1006:(1945) before it could receive its US release. These included the toning down of the rape scene, in which the sections with the perpetrator removing his belt and the close up of young Maddalena's face filled with fear as she is running from the pursuing man were cut, and shortened to the preceding scene, in which the man is seen following her out of the audience's view. The subsequent scene with Maddalena returning to her room was also shortened. Rather than see her cry, fall onto her bed and clasp her stomach in pain, the US viewers see her cry and fall onto her bed. Calvert was critical of the interference by the PCA on alterations to lighting: whereas scenes between Maddalena and Nino were darkened, in contrast to scenes with Maddalena and her husband Giuseppe, as the censors deemed, despite Maddalena having a mental illness that impacted on her cognitive awareness, that she was still committing adultery, and adulterous women were
1152:(1945), was treated much more leniently in comparison to other Gainsborough melodramas by the PCA on similar issues that they had previously deemed as being extremely offensive. The PCA recommended a toning down of infractions to their code in scenes related to adultery by the character of Vera, the suicide by Charlotte, and the inferred incestuous fantasies Geoffrey harboured towards his eldest daughter Margaret. The most serious infringement for the PCA was that the marital single beds of Lucy and William were too close to each other, a violation that Lockwood claimed her film
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912:(BBFC) model, which was established in 1912 for similar reasons to why the MPPDA had set up the PCA, was not a written code, and producers considered it to be abstruse, with violations transmitted after the film was submitted for certification. However, the BBFC strove to provide some clarity for producers in the forthcoming years; first in 1916, during the National Council of Public Morals: Cinema Commission of Inquiry, when the then president of the BBFC,
1143:(1947) (which was due to be released) equally contained similar themes of adultery, premeditated murder, suicide, and rape to their British counterparts. However, whilst the American films seemed to get warnings, the British films were instructed to re-title films, alternate storylines, and perform cuts and/or reshoots of scenes to a degree whereby the film lost its appeal to the general public, and which impacted financially on the British film studios.
1302:, but rather it was art, and that the scene was filmed in extreme long shot, which provided context to the isolation of the film's setting, while also minimising Roc, who was shot with her back to the camera. The BBFC were satisfied with Box's explanation, and certified the film with the skinny dipping scene intact, whilst the PCA were not convinced, and demanded it be removed. Box would go on to use the same Tableau vivant argument for the film
1030:. In the scene between Maddalena's daughter Angela and Nino's brother Sandro, Allen wrote "I hope you noted the item that involved the reshooting of a scene in the film "Madonna of the seven Moons", the scene was an attempted rape of the chaste Angela and the actor kept forgetting that the British Board of Censors will not pass any seduction scene unless the seducer has one foot on the floor, apparently sex in England is something like
1043:(1945) were also highlighted by the PCA, which led them to define the film as "making adultery look like too much fun". While the ending of the film complied with the BBFC's code stipulating that criminals should get their comeuppance, it did not go far enough for the PCA, who added that the villain showed no remorse for her crimes and "died as she lived, happy and unrepented". However, the biggest criticism the PCA had was for the
1324:(1947) encountered with the PCA before its US release were with its depiction of illicit whiskey manufacturing, and the finale, which culminated in the tragic deaths of two characters. Despite this, however, Box managed to satisfy the censor by adding some shots in which detectives arrived on the island to break up the whiskey operation, and by filming an ending in which "the good characters" survived, instead of being murdered.
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both codes would go on to look very similar to each other, and regarded similar acts as constituting violations to their codes. The significant difference between the two models was that the BBFC were more inclined to be lenient on
American films with issues that were culturally relevant to Americans, because they assumed the British public would understand this cultural difference, such as with issues related to
1093:, the then head of the PCA, to Britain for a meeting with the British Film Producers Association to advise them on how they could modify their films to be US code compliant before the films were released in the United States. The British press pressured Breen on the PCA's treatment of British films during his interviews with them, which they concluded was evidence of anti-British sentiment. They argued the PCA's
719:. Following a young aspiring writer's intervention in an attempted robbery of a valuable necklace from its guardian, he agrees to transport the item to its owners in Spain, so that he can earn the money he requires to marry his childhood sweetheart. However, while in Spain, he is robbed, injured, and left for dead by his love rival's agent, and is saved from death by a young
916:, listed forty-three infractions from the BBFC 1913-1915 annual reports, where a cut in a film may be required; and secondly in 1926, when the BBFC annual report outlined grounds in seven broad categories that justified censorship, including issues related to religion, politics, military, social themes, and questions of sex, crime and cruelty.
