 49. 97. Wally Hammond in John Pym (ed.), Time Out Film Guide 177 (London: Time Out Guides, 2007), p. 945. 98. Angie Errigo, Empire, 11 July 2008. 99. Peter Bradshaw, Guardian, 10 July 2008. 100. For a fuller exploration, see Louise FitzGerald and Melanie Williams (eds), Mamma Mia! The Movie: Exploring a Cultural Phenomenon (London: I.B. Tauris, 2012). 101. Simon Reynolds, Retromania: Pop Culture’s Addiction to its own Pastt (London: Faber and Faber, 2012), pp. x–xi. 102. John Orr, ‘Control and British Cinema’, Film International, vol. 6, no. 1, February 2008, p. 19. 103. Noel McLaughlin, ‘Rattling Out of Control: A Comparison of and Joy Division on Film’, Film, Fashion and Consumption, vol. 1, no. 1, 2012, p. 108. 104. Dorian Lynskey, Guardian, 15 March 2012. 105. Decca Aitkenhead, Guardian, 7 June 2012. 232 Notes to Chapter 6

106. , Daily Mail, 7 June 2012. 107. Tim Riley, Daily Telegraph, 7 June 2012. 108. Peter Bradshaw, Guardian, 7 June 2012. 109. Matthew Taylor, Sight and Sound, vol, 22, no. 6, June 2012, p. 67. 110. Anna Smith, Empire, 3 June 2012.

6 Conclusion

1. Lawrence Grossberg, ‘Is There a Fan in the House? The Affective Sensibility of Fandom’, in Lisa A. Lewis (ed.), The Adoring Audience: Fan Culture and Popular Media (London and New York: Routledge, 1992), pp. 62–3. Select Bibliography

Newspapers and periodicals

Chapter notes indicate the newspapers and periodicals used for film reviews. These were mostly taken from the British Film Institute’s microfiche film collec- tion. Quotations come from reviews and articles in the following British news- papers and periodicals: Daily Express, Daily Herald, Daily Mail, Daily Mirrorr, Daily Telegraph, Daily Workerr, Evening News, Evening Standard, Financial Times, Guardian, Independent on Sunday, Listenerr, Morning Starr, New Society, New Statesman, News Chronicle, Observerr, Picture Postt, Reynolds News, Saturday Review, Spectatorr, Sun, Sunday Dispatch, Sunday Express, Sunday Telegraph, Sunday Times, Time Out and The Times. These illustrate a range of opinion from both quality and popular press and across the political spectrum. American reviews are cited from Chicago Sun-Times, New York Times, Time and Village Voice.

Film journals and trade papers

Again chapter notes indicate sources. For reviews Empire represents the popular and Films and Filming the middle-brow film journalism of Britain, while its quasi- intellectual film culture is evidenced in the pages of the Monthly Film Bulletin and Sight and Sound. Kinematograph Weekly, Today’s Cinema and Screen International provide background from and the views of Britain’s trade press, while Variety has been occasionally cited for American trade reviews. Music press perspectives come from Uncut in the UK and Rolling Stone in the US.

Unpublished sources

British Board of Film Censors (BBFC), files on Beat Girl (7 March 1959 to 5 October 1960) and Serious Charge (16 March 1955 to 26 March 1962).

Biographies, autobiographies and diaries

Beatles, The Beatles Anthologyy (London: Weidenfeld and Nicolson, 2000). Braun, Michael, ‘Love Me Do!’ – The Beatles’ Progress (London: Penguin, 1964). Brodax, Al, Up Periscope Yellow: The Making of the Beatles Yellow Submarine (New York: Limelight Editions, 2004). Dalton, David, ed., The Rolling Stones: An Unauthorised Biography in Words, Photographs and Musicc (New York: AMSCO Music, 1972). Davies, Hunter, The Beatles (London: Heinemann, 1968). Doncaster, Patrick and Tony Jasper, Clifff (London: Octopus Books, 1983). Eberts, Jake and John Ilott, My Indecision is Final: The Rise and Fall of Goldcrest Films (London: Faber and Faber, 1990).

233 234 Select Bibliography

Faith, Adam, Poor Me (London: Four Square, 1961). Faithfull, Marianne, Faithfulll (London: Michael Joseph, 1994). Frame, Pete, The Restless Generation: How Rock Music Changed the Face of 1950s Britain (London: Rogan House, 2007). Guest, Val, So You Want to Be in Pictures (London: Reynolds and Hearn, 2001). Hamilton, Richard, Collected Words (London: Thames and Hudson, 1982). Jarman, Derek, Dancing Ledge (London: Quartet Books, 1984). Norman, Philip, Shout! The True Story of the Beatles (London: Elm Tree Books, 1981). —— The Stones (London: Hamish Hamilton, 1984). Oldham, Andrew Loog, Stonedd (London: Secker and Warburg, 2000). Read, Mike, The Story of the Shadows (London: Elm Tree Books, 1983). Richard, Cliff, Which One’s Cliff? (London: Hodder and Stoughton, 1977). Sanchez, Tony, Up and Down with the Rolling Stones (New York: Da Capo Press, 1996). Schofield, Carey, Jaggerr (London: Methuen, 1983). Shrimpton, Jean, An Autobiographyy (London: Ebury Press, 1990). Soderbergh, Steven, Getting Away with Itt (London: Faber and Faber, 1999). Steele, Tommy, Bermondsey Boyy (London: Michael Joseph, 2006). Turner, Steve, Cliff Richard: The Biographyy (Oxford: Lion Publishing, 1993). Wenner, Jann, Lennon Remembers (London: Verso, 2000). Yule, Andrew, Enigma: David Puttnam, the Story So Farr (Edinburgh: Mainstream, 1988).

Books and monographs

Aldgate, Anthony, Censorship and the Permissive Society: British Cinema and Theatre 1955–65 (Oxford: Clarendon Press, 1995). Aldgate, Anthony, James Chapman and Arthur Marwick, eds, Windows on the Sixties (London: I.B. Tauris, 2000). Aldgate, Anthony and James C. Robertson, Censorship in Theatre and Cinema (Edinburgh University Press, 2005). Altman, Rick, The American Film Musical (Bloomington: Indiana University Press, 1989). —— Film / Genre (London: British Film Institute, 1999). Armes, Roy, A Critical History of British Cinema (London: Secker and Warburg, 1978). Barnouw, Eric, Documentary: History of the Non-Fiction Film, 2nd edn (Oxford University Press, 1993). Barr, Charles, ed., All Our Yesterdays: 90 Years of British Cinema (London: British Film Institute, 1986). Barrow, Sarah and John White, eds, Fifty Key British Films (London: Routledge, 2008). Bazin, André, What is Cinema, Vol. 2 (Berkeley: University of California Press, 2005). Bench, Jeff and Daniel O’Brien, Pink Floyd’s The Wall: In the Studio, on Stage and on Screen (London: Reynolds and Hearn, 2004). Bevan, Ian and Kurt Ganzl, The British Musical Theatre, Vol. II: 1915–1984 (London: Palgrave Macmillan, 1986). Select Bibliography 235

Blake, Mark, ed., Pink Floyd: Q Special Edition (London: EMAP Metro, 2004). Bloom, Clive and Gary Day, eds, Literature and Culture in Modern Britain, Vol. 3: 1956–1999 (London: Longman, 2000). Bordwell, David and Kristin Thompson, Film Art: An Introduction, 4th edn (New York: McGraw Hill, 1993). Bourne, Stephen, Brief Encounters: Lesbians and Gays in British Cinema 1930–1971 (London: Cassell, 1996). Brandt, George W., ed., British Television Drama (Cambridge University Press, 1981). Braun, Eric, The Elvis Film Encyclopedia (London: Batsford, 1997). Brode, Douglas, Elvis, Cinema and Popular Culture (New York: McFarland, 2006). Brown, Mick, Performancee (London: Bloomsbury, 1999). Brown, Royal S., ed., Focus on Godard (Englewood Cliffs, NJ: Prentice-Hall, 1972). Bruzzi, Stella, Bringing Up Daddy: Fatherhood and Masculinity in Postwar Hollywood (London: British Film Institute, 2005). Buck, Paul, Performance: A Biography of the 60s Masterpiece (London: Omnibus Press, 2012). Buckingham, David, Children Talking Television: The Making of Television Literacy (London: Falmer Press, 1993). Buskin, Richard, Beatle Crazy!: Memories and Memorabilia (London: Salamander, 1994). Caine, Andrew, Interpreting Rock Movies: The Pop Film and its Critics in Britain (Manchester University Press, 2004). Cameron, Ian, ed., The Films of Jean-Luc Godardd (London: Studio Vista, 1967). Carr, Roy, Beatles at the Movies: Scenes from a Careerr (London: HarperCollins, 1996). Catterall, Ali and Simon Wells, Your Face Here: British Cult Movies since the Sixties (London: Fourth Estate, 2001). Chapman, James, Licence To Thrill: A Cultural History of the James Bond Films (London: I.B. Tauris, 1999). Chibnall, Steve and Robert Murphy, eds, British Crime Cinema (London: Routledge, 1999). Ciment, Michel, John Boorman (London: Faber and Faber, 1986). Cohen, Thomas F., Playing to the Camera: Musicians and Musical Performance in Documentary Cinema (London: Wallflower, 2012). Cohn, Nik, AwopBopALooBopAWopBamBoom: Pop from the Beginning (London: Weidenfeld and Nicolson, 1969). Conrad, Peter, Modern Art, Modern Places: Life and Art in the Twentieth Century (London: Thames and Hudson, 1999). Cook, Pam, ed., The Cinema Book, 3rd edn (London: British Film Institute, 2008). Corner, John, ed., Popular Television in Britain: Studies in Cultural Historyy (London: British Film Institute, 1991). Coryton, Demitri and Joseph Murrells, Hits of the Sixties (London: B.T. Batsford, 1990). Crenshaw, Marshall, Hollywood Rock (London: Plexus, 1994). Dalle Vacche, Angela, Cinema and Painting: How Art is Used in Film (Austin: University of Texas Press, 1996). Debord, Guy, Society of the Spectacle, trans. Donald Nicholson-Smith (London: Zone Books, 1994 [1967]). 236 Select Bibliography

