Anthony Asquith by Tom Ryall

By Tom Ryall

In this primary entire serious examine of Anthony Asquith, Ryall units the director's paintings within the context of British cinema from the silent interval to the Sixties, and examines the creative and cultural impacts during which his motion pictures will be understood. The good fortune of Pygmalion and French with no Tears, in response to performs by means of George Bernard Shaw and Terence Rattigan, with his major contributions to wartime British cinema, made Asquith one among Britain's best movie makers.

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48 The highly sophisticated formal processes of the art film, and the ordinary excitements of popular cinema – romance, action, violence, passion – are embodied in tandem in the early films. Both Underground and A Cottage on Dartmoor have ‘metacinematic’ film-viewing sequences, as well as sustained passages of subjective cinematography, expressionist mise-en-scène, and Soviet-style montage; both films are also simple and uncomplicated romantic tales involving crimes of passion. Notes 1 PEP,The British Film Industry (London: Political and Economic Planning, 1952), p.

Slide, ‘Banned in the USA’. British Films in the United States and their Censorship, 1933-1960 (London: I. B. Tauris Publishers, 1998), pp. 122–3. 43 S. ), American Film Criticism (New York: Liveright, 1972), p. 364. 44 Noble, Anthony Asquith, p. 25. The newspaper tycoon project is mentioned in Brownlow, David Lean, pp. 127–8. 38), p. 19. 39), p. 19. 47 Greene, The Pleasure Dome, p. 248. 44) – BFI cuttings collection: French Without Tears. 49 G. Wansell, Terence Rattigan. A Biography (London: Fourth Estate, 1996), p.

79-80. 32), p. 84. 23 Low, The History of the British Film 1928-1929, p. 133. 24 Noble, Anthony Asquith, p. 20-1. Noble quotes from the letter, which was written around 1950. 33), p. 18. 26 Ibid. 27 Balcon Collection, British Film Institute Special Collections, B 92. 32. 28 Minney, Puffin Asquith, p. 84. 35) – BFI cuttings collection: Moscow Nights. 30 See K. Kulik, Alexander Korda. The Man Who Could Work Miracles (London: Virgin Books, 1990), p. 145. 31 See C. Drazin, Korda. Britain’s Only Movie Mogul (London: Sidgwick & Jackson, 2002), pp.

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