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.

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Pat Jackson’s White Corridors
Charles Barr

mid-1930s and staying on throughout the war after its rebranding as Crown, and the denial of music is clearly part of a strategy for giving a sense of documentary-like reality to the fictional material of White Corridors . There is a certain paradox here, in that actual documentaries, like newsreels, normally slap on music liberally. To take two submarine-centred features, released almost

in British cinema of the 1950s
Mathew Thomson

White Corridors . 16 Directed by Pat Jackson, who brought some of the grittier style of his background in the left-leaning documentary movement, the film for once identified the NHS as a state service, and it updated the moral dilemmas of medicine to speak to this setting. There is indeed ‘a clear optimism about the scope and efficiency of the NHS’. 17 The important point, however, is that this kind of direct reference to the service remained remarkably rare. Even when it comes to White Corridors , the film

in Posters, protests, and prescriptions