928:. On the other hand, the PCA were not so lenient on British or other foreign productions that featured themes of cultural importance, and were more likely to seek changes to the film before it could be viewed by the American public. European film executives, including those from Britain, had long complained that
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The stars of the film were furious at the response of the PCA, with
Margaret Lockwood saying "We had to do nine days of retakes to satisfy the censor on that film and it all seemed very foolish". James Mason added "I don't like it now", referring to the film after the changes. Meanwhile, Patricia Roc
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was adjudged to have violated the Hays code was two people being on a bed with no feet on the ground, as the PCA perceived this indicated sexual intercourse. Of one such incident, Calvert says "we weren't allowed to be two on a bed without somebody's feet being on the floor. And so when
Granger and I
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before he becomes famous, and deals with his determination to attain the admiration that he feels he deserves. However, on his journey to greatness, he engages in an affair with a French noble lady, whose parents wish for her to marry a respectable high ranking French military officer, rather than a
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as a result of having been raped as a young girl, and unbeknownst to her and her loved ones, leads a double life: the first as a respectable wife and mother, the second as the mistress to a jewel thief in the house of the Seven Moons. The film was very popular at the
British box office, being one of
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novels. The films dominated the
British box office, out-grossing top Hollywood productions and breaking a number of records. In 2004, the British Film Institute compiled a list of the 100 biggest UK cinematic hits of all time, based on audience figures, as opposed to gross takings. Two Gainsborough
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when assessing films. The
American media were also outraged by the design of the dresses, declaring "Americans do not want half naked women like Patricia Roc in this movie". To remedy the situation, extensive re-shooting was required before the film could be released in the United States; however,
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during its twenty-five year existence, and had been particularly known for its comedy films; however, with the advent of war, and the paying viewing public consisting mainly of women, the studio rapidly became closely associated with melodrama, to the extent that these films have become synonymous
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There are suggestions that these clarifications to the BBFC model had an effect on the authors of the Motion
Picture Production Code, whereby they had practically adapted the BBFC model to suit their cultural tastes; however, the PCA would go on to influence the BBFC model, to such an extent that
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novel of the same name, and tells the story of a woman who vows to never again face the public ignominy from a man's duplicity and ruthlessness, following being jilted by her fiancé at the behest of his wealthy grocer father, and his father's inaction to prevent the eviction of her and her family
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to happiness are constantly wrecked by the aristocrat who cares more for the reputation of the family name, and by an old school friend who has designs on marrying her husband. The film proved to be a major success on its release. It was the seventh most popular movie at the
British box office in
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was also required to deviate from its script to satisfy the US censor; however, the final product retained some scenes that may suggest either a relaxation by the PCA, or negligence on behalf of the reviewer in comparison to previous complaints by the PCA. Examples of this are
Francis inviting a
1217:(1947), passed through the PCA with relative ease, despite some public outcry that the film glorified witchcraft. However, this would prove to be the exception rather than the norm for Box, who encountered numerous battles with the US censor, even after he had left Gainsborough. The director of
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due to the father's drinking and gambling, and the young woman plans to use her talent to raise her social standing and return the property to the son, whom she loves. Gainsborough described the box office performance of the film as "excellent", and it was the seventh most popular movie at the
975:(1944) ran into trouble with the PCA on the use of language the censors deemed provocative. Although this was mild in comparison to what other Gainsborough melodramas would encounter, the PCA would become much stricter on language, such as what they deemed to be lines containing a
564:, Annette, who resembles the spirit physically. Despite the film performing well at the British box office, it was viewed as a financial disappointment, considering that it starred two of the most popular actors in British cinema at the time, James Mason and Margaret Lockwood.
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group of prostitutes to dinner to humiliate his wife Oriana, and the interaction between his assistant
Wycroft and Richard, which includes the way Wycroft feels Richard's bicep during the voyage from England to Spain. The latter example is more pronounced, as it suggested
1022:, we did in fact do it on a bed with all our feet off the ground - but they showed it very dark with just two cigarettes, so the audience wouldn't know where we were." However, the BBFC had the same violation in their code of conduct in films, which the American comedian
1227:, knew before the film's release that it would be in trouble with the censor due to the film containing, as he put it "Rape, murder and nature, that's about all", but added that "We hope to get by in the French way." One such scene was when Patricia Roc's character is
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highlighted inconsistencies with the PCA's treatment of the film to that of an American feature of the same year (1945), saying that "The Breen Office, which was responsible for code enforcement was ever vigilant, but inconsistent if you consider the scantily dressed
207:(1946), there was more focus on men and masculinity, rather than on women, who were relegated to supporting roles. However, 1947 would see a return to the previous formula of putting the women front and centre, which had been central to the previous films' success.