Décharné, Max, Straight from the Fridge, Dad: A Dictionary of Hipster Slang (Harpenden: No Exit Press, 2000). Dellar, Fred, NME Guide to Rock Cinema (London: Hamlyn, 1981). di Franco, J. Philip, The Beatles in Richard Lester’s A Hard Day’s Night – a Complete Pictorial Record of the Movie (Harmondsworth: Penguin, 1977). Dix, Andrew, Beginning Film Studies (Manchester University Press, 2008). Doane, M.A., P. Mellencamp and L. Williams, eds, Re-Vision: Essays in Feminist Film Criticism (Frederick, MD: American Film Institute, 1984). Donnelly, K.J., Pop Music in British Cinema (London: British Film Institute, 2001). —— ed., Film Music: Critical Approaches (Edinburgh University Press, 2001). —— British Film Music and Film Musicals (Basingstoke: Palgrave Macmillan, 2007). Durgnat, Raymond, A Mirror for England: British Movies from Austerity to Affluence (London: Faber and Faber, 1970). Dyer, Richard, Stars (London: British Film Institute, 1980). —— Heavenly Bodies: Film Stars and Societyy (London: Macmillan, 1987). Ehrenstein, David and Bill Reed, Rock on Film (London: Virgin, 1982). Feuer, Jane, The Hollywood Musical (London: Macmillan, 1982). Fiske, John, Television Culture (London: Routledge, 1987). FitzGerald, Louise and Melanie Williams, eds, Mamma Mia! The Movie: Exploring a Cultural Phenomenon (London: I.B. Tauris, 2012). Forbes, Jill, The Cinema in France after the New Wave (London: Palgrave Macmillan, 1992). Foster, Hal, ed., Postmodern Culture (London: Pluto Press, 1983). Frith, Simon and Andrew Goodwin, eds, On Record: Rock, Pop and the Written Wordd (London: Routledge, 1990). Gammond, Peter, The Oxford Companion to Popular Music (Oxford University Press, 1991). Gateward, Frances K. and Murray Pomerance, eds, Sugar, Spice and Everything Nice: Cinemas of Girlhoodd (Detroit: Wayne State University Press, 2002). Gelmis, Joseph, ed., The Film Director as Superstarr (London: Secker and Warburg, 1971). Gillett, Charlie, The Sound of the Cityy (London: Sphere, 1971). Gledhill, Christine, ed., Home is Where the Heart is: Studies in Melodrama and the Woman’s Film (London: British Film Institute, 1987). —— ed., Stardom: The Industry of Desire (London: Routledge, 1991). Glynn, Stephen, A Hard Day’s Nightt (London: I.B. Tauris, 2004). Gomez, Joseph A., Peter Watkins (Boston: Twayne Publishers, 1979). Goodwin, Andrew, Dancing in the Distraction Factory: Music Television and Post- modern Culture (London: Routledge, 1993). Grant, Barry Keith, ed., Film Genre Reader (Austin: University of Texas Press, 1986). Gross, Edward, The Fab Films of the Beatles (Las Vegas: Pioneer Books, 1990). Hall, Stuart and Tony Jefferson, eds, Resistance through Rituals: Youth Sub-Cultures in Post-War Britain, 2nd edn (London: Routledge, 2006). Halliwell, Leslie, Halliwell’s Television Companion, 3rd edn (London: Grafton, 1986). Hardy, Phil and Dave Laing, The Faber Companion to 20th-Century Popular Music (London: Faber and Faber, 1990). Harper, Sue, Women in British Cinema (London: Continuum, 2000). Select Bibliography 237

Harper, Sue and Vincent Porter, British Cinema of the 1950s: The Decline of Deference (Oxford University Press, 2003). Harry, Bill, Beatlemania: The History of the Beatles on Film (London: Virgin, 1984). —— The Ultimate Beatles Encyclopedia (London: Virgin, 1992). Hayward, Susan, Key Concepts in Cinema Studies (London: Routledge, 1996). Hayward, Vicky, ed., The Beginners’ Guide to Absolute Beginners The Musical (London: Corgi, 1986). Hebdige, Dick, Hiding in the Light: On Images and Things (London: Routledge, 1988). Helbig, Jorg and Simon Warner, eds, Summer of Love: The Beatles, Art and Culture in the Sixties (Trier: WVT, 2008). Hieronimus, Robert R., Inside the Yellow Submarine (Iola: Krause, 2002). Higson, Andrew, ed., Dissolving Views: Key Writings on British Cinema (London: Cassell, 1996). Hill, John, Sex, Class and Realism: British Cinema 1956–1963 (London: British Film Institute, 1986). Honnef, Klaus, Andy Warhol (Berlin: Taschen, 1990). Hughes, Robert, The Shock of the New, 2nd edn (London: Thames and Hudson, 1991). Hutchings, Peter, Hammer and Beyond: The British Horror Film (Manchester University Press, 1993). —— Terence Fisherr (Manchester University Press, 2002). Izod, John, The Films of Nicolas Roeg: Myth and Mindd (London: Palgrave Macmillan, 1992). Jung, Carl, Symbols of Transformation, in Collected Works, Vol. 5 (Princeton University Press, 1967). Kael, Pauline, 5001 Nights at the Movies, rev. edn (New York: Henry Holt, 1991). —— For Keeps: 30 years at the Movies (New York: E.P. Dutton, 1994). Kaplan, E. Ann, Rocking Around the Clock: Music Television, Postmodernism, and Consumer Societyy (London: Methuen, 1987). Kureishi, Hanif and Jon Savage, eds, The Faber Book of Pop (London: Faber and Faber, 1995). Laderman, David, Punk Slash Musicals (Austin: University of Texas Press, 2010). Landy, Marcia, British Genres: Cinema and Society, 1930–60 (Princeton University Press, 1991). Langford, Barry, Film Genre: Hollywood and Beyondd (Edinburgh University Press, 2005). Larkin, Colin, ed., Encyclopedia of Stage and Film Musicals (London: Virgin, 1999). Lewis, Jon, The Road to Romance and Ruin: Teen Films and Youth Culture (London: Routledge, 1992). Lewis, Lisa A., ed., The Adoring Audience: Fan Culture and Popular Media (London and New York: Routledge, 1992). Livingstone, Marco, Pop Art: A Continuing History (London: Thames and Hudson, 2000). Mabbett, Andy, The Complete Guide to the Music of Pink Floydd (London: Omnibus Press, 1995). MacCabe, Colin, Performance (London: British Film Institute, 1998). MacDonald, Ian, Revolution in the Headd (London: Fourth Estate, 1994). MacInnes, Colin, Absolute Beginners (London: Allison and Busby, 2011 [1959]). 238 Select Bibliography

