A celebration

This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.

Open Access (free)
The early British films of Joseph Losey
Neil Sinyard

premièred at the end of 1963. For Bogarde, this prestigious endorsement of his extraordinary performance as Barrett, the man-servant who brings the life of the aristocrat he serves crashing down about his ears, was a career turning-point, the fulfilment of his ambition to be recognised as a major screen actor and not simply a matinee idol. It marked a similar culmination for its director, Joseph Losey, who

in British cinema of the 1950s
Ian Mackillop
Neil Sinyard

it. But it does suggest that British cinema of the time was more formally and thematically adventurous than it is sometimes given credit for. The national cinema of the decade was, then, shot through with sometimes unexpected variety and interesting contradictions. It has been described as insular and parochial, but, in fact, a number of foreign voices added a more complex colouration. The case of Joseph Losey is discussed

in British cinema of the 1950s
Robert Murphy

Gentleman (1957) and Dickinson’s Queen of Spades (1948) and Gaslight (1940). The high estimate put on the English films of Joseph Losey, the determination to disrupt the aura of reverence around the British Documentary Movement, the questioning of the importance of Free Cinema and scepticism about the status of The Third Man (1949) as a masterpiece, were shared by other young critics, particularly the

in British cinema of the 1950s
Corin Redgrave

is what is called the mask, a rigidity of expression that begins to overtake a person’s face. I am very aware of this in what I think of as his farewell to the cinema, The Go-Between (1971), directed by Joseph Losey. I can’t watch it because I find it unbearably poignant. His face has already, to a small extent, surrendered to the mask of Parkinsonism. Diagnostic techniques have improved since those

in British cinema of the 1950s
Juvenile actors and humanitarian sentiment in the 1940s
Michael Lawrence

different countries – appeared and functioned in four Hollywood studio pictures: Twentieth Century Fox’s suspense thriller The Pied Piper (Irving Pichel, 1942), Universal’s romantic musical The Amazing Mrs Holliday (Jean Renoir/Bruce Danning, 1943), RKO’s comedian comedy Heavenly Days (Howard Estabrook, 1944) and RKO’s family fantasy The Boy with Green Hair (Joseph Losey, 1948). I explore how these

in Global humanitarianism and media culture