Robert Murphy

Jonathan Rosenbaum,’Raymond Durgnat’, and Raymond Durgnat, ‘Apologia and Auto-Critique’, Film Comment (May 1973), pp. 65–9; and ‘Critical Debates’, ch. 3 of Robert Murphy’s Sixties British Cinema (British Film Institute, 1992). 9 Lawrence Alloway, ‘The Long Front of Culture’, Cambridge Opinion 17

in British cinema of the 1950s
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.

The Spanish Gardener and its analogues
Alison Platt

and not life itself as he does in the story, but his oddly blank expression as he descends the staircase to greet his parents seems to register the change he has undergone: it is a look which has put aside childish things. This brings me back to The Sixth Sense and Magnolia , to that child who started life in post-war British films. Raymond Durgnat has chronicled the era

in British cinema of the 1950s
Open Access (free)
Woman in a Dressing Gown
Melanie Williams

déshabillé sexuality. Amy aspires to be the perfect housewife but, despite several frantic attempts to get her house in order, never quite manages it. The mise-en-scène acts as a constant reminder of Amy’s failure, showing her home crowded with piles of unironed laundry, unwashed plates and unfinished mending, all of which prompted Raymond Durgnat to describe the film as ‘a rhapsody of bad housekeeping

in British cinema of the 1950s
Ian Mackillop
Neil Sinyard

visible on the landscape. In his essay on Raymond Durgnat Robert Murphy points out how film criticism can become outdated and its authors be time-bound. The academic manner aspires to a universality which time will show to be pitiful. As editors we do not think we can escape being locked into the period in which these essay were written and we freely confess it. We have tried to admit our time-determined nature by the small device

in British cinema of the 1950s
Basil Glynn

BEFORE THE TUDORS As England’s most famous (or infamous) monarch, Henry VIII has featured prominently throughout the history of British national cinema, and his various on-screen incarnations could be argued to have revealed much about Britain and its national character. Raymond Durgnat famously suggested that national cinema serves as a window onto the society from which it arises 4 and

in The British monarchy on screen