MacKillop, Ian and Neil Sinyard, eds, British Cinema of the 1950s: A Celebration (Manchester University Press, 2003). Marwick, Arthur, British Society since 1945, 4th edn (Harmondsworth: Penguin, 2003). —— The Sixties: Cultural Revolution in Britain, France, Italy and the United States c. 1958–1974 (Oxford University Press, 1998). McFarlane, Brian, Lance Comfortt (Manchester University Press, 1999). McIver, Joel, The Sex Pistols: The Making of The Great Rock’n’Roll Swindle (London: Unanimous, 2005). Mellers, Wilfrid, Twilight of the Gods: The Beatles in Retrospect (London: Faber and Faber, 1976 [1973]). Melly, George, Revolt into Style (Harmondsworth: Penguin, 1972). Milne, Tom, ed., Godard on Godardd (New York: Da Capo, 1986). Monaco, James, Alain Resnais (London: Secker and Warburg, 1978). Moretti, Franco, Graphs, Maps, Trees: Abstract Models for a Literary Theoryy (London: Verso, 2005). Mulholland, Garry, Popcorn: Fifty Years of Rock’n’Roll Movies (London: Orion, 2010). Mundy, John, Popular Music on Screen: From Hollywood Musical to Musical Video (Manchester University Press, 1999). —— The British Musical Film (Manchester University Press, 2007). Murphy, Robert, Sixties British Cinema (London: British Film Institute, 1992). —— ed., British Cinema of the 90s (London: British Film Institute, 2000). —— ed., The British Cinema Book, 2nd edn (London: British Film Institute, 2002). Neale, Steve, Genre (London: British Film Institute, 1980). —— Genre and Hollywoodd (London: Routledge, 1999). Neaverson, Bob, The Beatles Movies (London: Cassell, 1997). Nichols, Bill, ed., Movies and Methods, Vol. 2 (Berkeley: University of California Press, 1985). Nuttall, Jeff, Bomb Culture (London: MacGibbon and Kee, 1968). O’Brien, Daniel, SF:UK: How British Science Fiction Changed the Worldd (London: Reynolds and Hearn, 2000). O’Sullivan, Tim, John Hartley, Danny Saunders and Martin Montgomery, Key Concepts in Communication (London: Methuen, 1983). Park, James, British Cinema: The Lights that Failed (London: B.T. Batsford, 1990). Pines, Jim, Blacks in Films (London: Studio Vista, 1977). Pym, John, ed., Time Out Film Guide 177 (London: Time Out Guides, 2007). Renov, Michael, ed., Theorising Documentaryy (London: Routledge, 1993). Reynolds, Simon, Retromania: Pop Culture’s Addiction to its own Pastt (London: Faber and Faber, 2012). Reynolds, Simon and Joy Press, The Sex Revolts: Gender, Rebellion and Rock’n’Roll (London: Serpent’s Tail, 1995). Riley, Tim, Tell Me Why: A Beatles Commentaryy (London: Bodley Head, 1988). Romney, Jonathan and Adrian Wootton, eds, Celluloid Jukebox: Popular Music and the Movies since the 50s (London: British Film Institute, 1995). Rosenstone, Robert, Visions of the Past: The Challenge of Film to our Idea of History (London and Cambridge, MA: Harvard University Press, 1980). Savage, Jon, England’s Dreaming: Sex Pistols and Punk Rock (London: Faber and Faber, 1991). —— Time Travel: Pop, Media and Sexuality 1977–96 (London: Chatto and Windus, 1996). Select Bibliography 239

Schatz, Thomas, Hollywood Genres: Formulas, Filmmaking and the Studio System (New York: Random House, 1981). Shail, Robert, ed., Seventies British Cinema (London: Palgrave Macmillan, 2008). Shanes, Eric, Warhol: The Masterworks (London: Studio Editions, 1991). Shohat, Ella and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (London: Routledge, 1994). Sinyard, Neil, The Films of Richard Lester (Beckenham: Croom Helm, 1985). Smith, Justin, Withnail and Us: Cult Films and Film Cults in British Cinema (London: I.B. Tauris, 2010). Sontag, Susan, Under the Sign of Saturn (London: Penguin, 2009). Sorlin, Pierre, The Film in History: Restaging the Pastt (Oxford: Basil Blackwell, 1980). Sterritt, David, The Films of Jean-Luc Godard: Seeing the Invisible (Cambridge University Press, 1999). Taves, Brian, The Romance of Adventure: The Genre of Historical Adventure Movies (Jackson: Mississippi University Press, 1993). Turim, Maureen, Flashbacks in Film: Memory and Historyy (London: Routledge, 1989). Vincendeau, Ginette, The Companion to French Cinema (London: British Film Institute, 1996). Walker, Alexander, Hollywood, England: The British Film Industry in the Sixties (London: Michael Joseph, 1974). —— National Heroes: British Cinema in the Seventies and Eighties (London: Harrap, 1985). —— Icons in the Fire: The Decline and Fall of Almost Everybody in the British Film Industryy (London: Orion, 2004). Walker, John, The Once and Future Film: British Cinema in the Seventies and Eighties (London: Methuen, 1985). Warshow, Robert, The Immediate Experience: Movies, Comics, Theatre and Other Aspects of Popular Culture (Cambridge, MA: Harvard University Press, 2002). Wheen, Francis, The Sixties (London: Century/Channel 4, 1982). Wilson, Harold, Purpose in Politics: Selected Speeches of Harold Wilson (London: Riverside, 1964). Wright, Will, Six Guns and Society: A Structural Study of the Western (Berkeley: University of California Press, 1975). Young, Nigel, An Infantile Disorder? The Crisis and Decline of the New Leftt (London: Routledge, 1977). Filmography

Fiction film vehicles for British pop music stars

1957 Rock You Sinners – director Denis Kavanagh [USA title: Dangerous Youth] – director The Tommy Steele Story [USA title: Rock Around the Worldd] – director Gerard Bryant

1958 The Duke Wore Jeans – director Gerald Thomas. The Golden Disc [USA title: The In-Between Age] – director Don Sharp Six-Five Special [USA title: Calling the Cats] – director Alfred Shaughnessy

1959 Expresso Bongo – director Val Guest – director Herbert Wilcox Idle on Parade [USA title: Idol on Parade] – director The Lady is a Square – director Herbert Wilcox Serious Charge [USA title: A Touch of Hell] – director Sweet Beatt [USA title: The Amorous Sex] – director Ronnie Albert Tommy the Toreador [USA title: Tommy Toreadorr] – director John Paddy Carstairs

1960 Beat Girl [USA title: Wild for Kicks] – director Edmond T. Gréville Climb Up the Wall – director Michael Winner

1961 The Young Ones [USA title: It’s Wonderful to be Youngg] – director Sidney J. Furie

1962 It’s Trad, Dad! [USA title: Ring-A-Ding Rhythm] – director Dick Lester Play It Cool – director Michael Winner

1963 It’s All Happeningg [USA title: The Dream Makerr] – director Don Sharp It’s All Over Town – director Douglas Hickox Just for Fun – director Gordon Flemyng Just for You [USA title: Disk-O-Tek Holidayy] – director Douglas Hickox Live It Up [USA title: Sing and Swingg] – director Lance Comfort Summer Holiday – director Peter Yates What a Crazy World – director Michael Carreras

240 Filmography 241

1964 A Hard Day’s Nightt – director Richard Lester Every Day’s a Holidayy [USA title: Seaside Swingers] – director James Hill Ferry ’Cross the Merseyy – director Jeremy Summers Wonderful Life [USA title: Swingers’ Paradise] – director Sidney J. Furie

1965 Be My Guestt – director Lance Comfort Catch Us If You Can [USA title: Having a Wild Weekendd] – director John Boorman Cuckoo Patrol – director Duncan Wood Dateline Diamonds – director Jeremy Summers Gonks Go Beat – director Robert Hartford-Davis Help! – director Richard Lester I’ve Gotta Horse [USA title: Wonderful Dayy] – director Kenneth Hume Pop Gearr [USA title: Go Go Mania] – director Frederic Goode Three Hats for Lisa – director Sidney Hayers

1966 Blow Up – director Finders Keepers – director Sidney Hayers The Ghost Goes Gearr – director Hugh Gladwish

1967 Privilege – director Peter Watkins To Sir, with Love – director James Clavell

1968 Mrs Brown, You’ve Got a Lovely Daughter – director Saul Swimmer One Plus One/Sympathy for the Devil – director Jean-Luc Godard Popdown – director Fred Marshall Two a Pennyy – director James F. Collier Yellow Submarine – director George Dunning

1970 Performance – directors Donald Cammell, Nicolas Roeg Permissive – director Lindsay Shonteff

1971 Breadd – director Stanley Long

1973 Take Me High – director David Askey That’ll Be the Dayy – director Claude Whatham

1974 Flame – director Stardustt – director Michael Apted 242 Filmography

1975 Never Too Young to Rock – director Dennis Abey Side by Side – director Bruce Beresford Tommyy – director Ken Russell

1976 The Song Remains the Same – directors Peter Clifton, Joe Massot

1978 Jubilee – director Derek Jarman

1979 The Music Machine – director Ian Sharp Quadrophenia – director Franc Roddam Radio On – director Chris Petit

1980 Babylon – director Franco Rosso Breaking Glass – director Brian Gibson The Great Rock’n’Roll Swindle – director Rude Boyy – directors Jack Hazan, David Mingay

