British Crime Cinema (British Popular Cinema Series) by Steve Chibnall, Robert Murphy

By Steve Chibnall, Robert Murphy

This can be the 1st colossal research of British cinema's such a lot missed style. Bringing jointly unique paintings from a number of the top writers on British renowned movie, this publication comprises interviews with key administrators Mike Hodges (Get Carter) and Donald Cammel (Performance). It discusses an abundance of movies including:
* acclaimed fresh crime movies resembling Shallow Grave, purchasing, and Face.
* early classics like They Made Me A Fugitive
* stated classics resembling Brighton Rock and The lengthy stable Friday
* 50s seminal works together with The Lavender Hill Mob and The Ladykillers.

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The novel is out of print and difficult to find, except in the revised edition of 1983, reprinted in 1985 in Large Print for the benefit of those with impaired vision but robust sensibilities. On the basis of this version, the only one available at the time of this study, it is a fast-moving thriller of murder, kidnapping, violence of various kinds and an element of repressed—and not-so-repressed—sexuality. Its most recent publishers claim that it has sold over four million copies. : 69). 5 The crime writer Colin Watson has described it as ‘a semi-pornographic novel written in imitation of the American “tough” school of William Faulkner and Dashiell Hammett’ (Watson 1987:51), and the Encyclopaedia of Mystery and Detection records that ‘This shocking blend of violence, sex, and American gangsters sold more than 1 million copies within five years of publication’ (Steinbrunner and Penzler 1976:81).

The second scene involved the screening of a pornographic film in which Frank’s girlfriend (Dorothy White) undresses and makes love to Frank’s teenage daughter (Petra Markham). In both instances the BBFC pressed for reduction to an absolute minimum. Thereupon 24 THE CENSORS AND BRITISH GANGLAND Hodges cut them, but Trevelyan and censor Ken Penry viewed the shortened versions several times before finally allowing the film through. However, so much sex and violence remained that critic Ernest Betts in The People (14 March 1971) was moved to wonder why the BBFC had ever passed the film at all.

In this form, the completed film was allowed through uncut on 3 November and went on to be the top British box office hit of 1950. During the first half of the 1950s austerity slowly gave way to affluence. The figure of the spiv vanished, rationing was abolished, and ownership of television sets became more widespread. Crime continued to be a problem, especially during the ‘cosh boy’ panic of 1952–3, but it was a problem that society found itself more able to accept than in the immediate post-war years.

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