Kirsti Bohata, Alexandra Jones, Mike Mantin and Steven Thompson
Road to Wigan Pier, new edn (London: Penguin Classics,
2001), p. 13.
16 Ramsay Guthrie, Kitty Fagan: A Romance of Pit Life (London: Christian Commonwealth Publishing, 1900), p. 78.
17 J. C. Grant, The Back-to-Backs (London: Chatto and Windus, 1930), p. 18.
18 Harold Heslop, The Gate of a Strange Field (London: Brentano, 1929), p. 33.
19 Lewis Jones, We Live (1939) in Lewis Jones, Cwmardy and We Live (Cardigan:
Parthian, 2006), p. 637.
20 Jones, Cwmardy and We Live, p. 169.
21 Tom Hanlin, Yesterday Will Return (London: Nicholas & Watson, 1946), p. 120.
-consul. This purports to be a statement by Haidar Khan and Amir Jang, ‘prince of the Bahktiari’, to the effect that the three travellers were the first outsiders to accompany the Bahktiari on their perilous migration through the Zardah Kuh pass. By this means, we are reminded that it is not, after all, the Bahktiari, but rather the travellers who, in the classic manner of the travelogue, are the real heroes of this film.
Melodrama and the documentaire romancé : the case of
In the Land of the Head Hunters
preserves most of the elements of melodrama – suspense,
sensational episodes and romance – though unambiguously happy
endings are in short supply. In The Beauty Queen of Leenane (1996),
The Cripple of Inishmaan (1996), A Skull in Connemara (1997), The
Lonesome West (1997) and The Lieutenant of Inishmore (2001) these
elements are liberally seasoned with satirical stereotypes of Irishness
and stage Irishry. McDonagh’s work, despite being embedded in the
traditional formulae of Irish drama, also bears a close affinity with British
‘in-yer-face drama’ of the 1990s, serving
subaltern and palpable difference. It follows that these
representations do not announce the romance of resistant identities
and the seductions of the autonomous subject, split apart from
power. Rather, figures of critical difference and subaltern
community appear here as inhabiting the interstices of power,
intimating its terms and insinuating its limits – already
probably for the last time.
[ 55 ]
It’s quite difficult to imagine this version of my father – the drama, the
romance, the fear of that time, and his participation in it all. Just as
surprising for me was to come across a photograph of him with an
unknown woman, taken in the earlier years, in which he looks so
confident and debonair. One of my German American relatives had
the picture – she doesn’t know who the woman was, or where it
Of course I also didn’t know my father as a young man. He was nearly
forty years old when I was born.
Film festivals and the revival of Classic Hollywood
since The Exorcist has been widely available for years on video
in a slightly different version. Against this, the titles exhibited as
part of the Warner Brothers Shorts series wear their obscurity like a
badge of honour: examples include Romance of Robert Burns
(‘as it says (expect the worst), with Owen King, 1937’ )
and Hollywood Wonderland (‘Fritz Feld . . . as a Michael
thriller, not so easy to hook them on a soft romantic plot.’ 11 It may be that in relation
to romantic films, audiences expect major stars as a focus for their
attention and empathy. For whatever reason, none of Tempean’s
second features fall into this category. There is usually a romantic
action proceeding in parallel with the thriller plot, as was the case
with most crime films, but the romance was never the centre of
and the Major, but for
the film Burt Lancaster was John and David Niven took the part of Major
Pollock. The film played up a hint of romance between the Major and
Sybil Railton-Bell, suggesting at least a potential heterosexuality for
the military man. Rattigan never wanted this, however, thinking it would
be a ‘bowdlerisation of the original’. 9 So the studio covertly employed a second
example, Gregory Blaxland, Golden Miller (London: Constable, 1972), p. xi.
Noel Fairfax-Blakeborough (ed.), J. F.-B: the memoirs of Jack Fairfax-Blakeborough
(London: J. A. Allen, 1978), p. 182.
Sporting Life, 19.5.1924.
Theodore Felstead, Racing romance (London: Werner Laurie, 1949), pp. 100–2.
John Hislop, Far from a gentleman (London: Michael Joseph, 1960), p. 177.
1923 Select Committee, QQ7957–67 (Heathorn). W. Bebbington, Rogues go
racing (London: Good and Betts, 1947), pp. 120–1 took the same view.
1923 Select Committee, Q2244 (Hamilton).
1923 Select Committee
from the shared experience of racing and often shared backgrounds. Jockeys
loved racing and horses, and the language of jockey autobiographies is very
revealing here. Hislop, for example, talked about his horses as ‘noble’, ‘magnificent’, a ‘beautiful picture’, and found racing had ‘a freshness and interest’, an
‘exhilarating’ ‘new world’ of ‘romance and risk’. Rae Johnson, on his first ever
visit to a racecourse, ‘got drunk … on the atmosphere’, enjoyed its ‘excitement’,
‘thrill’, ‘applause’ and ‘glamour’.11 One division was created by the highly efficient