1981 Take It or Leave Itt – director Dave Robinson

1982 Pink Floyd: The Wall – director Alan Parker

1984 Give My Regards to Broad Streett – director Peter Webb

1986 Absolute Beginners – director Julien Temple

1987 It Couldn’t Happen Here – director Jack Bond

1990 Buddy’s Songg – director Claude Whatham

1997 Spice World – director Bob Spiers

2003 Seeing Double [USA title: S Club: Seeing Double] – director Nigel Dick Filmography 243

2012 Ill Manors – director Ben Drew

Biopics of British pop music stars

1979: – director Richard Marquand 1986: Sid and Nancyy – director Alex Cox 1991: The Hours and Times – director Christopher Munch 1993: Backbeatt – director Iain Softley 2002: 24 Hour Party People – director Michael Winterbottom 2005: Stonedd – director Stephen Woolley 2007: Control – director Anton Corbijn 2008: Telstarr – director Nick Moran 2009: – director Sam Taylor-Wood 2010: Sex & Drugs & Rock & Roll – director Mat Whitecross Index

200 Motels 213n. Applejacks, The 76 2001: A Space Odysseyy 139, 150 Apted, Michael 165 24 Hour Party People 205–6 Armes, Roy 79 8½ 201 Armstrong, Louis 10 Arrowsmith, S.M.J. 130 A Bout de Souffle 142 Ash, Leslie 176 ABBA 204–5 Askey, David 164 Abbott and Costello 96 Associated British Picture Corporation ABC see Associated British Picture (ABPC, ABC) 13, 34, 40, 48, 72, Corporation 143 Abey, Dennis 169 Astaire, Fred 47, 54 Absolute Beginners 3, 9, 28, 110, Aswad 191 192–9 Absolute Beginners (novel) 157, 192, Baba, Meher 170, 173 193, 197, 199 Babes in Arms 49 Adam Ant 179, 180 Babylon 191–2 Adorno, Theodor 131 Backbeatt 205 Adulthoodd 208 Bacon, Francis 23, 161 Albert, Ronnie 76 Bacon, Max 126 Aldgate, Tony 33 Badham, John 191 Aldrich, Robert 81 Bailey, David 118, 121 Alfie 86 Bailey, Robin 106 Alice in Wonderlandd 134 Barber, Chris 80 All My Lovingg 149 Bardot, Brigitte 39, 156, 196 Alpert, Hollis 96 Barker, Adam 200 Altman, Rick 4, 48, 51, 52, 55, 56, Barker, Felix 57, 75, 177 59–63 Barkley, Richard 177 Ambler, Dail 40 Barlow, Gary 202 American Graffiti 165 Barr, Charles 30 American Hot Wax 52 Barrett, Syd 184, 187, 188 American in Paris, An 67 Barry, John 3, 39, 41, 43 American International Pictures Barrymore, Michael 202 (AIP) 57 Bart, Lionel 15, 34 Anderson, Gerry 116 Basquiat 3 Anderson, Lindsay 79, 116 Bass, Alfie 103 Anger, Kenneth 152 Baudrillard, Jean 197 Anglo-Amalgamated 15, 18, 23, 71, Bazin, André 4 105, 106 BBC 12, 41, 43, 79, 115, 120, 121, Animals, The 121, 149, 168 131, 171, 196, 207 Anka, Paul 121, 126 Be My Guest 118 Ann-Margret 171, 172, 173 Beach Boys, The 161 Antonioni, Michelangelo 105, 108, Beaconsfield Studios 15 170, 184 Beames, David 183

244 Index 245

Bean, George (and his Runners) 121, Bond, Derek 65, 66 128, 129 Bond, Jack 200 Bean, Robin 129 Bonnie and Clyde 157 Beardsley, Aubrey 134 Boomtown Rats, The 185 Beat Girl 3, 7, 33, 39–47, 52, 71, 119, Boorman, John 8, 105–14, 115, 116, 152, 157, 209 117, 118, 125, 143, 158 Beatles, The 131–2, 185 Bordwell, David 22 Beatles, The 7, 20, 55, 66, 70, 75, 79, Borges, Jorge Luis 115 82–104, 105, 106, 107, 114, 115, Bormann, Martin 181 117, 118, 119, 123, 126, 127, 129, Bosch, Hieronymus 134 131–41, 142, 143, 144, 147–8, 160, Boulaye, Patti 191 161, 163, 165, 166, 167, 169, 177, Boulting, John 25 181, 198, 200, 204, 205, 211 Bourdieu, Pierre 5 Beck, Jeff 118 Bourne, Stephen 37 Beckham, David 130 Bovell, Dennis 191 Beckham, Victoria (Posh Spice) 130, Bowie, David 3, 183, 184, 194, 195, 202, 203 197 Beethoven, Ludwig van 100, 157 Boy Friend, The 171 Behm, Marc 94, 96 Boyd, Patty 177 Belmondo, Jean-Paul 142 Boyle, Billy 169 Benedek, Laslo 10 Boys, The 56 Bennett, Roy 49 Bradshaw, Peter 208 Bennett, Tony 101–3 Braithwaite, E.J. 119 Beresford, Bruce 169 Brambell, Wilfrid 84 Bergman, Ingmar 107 Brando, Marlon 10, 47, 153 Berkeley, Busby 49, 190, 195, 198 Braun, Michael 90 Berkoff, Steven 198–9 Breadd 163 Berry, Chuck 47, 144 Breaking Glass 178, 184, 189, 190 Best, Pete 165 Brecht, Bertolt 67, 68, 126, 150 Bicat, Anthony 12 Bresson, Robert 206 Biggs, Ronald 180 Breton, Michèle 153 Bilbow, Marjorie 163, 188, 193, 197 British Board of Film Censors (BBFC) Bilk, Acker 77–81 12, 33–4, 40, 42, 43, 155, 182 Billings, Josh 35 British Lion 25, 33 Binder, Steve 143 Brodax, Al 131, 132, 133, 137, 225n. Birchill, Julie 193 Bron, Eleanor 95, 101 Birkin, Andrew 168 Bronco Bullfrog 176 Birmingham City FC 122 Brook Brothers, The 77 Birth of the Beatles 205 Brooks, Richard 10, 11 Blackboard Jungle, The 10, 12, 18, Brosnan, Pierce 205 119, 138, 187 Brown, Geoff 27, 169 Blair, Lionel 71, 90 Brown, James 144 Blake, Peter 134 Brown, Joe 72, 115 Blow Up 118–19, 170, 179 Brown, Melanie (Mel B) 203–4 Blur 198 Brown, Mick 161 Bluthal, John 95 Bryant, Gerard 15, 16, 19, 211 Bogarde, Dirk 39 Buckingham, David 5 Bogner, Norman 121 Buddy’s Songg 205 Bond films 34, 86, 100–3, 202 Bugsy Malone 185 246 Index

Bullittt 56 Clayton, Jack 26 Burdett, Al 76 Clayton, Merry 154, 159, 170 Burdon, Eric 121, 224n. Clifton, Peter 178 Burgess, Anthony 144 Climb Up the Wall 76 Butcher’s Films 23–4 Clockwork Orange, A (novel) 144 Buxton, Sheila 24 Clowes, St. John Legh 39 Bygraves, Max 70, 181 Coates, John 132, 133, 137 Byron, Lord 107 Coburn, James 117 Cochran, Eddie 183 Cabin in the Skyy 62 Cohn, Nik 12, 35, 47 Caine, Andrew 4, 5, 19, 46, 71, 72 Coleman, John 65, 134, 156 Caine, Michael 118 Collier, Jim 124 Callaghan, James 184 Collins, Joan 230n. Cammell, Donald 115, 117, Collins, Wilkie 99 152–63 Collinson, Peter 119 Capa, Robert 186 11, 75, 104, 105, Capaldi, Jim 154 119, 171 Capitol Records 82, 83, 95 Comfort, Lance 76, 118 Cargill, Patrick 95 Comus 163 Carr, Roy 7 Connolly, Ray 166 Carreras, Michael 72 Conrad, Jess 196 Carstairs, John Paddy 20 Conrad, Peter 109 Case, Syd 57 Conti, Tom 168 Cass, Ronald 49, 56, 57, 62, 64, 65 Control 206–7 Catch Us If You Can 70, 71, 104–14, Conway, Russ 70 127, 157, 159, 200 Cooder, Ry 154, 158, 159 Cattaneo, Peter 73 Coogan, Steve 206 Cawelti, John G. 5 Cook, Pam 46 Chaffey, Don 116 Cooke, Lez 41 Chandler, Chas 168 Corbett, Harry H. 73, 198 Chaplin, Charlie 90 Corbijn, Anton 206 Chariots of Fire 192 Coronation Streett 57 Charlie is My Darlingg 121, 144 Costa, Sam 76 Charlie’s Angels 202 Count Basie 197 Checker, Chubby 75 Cover Girl 54 Chekhov, Anton 107 Cox, Alex 205 Christie, Ian 135 Crazy Mabel 163 Christie, Julie 118 Crenshaw, Marshall 7 Churchill, Sarah 34 Crichton, Charles 28 Churchill, Sir Winston 26, 34 Crombie, Tony 14, 15 Ciment, Michel 109, 113 Crosby, Bing 10 86, 204 Cuckoo Patrol 72 Clapton, Eric 171, 173, 174 Cukor, George 54 Clark, Dave 105, 106, 107, 112, Culloden 120, 123 113 Culture Club 194 Clarke, John Cooper 207–8 Cumming, Alan 202 Clarke, Noel 208 Curbishley, Bill 170 Clash, The 179, 182–3 Curtis, Deborah 206 Clavell, James 119 Curtis, Ian 206–7 Index 247

