British nationwide cinema has produced a good song list of leading edge, artistic and the world over well-known filmmakers, among them Alfred Hitchcock, Michael Powell and David Lean. this practice keeps this present day with the paintings of administrators as different as Neil Jordan, Stephen Frears, Mike Leigh, and Ken Loach. This concise, authoritative quantity analyzes seriously the paintings of 1 hundred British administrators, from the innovators of the silent interval to modern auteurs.
An creation areas the person entries in context and examines the function and standing of the director inside of British movie creation. Balancing educational rigor with accessibility, British movie Directors offers an necessary reference resource for movie scholars in any respect degrees, in addition to for the final cinema enthusiast.
Key positive factors comprise an entire record of every director’s British function movies, a finished profession review that incorporates biographical details and an evaluation of the director’s present severe status, and recommended extra studying on every one filmmaker.
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Extra info for British Film Directors: A Critical Guide (International Film Directors)
British Feature Films: John as director – Journey Together (1945); Brighton Rock (1947); The Magic Box (1951); Private’s Progress (1956); Lucky Jim (1957); I’m All Right Jack (1959); Rotten to the Core (1965). O. (1958); A French Mistress (1960); Twisted Nerve (1968); There’s a Girl in My Soup (1970); Soft Beds, Hard Battles (1973). Jointly directed – Seven Days to Noon (1950); Seagulls over Sorrento (1954); Suspect (1960); Heaven’s Above! (1963); The Family Way (1966). Bibliography: Alan Burton, Tim O’Sullivan and Paul Wells (eds), The Family Way: The Boulting Brothers and British Film Culture (Trowbridge: Flicks Books, 2000); Brian McFarlane, An Autobiography of British Cinema (London: Methuen, 1977).
The high-water mark of Asquith’s career, however, is his glorious version of Oscar Wilde’s The Importance of Being Earnest (1952). Asquith foregrounds the theatricality of his material by bookending the film with shots of the audience watching the play in a theatre, but his cinematic skill is also apparent in the evocative use of colour. He takes full advantage of a marvelous cast including Dorothy Tutin, Michael Redgrave and the imperious Edith Evans to provide what remains an object lesson in filming Wilde.
An increasing heavy-handedness was apparent in the controversial psycho-thriller Twisted Nerve (1968), the modish comedy There’s a Girl in My Soup (1970) and the crude farce Soft Beds, Hard Battles (1973). It was an undistinguished end to what had been an often impressive and influential career. In retrospect, it is the stark, expressionist films of the late 1940s, with their strong political undercurrents, which impress more than the slightly ineffectual satires of the 1950s. The Boultings’ reputation 32 muriel box suffered considerable neglect, particularly during their declining years, but has recently seen a more sustained attempt to reassess the importance of their work as film-makers who always tried to make socially relevant films.
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