Dalí, Salvador 134 Dufficey, Paul 173 Dalle Vacche, Angela 28 Duffy 117, 152 Daltrey, Roger 169–72, 205 Duke Wore Jeans, The 20, 165 Dammers, Jerry 194 Dullea, Keir 139 Daniels, Phil 176, 184 Dunning, George 132, 133, 137 Dateline Diamonds 115 194 Dave Clark Five, The 104–14, 117, Durgnat, Raymond 102, 147, 148 120 Dury, Ian 198, 206 Davies, Hunter 86 Dyer, Richard 5, 6, 19, 48, 51–5, 64, Davies, Ray 194, 198 111, 192 Days of Heaven 177 Dylan, Bob 129 de Abaitua, Matthew 139, 141 Dymon Jr., Frankie 148, 150 de Keyser, David 110 de Little, Johnnie 70 Eaton, Shirley 101 Dean, James 10, 36, 45, 47, 142 Ebert, Roger 181, 186, 201 Dearden, Basil 30, 38 Eberts, Jake 193 Debord, Guy 131 Ed Sullivan Show, The 83, 91, 105, Decca Records 24, 170 117 Dehn, Paul 26, 50 Eddy, Nelson 61 Del Ruth, Roy 60 Edelmann, Heinz 132, 133, 138 Delamar, Mickey 34, 36, 48 Eder, Bruce 27, 71 Delfont, Bernard 32 Edmunds, Dave 166 Delius, Frederick 171 Ehrenstein, David 41, 144 Deliverance 113 Elgar 171 Demy, Jacques 60 Eliot, T.S. 114 Dene, Terry 23–4, 31, 33, 70, 211 Elmes, Guy 34 Denyer, Peter 169 49, 57, 65 Desert Song, The 60 EMI 82, 95, 104, 165, 185 Deutsch, David 71, 105, 106 English, Michael 134 Dick Lester Show, The 74 Entwistle, John 169–70, 171 Dick, Nigel 204 Epstein, Brian 83, 105, 131, 132, 142 Dion 165 Essex, David 166–7, 168, 191, 205 Disney see Walt Disney Evans, Gil 197 Dix, Andrew 5 Evans, Mal 100 Dixon, Deborah 153 Everett, Kenny 115 Doane, Mary Ann 61 Everly Brothers, The 148 Donegan, Lonnie 76 Every Day’s a Holidayy 115 Donen, Stanley 21, 51, 143 Excaliburr 105 Donlan, Yolande 26, 27 Expresso Bongo (film) 16, 25–33, 35, Donnelly, K.J. 7, 8, 9, 183, 197–8, 38, 42, 46, 49, 51, 63, 64, 71, 85, 230n. 89, 107, 126, 129, 130, 131, 142, Donner, Clive 3 157, 167, 184, 196 Don’t Knock the Rock 11 Expresso Bongo (play) 25, 42, 142 Doors, The 157 Eytle, Tommy 18 Dorsey Brothers, The 19 Ezrin, Bob 185 Douglas, Craig 75, 197 Downbeatt 74 Factory Records 206 Dr. No 100, 102 Faith, Adam 39–47, 119, 161, 166 Drew, Ben see Plan B Faithfull, Marianne 152, 162 248 Index

Fame 185 George Mitchell Minstrels, The 70 Fancey, E.J. 13, 14, 76 Georgy Girl 86 Farrar, David 39, 196 Gerry and the Pacemakers 94, 144 Feld, Irvin 126 Get Yourself a College Girl 105 Fellini, Federico 94, 114, 201 Ghost Goes Gear, The 116 Fellini Satyricon 94 Gibbs, Christopher 152, 153, 158 Fenemore, Hilda 15 Gibbs, Patrick 50, 96 Fenton, Shane 71 Gibson, Brian 178 Ferris, Barbara 106 Gilbert and Sullivan 188, 197 Ferry ’Cross the Merseyy 94 Gilbert, Lewis 86 Feuer, Jane 5, 25, 48, 52, 54, 55, 58, Gilbert, Philip 14 67, 68, 91 Gillett, Charlie 47 Filth and the Fury, The 182 Gilliatt, Penelope 57, 126, 130 Finders Keepers 116–17 Gilling, John 13 Fires were Startedd 87 Gilmour, David 184 Fisher, Terence 1, 76 Gimme Shelterr 163 Fiske, John 6 Give My Regards to Broad Streett 192 Flame 167–9, 184 Gladwish, Hugh 116 Flemyng, Gordon 76 Gledhill, Christine 3, 7 Ford, Derek 163 Glee 204 Ford, Glenn 11, 119 Glitter Band, The 169 Forde, Brinsley 191 Godard, Jean-Luc 67, 99, 108, 117, Forever More 163 141–52, 158, 180, 181, 183, 186, Fosse, Bob 195 190 Fox 169 Goebbels, Joseph 129 Fox, James 27, 47, 153, 156, 181, Gold Diggers of 1933 51 196 Goldcrest 192–4, 200 Freddie and the Dreamers 72, 76, Golden Disc, The 23–5, 30, 31, 70, 115 75, 77, 115 Freeman, Alan 196 Goldfingerr 86, 100, 101, 119 French, Philip 77, 78 Gonks Go Beatt 69, 76 Freud, Sigmund 45, 104, 113, 151 Good Companions, The 12 Frith, Simon 73, 141 Good, Jack 39, 76, 115 From Russia with Love 57, 102 Goode, Frederic 76 From Shepherd’s Bush to Zurich 56 Goodfellas 159 Fuchs, Cynthia 203 Goodman, Abe 137 Full Monty, The 73 Goodwin, Andrew 195 Fuller, Simon 204 Goodwin, Michael 155, 163 Funny Face 51 Goons, The 74, 75, 78, 83, 93, 99, Funny Girl 136 101, 102 Furie, Sidney J. 49, 50, 51, 56, 64, 67 Gosling, Nigel 136 Fury, Billy 71, 115, 165 Gow, Gordon 159 Grade, Leslie 32 Gagarin, Yuri 51 Graham, Billy 117, 123–4 Gaillard, Slim 197 Grant, Richard E. 202 Gance, Abel 19 Gray, Carole 49, 56 Gange, Ray 183 Great Escape, The 100 Garland, Judy 47, 49, 52, 61, 64, 91 Great Rock’n’Roll Swindle, The 178, Geldof, Bob 185, 187, 201 179, 180–3, 188, 196, 206 Index 249

Green, Teddy 49 Help! 94–104, 105, 108, 112, 117, Gregory, Gillian 185 118, 119, 132, 149, 157, 201, 202, Gréville, Edmond T. 39, 41 206 Grossberg, Lawrence 211–12 Hemmings, David 118–19, 179 Groupie Girl 163 Hendrix, Jimi 149, 156, 179 GTO Records 169, 184 Here We Go Round the Mulberry Guest, Val 25–8, 219n. Bush 3 Guillermin, John 40 Herman’s Hermits 69, 119–20 Guns of Navarone, The 50 Hess, Rudolf 129 Heyman, John 121 Haigh, Kenneth 89 Hibbin, Nina 24, 50, 122, 135, 156 Haley, Bill and his Comets 11, 12, Hickox, Douglas 76 14, 25 High School Musical 204 Hallelujah 62 High Societyy 10 Halliwell, Geri (Ginger Spice) 202, Hill, Dave 168 203 Hill, James 115 Halliwell, Leslie 139 Hill, John 32, 41, 45 Hamilton, Guy 86, 219n. Hills, Gillian 39, 196 Hamilton, Richard 109–10, 112 Hinxman, Margaret 7, 40, 57, 106, Hammond, Wally 204 210 Hampshire, Susan 64 Hitler, Adolf 124, 138, 179 Hapshash and the Coloured Hoberman, James 199 Coat 134 Hoffmann, Dezo 93 Harding, Gilbert 30, 196 Hoggart, Richard 22 Hardy, Françoise 162 Hold On! 69 Hargreaves, Christine 185 Holder, Noddy 168 Harper, Kenneth 48, 49, 51, 56, 57, Holiday, Billie 197 58, 64, 164 Hollies, The 76 Harper, Sue 11, 16, 19, 24, 52, 53 Holloway, Stanley 120 Harrison, George 82–104, 110, 127, Holly, Buddy 165 148, 196 Hoskins, Bob 185, 201 Hart, Lorenz 49 Hours and the Times, The 205 Hartford-Davis, Robert 69, 213n. Houston, Penelope 96 Hartley, John 7 Howman, Karl 191 Harvey, Laurence 26, 31, 142, 196 Hudis, Norman 15 Hathaway, Henry 173 Hudson, Hugh 192 Hawkes, Chesney 205 Hue and Cryy 28 Hay, Will 76 Hughes, Ken 13 Haydn, Joseph 179 Hughes, Robert 99, 100, 109, 110 Hayers, Sidney 115, 116 Hume, Kenneth 115 Hayes, Melvyn 49, 63, 64, 65 Humphries, Barry 169, 201 Hayward, Susan 7, 18, 35, 41, 48, Huntley, John 8 73, 74, 197 Hutchings, Peter 41, 215n. Hazan, Jack 178 Hyman, Kenneth 153–4 Head 94 Healey, Denis 179 I Know Where I’m Goingg 28 Heart of a Man, The 13 I’m All Right Jack 25, 33 Heath, Ted and his Music 26 I’ve Gotta Horse 115 Hebdige, Dick 3 If…. 79, 147 250 Index

Ill Manors 207–8, 210 Just for You 76 Incorporated Television Company Jympson, John 84 (ITC) 139 Indiana, Robert 134 Kael, Pauline 97, 107 It Couldn’t Happen Here 200 Kallman, Dick 70 It’s a Wonderful Worldd 26 Katzman, Sam 11, 12, 74, 105 It’s All Happeningg 70 Kaufmann, Maurice 71 It’s All Over Town 76 Kavanagh, Denis 13 It’s Trad, Dad! 69, 70, 74–82, 83, 90, Keaton, Buster 90 92, 104, 112, 141, 196, 197 Kee, Robert 123 ITV 34, 193 Kelly, Gene 51, 67, 93 Izod, John 158 Kemp, Lindsay 180 Kennedy, Jacqueline 88, 202 Jackson, Frank 25 Kennedy, John 16 Jacobs, David 70 Kennedy, John F. 83, 167 Jagger, Mick 27, 47, 118, 123, Kenney, James 25 141–63, 166, 181, 185, 187, 189 Kenny 169 Jam, The 175 Kensit, Patsy 193, 196 James, Caryn 195 Kermode, Mark 116 Jameson, Fredric 197 Keystone Cops, The 67 Jarman, Derek 178, 179–80 Kill Me Tomorroww 1 Jarrott, Charles 155 Kind of Loving, A 57 Jazz Boatt 13 King, Philip 33 Jazz Singer, The 109 Kinks, The 198 Jellicoe, Ann 94 Kinnear, Roy 95 Jenkins, Charles 134 Kiss Me Deadlyy 81 Jenkins, Steve 178, 186, 192 Klein, Alan 72 Jennings, Humphrey 87 Klein, Allen 119, 126, 144 Jersey Boys 205 Knack, The 94 Joffé, Roland 192 Koenig, Wolf 121, 126 John, Elton 171, 172, 174, 201 Koster, Henry 56 Johns, Glyn 147 Kozloff, Max 78 Johns, Jasper 99–100 183 Johnson, Catherine 204 Kray, Ronald and Reginald 156, 157 Johnson, Celia 12 Kroitor, Roman 121, 126 Johnson, Robert 158 Kubrick, Stanley 139, 186 Jones, Brian 146, 149, 152, 153, 161–2, 187 Lacan, Jacques 157 Jones, Paul 121–30 Lady Be Goodd 22 Jones, Steve 179, 181 Lady is a Square, The 13 Jordan 179, 180 Lamb, Charles 15 Joy Division 205–7 Lambert, Constant 170 Joyce, Yootha 106 Lambert, Kit 170 Jubilee 178, 179–80, 183 Landau, Jon 175 Juicy Lucy 163 Lane, David 116 Jung, Carl 113, 115, 158 Lang, Fritz 183, 184, 190 Jungle Book, The 132 Lassally, Walter 39 Junkin, John 84 Last Poets, The 158 Just for Fun 76, 153 Lea, Jim 168 Index 251

Leach, Elizabeth Eva 202 MacInnes, Colin 17, 19, 157, 192, Leander, Mike 121, 124 193, 197–8, 199 Leary, Timothy 117 Macmillan, Harold 73 178 MacMillan, Kenneth 26 Lee, Christopher 39 Madness 178, 189, 198 Lennon 205 Magic Christian, The 148 Lennon, John 70, 82–104, 137, 142, 114, 136, 137, 148, 184, 206 200 LeRoy, Mervyn 25, 51 Mahler 171 Lester, Richard 55, 74–104, 107, 116, Malcolm, Derek 155 118, 122, 123, 124, 125, 126, 127, Malick, Terrence 177 143, 144, 155, 167, 173, 204 Mamma Mia! The Movie 204–5 Let It Be 147–8 Mamoulian, Rouben 195 Lewis, Jon 173, 195 Man Who Fell to Earth, The 3 Leyton, John 77, 82, 115 Manfred Mann 3, 121 29 Mankowitz, Wolf 25, 26, 142 Lichtenstein, Roy 77, 79, 173 Marcos, Imelda 117 Lieberson, Sandy 152–3, 155, Marquand, Richard 205 165 Marshall, Fred 76 Lightfoot, Terry and his Martin, George 83, 86, 94, 133 Jazzmen 77 Martin, Millicent 25 Lindsay-Hogg, Michael 147 Marvin, Hank 66, 219n. Liotta, Ray 159 Marwick, Arthur 2–3, 31–2, 220n. Littlewood, Joan 72 Marx Brothers, The 85, 98 Live It Up 76, 118 Marx, Groucho 113 Livingstone, Marco 109 Mary Poppins 87, 95 Lloyd, Phyllida 205 Mary Queen of Scots 155 Loach, Ken 3, 119 Mason, Nick 184 Lodge, David 106 Massot, Joe 178 Loncraine, Richard 167 Master Musicians of Joujouka, London Weekend Television The 162 (LWT) 149 Masters, Quentin 230n. Lonely Boyy 121, 124, 126 Maughan, Susan 72 Long, Stanley 163 Max, Peter 134 Looking for an Answerr 123–4 Maysles, Albert and David 90, 163 Love Me Tenderr 11 Mazzola, Frank 155 Love Me Tonightt 195 McCartney, Paul 82–104, 132, 140, Love Storyy 133 142, 148, 192 Lubin, Arthur 69 McCowen, Alec 33 Lucas, George 165 McGoohan, Patrick 139–41 Lulu 119, 121 McGrath, Joseph 148 Lynne, Gillian 64 McKern, Leo 95 Lynskey, Dorian 207 McLaren, Malcolm 180–2, 204 McLaughlin, Noel 207 Maben, Adrian 184 McLeod, Norman 22 MacCabe, Colin 23, 156 McQueen, Steve 56, 100 MacDonald, Ian 87, 117, 136, 139, McRobbie, Andrea 73, 141 140 Medhurst, Andy 39, 45, 108, 115, MacDonald, Jeanette 61 198, 200 252 Index

Meehan, Tony 57 Mrs Brown, You’ve Got a Lovely Meek, Joe 76 Daughterr 119–20 Mein Kampff 150 MTV 174, 194–5, 196, 197, 199, Mellers, Wilfrid 138 200 Melly, George 14, 16, 18, 19, 20, 23, Mud 169 35, 46, 47, 80, 101, 180 Mulholland, Garry 129, 130 Mendelsohn, Jack 133 Mullard, Arthur 81 Merseybeats, The 76 Mulvey, Laura 45, 61 Metropolis 184, 196 Munch, Christopher 205 Meyer, Russ 180 Mundy, John 8, 32, 45, 72, 165, MGM 34, 40, 49, 118, 185, 196 195, 200 Midler, Bette 170 Murdoch, Rupert 202 Midnight Cowboyy 154 Muriel 108 Midnight Express 185 Murphy, Robert 70, 79, 114, 119 Miles, Sarah 118 Music Lovers, The 171 Millar, Gavin 156 Music Machine, The 191 Miller, Sidney 105 Mutrux, Floyd 52 Milligan, Spike 75, 102 Myers, Laurence 169 Millington, Mary 179 Myers, Peter 49, 57, 62, 64, 65 Mindbenders, The 119 Mingay, David 178 Napoléon vu par Abel Gance 18, Minnelli, Vincente 63, 64, 67, 195 186 Minoff, Lee 132, 133 Narizzano, Silvio 86 Minter, George 39–40 National Film Finance Corporation Mission, The 192 (NFFC) 166, 191 Mitchell, Warren 103 Naughty Marietta 61 Mon Oncle 100 Neagle, Anna 13 Monaco, James 108 Neale, Steve 4, 7 Monitor 30, 171 Neaverson, Bob 90, 136, 138 Monk, Claire 180 Ned Kellyy 155 Monkees, The 94, 200, 204 Never Let Go 40, 41 Monroe, Marilyn 173 Never Too Young to Rock 169 Moon, Keith 165, 166, 169–70, Newcomers, The 105 171, 174 Newley, Anthony 13, 205 Moonstone, The 99, 103 Newman, Kim 193, 195, 196 Moore, Roger 201–2 Newman, Randy 154 Moran, Nick 76 Niagara 173 More 184 Nicholas, Paul 166, 171 Moretti, Franco 5, 8 Nicholl, Don 24 Morley, Robert 49, 50, 116 Nichols, Peter 105–6, 109 Morrison, Jim 157 Nicholson, Jack 171 Mosley, Leonard 65 Nimmo, Derek 90 Mosley, Oswald 198 Nineteen Eighty-Four 138 Mount, Dave 169 Nitzsche, Jack 154 Mouse on the Moon, The 82 No Orchids for Miss Blandish 39 Mouse that Roared, The 82 No Trams to Lime Streett 83 Moviemakers 117 Noone, Peter 119 Mozart, Wolfgang Amadeus 179 Noose 39 Mr Hobbs Takes a Vacation 56 Norman, Philip 70, 146, 162 Index 253

Nowell-Smith, Geoffrey 37, 45, 86 Performance Twins 156 Nowhere Boyy 205 Permissive 163, 168 Nuttall, Jeff 80 Peter Pan 137 Peters, Lauri 56, 62, 64, 67, 158 O’Brien, Pat 1, 212 Petit, Chris 183 O’Brien, Richard 201 Petley, Julian 8, 210 O’Connell, Eddie 193 Philpott, Trevor 20, 92 O’Connor, Hazel 184 PiL (Public Image Ltd) 183 O’Keeffe, Georgia 188 Pines, Jim 103, 119 O’Sullivan, Richard 49, 56, 63, 64 186 Oasis 141 Pink Floyd 184–5, 186 October, Gene 179 Pink Floyd: Live at Pompeii 184 Oh Boy! 34 Pink Floyd: The Wall 138, 184–91, Oldenburg, Claes 134, 173 199, 207, 209 Oldham, Andrew Loog 118, 141–4 Pinns, Suzi 179 On the Town 51 Pirate, The 64 One Million Years BC 116 Plan B (Ben Drew) 207–9 One Plus One/Sympathy for the Plan 9 From Outer Space 69 Devil 117, 141–52, 158, 161, 183, Platts-Mills, Barney 117, 176 186, 190 Play It Cool 71–2, 74, 105, 115 Ono, Yoko 148 Poitier, Sidney 119 Orlando 180 PolyGram 201 Ornstein, George ‘Bud’ 82, 95, 100, Poor Coww 3, 119 103 Pop Gearr 76 Orr, John 206 Pop Idol 204 Orwell, George 128, 138, 140 Popdown 76 Owen, Alun 83, 84, 85, 86, 94, 168 Porgy and Bess 52 Porter, Vincent 11, 16, 19 Pacey, Ann 156 Portman, Eric 12 Pack, Anna 71 Potter, Gil 181 Page, Jimmy 118 Powell, Dilys 34, 65, 75, 122, 137, Palace Pictures 192, 193 172 Pallenberg, Anita 27, 153–4, 161–2 Powell, Don 168 Palmer, Tony 149, 213n. Powell, Michael 28 Paramor, Norrie 53 Powell, Robert 171 Parker, Alan 185–91 Pratt, Mike 15 Parnes, Larry 16, 25, 32, 71, 72, Preminger, Otto 52 196 Presley, Elvis 4, 11, 13, 17, 18, 19, Parrish, Robert 117 20, 21, 35, 47, 50, 62, 82, 129 Parsons, Nicholas 116 Pressburger, Emeric 28 Patterson, Lee 24 Price, Dennis 65 Patterson, Ottilie 80 Prisoner, The 139–41 Peacock, Chris 194 Private Roadd 117 Pearse, John 117 Privilege 29, 110, 117, 120–31, 136, Pearson, Michael 144 137, 140, 144, 150, 156, 157, 163, Percival, Lance 76 164, 169, 173, 175, 180, 186, 187, Performance 23, 27, 46, 115, 118, 189, 190, 198, 209 120, 152–63, 165, 168, 181, 187, Proby, P.J. 156 196, 207 Pulp Fiction 208 254 Index

Pursey, Jimmy 177 Richmond, Anthony B. 147 Pusher 208 Riefenstahl, Leni 124, 129 Puttnam, David 165–6 Riley, Bridget 139 Pym, John 183 Riley, Sam 206, 207 Riley, Tim 134, 208 Quadrophenia 175–7, 178, 179, 183, 88 184, 185, 191, 192 Robinson, Dave 178 Quant, Mary 176 Robinson, David 15, 19, 26, 34, 50, Quarrier, Iain 144–5, 149, 150, 151, 81, 138, 156 152, 186 Rock Around the Clock 11, 12 Quarry, The 105 Rock You Sinners 13–14, 15 Quayle, Anna 84 Rock’n’Roll Circus 147 Quayle, Anthony 34, 39 Roddam, Franc 175–7 Quigly, Isabel 27, 85 Rodgers, Noel 82 Rodgers, Richard 49 Radio On 183 Roeg, Nicolas 3, 115, 153, 154, 155 Radio Parade of 1935 76 Rogers, Ginger 54 Rafelson, Bob 94 Rolling Stones, The 7, 65, 67, 117, Ramsey, Alf 118 119, 121, 129, 141–52, 153, 154, Rank Organisation 13, 40, 65, 158, 161, 163, 183, 211 122–3, 136 Ronco Records 165–6 Ray, Andrew 34 Room at the Top 26, 31, 142 Ray, Nicholas 10 Rooney, Mickey 47, 49, 52, 61, 64, Rayns, Tony 168 91 Ready, Steady, Go! 115, 170, 176 Rosenbaum, Jonathan 175 Rebel Without a Cause 10, 40, 142, Rosenstone, Robert 181 176 Ross, Herbert 49, 51, 54, 56, 57, Reed, Bill 41, 144 60, 64 Reed, Oliver 43, 171 Ross, Jonathan 202 Rees-Mogg, William 143 Rossington, Norman 84 Refn, Nicolas Winding 208 Rosso, Franco 191 Reiner, Rob 168 Rotten, Johnny (John Lydon) 177, Reisz, Karel 32 181–2, 183, 204 Renown Pictures 1, 39–40 Rowland, Gary 140 Resnais, Alain 108, 112 Royal Flash 88 Revolution 192, 193 Rubettes, The 169 Reynolds, Simon 205 Rude Boyy 178, 179, 182–3 Rice-Davies, Mandy 198 Rudolph, Oscar 74 Richard, Cliff 7, 26–39, 40, 42–68, Running, Jumping and Standing Still 71, 72, 74, 79, 86, 90, 91, 92, 97, Film, The 75, 83, 93 113, 115, 116–17, 120, 123–4, 126, Rushton, Willie 76 127, 129, 130, 141, 157–8, 163, Russell, Ken 87, 170–5, 180, 200 164, 171, 192, 196, 209 Richard, Keith 141, 154, 162 S Club 204 Richard, Little 47, 165 Sade 194 Richards, Dick 85 Sainte-Marie, Buffy 154 Richards, Jeffrey 11 Sanchez, Tony 162 Richardson, Tony 32, 58, 155 Sandrich, Mark 59 Richardson Gang, The 156, 157 Sapphire 30, 36, 38, 41 Index 255

Sarris, Andrew 86, 129, 155, 173, Sinker, Mark 204 175, 204 Sinyard, Neil 77, 80, 98 Saturday Night and Sunday Siouxsie Sioux 179 Morningg 40 Six-Five Special (film) 76 Saturday Night Feverr 191 Six-Five Special (TV series) 12, 32, 39 Saturday Night Outt 213n. Slade 168–9, 184 Savage, Jon 25, 110, 114, 158, 179 Slick 169 Scarfe, Gerald 185–7 Slocombe, Douglas 49 Schatz, Thomas 5 Small Faces, The 115, 198 Schjeldahl, Peter 155 Small Films 14 Schlesinger, John 32, 58, 154 Smiley Culture 194 Schnabel, Julian 3 Smith, Anna 208 Schroeder, Barbet 184 Smith, Justin 171, 175 Scofield, Paul 25 Smith, Mike 105 Scorsese, Martin 159 Soderbergh, Steven 99 Scott, Janette 12 Softley, Iain 205 Scott, Joan 14 Song of Summerr 171 Screaming Lord Sutch 168 Song Remains the Same, The 178 Searchers, The 213 Sontag, Susan 190 Sears, Fred F. 11 Sorlin, Pierre 177 Seeing Double 204 Sounds Incorporated 78 Segal, Erich 133 Spector, Phil 161 Sellers, Peter 75, 82, 148 Speight, Johnny 121 Serious Charge 33–9, 40, 41, 47, 53, Spencer Davis Group, The 116 57, 63, 74, 93, 119, 180, 196, 209 Spice Girls, The 200–4 Seven-Year Itch, The 173 Spice Worldd 200–4 Sex & Drugs & Rock & Roll 206 Spiers, Bob 201 Shadows, The 35, 49, 54, 55, 56, 62, Spinetti, Victor 84, 95 63, 66, 67, 91, 116 Spitting Image 193 Shanes, Eric 88 Springfields, The 76 Shannon, Johnny 168, 181, 196 Spungen, Nancy 182 Shapiro, Helen 75, 78, 197 Stam, Robert 102 Sharp, Don 24, 70 Stamp, Chris 170 Sharp, Ian 191 Stamp, Terence 145 Shaughnessy, Alfred 76 Star is Born, A 54 Shaw, Sandie 198 Stardustt 165, 166–7, 168, 187 Shenson, Walter 82, 84, 85, 94 Starr, Ringo 82–104, 140, 144, 148, 26, 192 165, 177 Shohat, Ella 102 Steele, Mary 24 Shonteff, Lindsay 163 Steele, Tommy 1, 14–23, 25, 26, 28, Show Girl in Hollywoodd 25 32, 33, 35, 36, 52, 54, 55, 70, 72, Shrimpton, Jean 121–3, 125, 130 76, 89, 90, 92, 165, 196, 212, 216n. Sid and Nancyy 205 Stellman, Martin 191 Side by Side 169 Sterling, George 35 Sight and Soundd 15, 85–6, 167, 172 Sterritt, David 148 Signoret, Simone 31 Stevenson, Robert 87 Simon, John 155 Stiff Records 183 Sinatra, Frank 10, 181 Stigwood, Robert 170 Singin’ in the Rain 21, 93 Sting 177, 183 256 Index

Stock, Nigel 33 That’ll Be the Dayy 165–6, 176, 191, Stoned 161 206 Storm, Rory and the Hurricanes 165 These Dangerous Years 13 Streep, Meryl 205 This is Spinal Tap 168 Streisand, Barbra 56 Thomas, Gerald 20 Strick, Philip 146 Thompson, Ben 27, 168 Stuart, Mike 185 Thompson, J. Lee 12, 50 Stubbs, Una 56, 64, 65 Thompson, Kristin 22 Stud, The 230n. Thorne, Ken 94 Sturges, John 100 Thornton, Michael 65, 85, 96 Style Council, The 194 Threadgold, Terry 6 Subotsky, Milton 75 Three Hats for Lisa 115, 143 Summer Holidayy 8, 48, 56–64, 65, 67, Thunderball 119 68, 86, 115, 158, 171, 201 Thunderbirds Are Go 116 Summers, Jeremy 94, 115 Titus Groan 163 Sunday Night at the London To Sir, with Love 119 Palladium 32, 91, 142 Tommy 169–75, 177, 185, 186, 187, Sundquist, Gerry 191 189 2 88 Tommy Steele Story, The 14–23, 24, Sweet Beatt 76 25, 27, 29, 31, 32, 43, 58, 85, 88, Sweet Charityy 194 89, 90, 92, 114, 181, 187, 202 Sweet, Matthew 14, 201 Tommy the Toreadorr 20 Sympathy for the Devil see One Plus Tonite Let’s All Make Love in One London 118, 144, 149, 184 Syms, Sylvia 26, 196 Tookey, Christopher 208, 210 Top Hatt 59, 62 Take It or Leave Itt 178, 189 Top of the Pops 115, 169, 170, 180, Take Me High 164 183, 202 TAMI Show, The 143 Touch of Evil 196 Tarantino, Quentin 208 Townshend, Pete 169–76 Tashlin, Frank 195, 197 Traffic 3, 154 Taste of Honey, A 57 Trevelyan, John 34, 35, 40, 44 Tati, Jacques 100 Triumph of the Will 124 Taves, Brian 5 Tudor, Eddie Tenpole 181, 196 Taylor, Gilbert 83, 94, 102 Turim, Maureen 18, 20 Taylor, John Russell 141, 156 Turner, Big Joe 21 Taylor, Matthew 208 Turner, Tina 171, 175 Taylor, Paul 186 Twickenham Studios 95, 147 Taylor-Wood, Sam 205 Twist Around the Clock 74 Tebbit, Norman 189 Two a Pennyy 124, 164 Telstar 76 Tynan, Kenneth 106 Temperance Seven, The 75 Tzelniker, Meier 28, 126 Temple, Julien 28, 178, 180, 182, 192–6, 199 Une Femme est une Femme (A Woman Tepper, Sid 49 is a Woman) 143 Terry-Thomas 169 United Artists 82, 84, 85, 86, 94, 95, Thank Your Lucky Stars 196 100, 101, 132, 136, 147 Thatcher, Margaret 180, 183, 184, Universal 121–2, 170, 205 189, 198, 199 Up the Junction 119 Index 257

Valley Obscured, The (La Vallée) 184 What a Crazy Worldd 72–4, 198 Van Dyke, W.S. 61 Whatham, Claude 165, 205 Vaughan, Frankie 13, 76 Wheen, Francis 92 Vee, Bobby 71, 165 Whiskey, Nancy 25 Ventura, Vivian 116 Whitebait, William 34, 35 Vicious, Sid 178, 181, 182 Whitecross, Mat Victim 38, 39 Whitehead, Peter 118, 121, 144, Vidor, Charles 54 184 Vidor, King 63 Who, The 165, 169–77 Vincent, Gene 69, 77 Wholly Communion 118 Virgin Films 180, 182, 192, 194 Wilcox, Herbert 13 Visconti, Tony 184 Wild One, The 10 von Braun, Wernher 183 Wild Strawberries 107 Wilde, Marty 72–3, 166 Wadleigh, Michael 170 Wilder, Billy 173 Walkabout 153, 155 Willcox, Toyah 177, 179 Walker, Alexander 72, 76, 79, 96, Williamson, Sonny Boy 173 100, 105, 122, 123, 131, 135, 141, Willoughby, George 39 146, 154, 156, 159, 167, 172, 193, Wilson, Brian 161 194 Wilson, Cecil 85, 106, 136, 156 Walker, John 163 Wilson, David 172, 174 Walt Disney organisation 132, 133, Wilson, Harold 69, 70, 79, 89, 102, 137 104, 117, 197 Walters, Charles 10 Wilson, Tony (Anthony H.) 206 War Game, The 120, 123, 131 Wingett, Mark 177, 184 War of the Worlds 120 Winner, Michael 8, 71, 76 Warhol, Andy 88, 134, 152, 173, Winterbottom, Michael 205–6 187 Wisdom, Norman 11 Warner Bros. 153–5, 156, 196 Wollen, Peter 67 Warshow, Robert 4 Women in Love 87 Warwick Films 13 Wonderful Life 48, 64–8, 90, 91, Waters, Muddy 142 113 Waters, Roger 184–91 Wood, Charles 94, 96, 101, 105 Watkin, David 94 Wood, Duncan 72 Watkins, Peter 117, 120–31, 173, Wood, Michael 155 175, 190, 223n. Woods, Arthur B. 76 Watling, Debbie 164 Woodstock 170 Watts, Charlie 144 Woolley, Stephen 161 Webb, Peter 192 Working Week 194 Webb, Robert K. 11 Wreckless Eric 183 Weekend 67, 149 Wright, Richard 184 Welch, Bruce 63, 219n. Wright, Will 6 Weller, Paul 175 Wyler, William 136 Welles, Orson 120, 196 Wyman, Bill 147 Wenders, Wim 183 Wendt, George 202 X Factor, The 127 West Side Storyy 195, 199 Westwood, Vivienne 179, 180 Yardbirds, The 118, 170 Weymouth, Nigel 134 Yates, Peter 56, 57 258 Index

Yeah! Yeah! Yeah! New York Meets the Young, Nigel 80 Beatles 90 Young, Terence 34, 57, 100 Yellow Book, The 134 Yellow Submarine 118, 131–41, 145, Zabriskie Pointt 184 147, 148, 160, 181, 189 Zappa, Frank 213n. Young Ones, The 21, 48–56, 58, 62, Zec, Donald 23 65, 66, 68, 72, 90, 92, 97, 116, 157 Ziegfeld Folllies 196