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premieres. It had one premiere, got terrible notices, went through the provinces and made so much money that it had to come back to London". On the film's release in Australia in 1945, it was the only British film listed in the top ten most popular films.
397:(1946) for the "Best Film Award", with Lockwood and Mason claiming the renamed "Best Actress Award" and "Best Actor Award" for their roles in the former film. Lockwood would attain the "Best Actress Award" for a third time in a row in 1948, for her role in
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and raised by her birth mother and step father, encounters to marry the man she loves, who is defined as "well born". Upon its release, the film was a big hit, and claimed the accolade of being the second most popular film in Britain during 1944, after
997:, the deletion of eighteen minutes of the film, including the scene of Fanny talking to the two prostitutes, fewer scenes of Fanny and Somerford living together outside of marriage, and the lowering of the tone of the scenes concerning the brothel.
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from their farm. However, the more wealthy she becomes, the more her behaviour resembles that of her antagonist. Despite the film having a big budget, it could not entice an audience at the box office, and subsequently made big financial losses.
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naked back and Roc's naked back and side of breast, which they passed without cuts. However, the PCA were not so lenient with the latter title, and held up the film's release in the United States for seven years, until the film was retitled to
985:(1944) a certificate for its US release until the title of the film was changed, the illegitimacy of Fanny was altered, scenes set in a brothel were changed to a dancehall or a gambling house, the scene of Fanny as a little girl talking to two
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A number of the melodramas encountered problems with the US censor code, which required significant portions of the films to be cut, modified or reshot, and in some cases, this resulted in delays in their US release dates. The
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said that "We are doing it as delicately as possible, as a study of sacred and profane love. Paganini's relationship with Bianca is rather a tricky business to get past the Hays Office, but we hope, with tact, to manage it."
556:, and tells the story of a newly retired elderly couple who purchase a house that has been vacant for many years. The house is haunted by its previous occupier, who may have died under suspicious circumstances, and now takes
1287:, could not be considered as obscene, but instead also as art, unless there was movement by the nude woman, in which case it would be rude and obscene. Meanwhile, the New York Censor Review Board permitted a scene with
3421:
Lejeune, C.A. (25 Aug 1946). Busy Days in London: Film Studios Move into High Gear; with Full Schedule of Pictures Under Way, Films Coming Up In Father's Footsteps, Notes in Brief. New York Times (1923-Current file) .
1320:, which featured a topless woman on the cover. In the subsequent scenes, Marshall is seen flicking through the pages, revealing a number of full-frontal nude women in a number of different poses. Other challenges
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was not only the most popular film at the British box office in 1946, but also the most successful film Gainsborough Pictures produced overall. It was shortlisted for the "Best British Film" award for 1946 at the
139:
focus on the war, as he contended that the public did not need to see "patriotic war settings" for enjoyment, since many could find it "too near home", and that audiences wanted "good themes and good laughs".
806:(1947) did not fare any better, and made massive losses for Gainsborough at the box office, although the film has been reviewed more favourably in more recent years. Adapted from the novel of the same name by
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on the street was deleted, and the scenes of Fanny and Somerford living together outside of marriage were removed, as they perceived these issues violated the Hays purity Code, whilst also normalising
577:, and explored the diversity of marital relationships of three sisters and the effect on their children. The first sister is in a loving, but childless marriage; the second sister, who has a child, is
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as a character. However, more recent analysis by film historians has concluded that the PCA were sympathetic towards British productions, and tried to help them succeed in the American market.
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The dynamics of the paying viewing public changed in 1946, with men returning from war, and this brought about a change in the successful formula of the melodramas, in that, on the release of
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Brady, Thomas F. (31 August 1947). Random Notes on Activities in Hollywood: Capra Alters 'State of the Union'; The Censors Satisfied, Actors to Vote New York Times (1923-Current file); . X3.
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viewed by the American public, and to avoid Federal and/or State legislators becoming involved in the film industry. Films that did not adhere to the code were denied a certificate from the
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pilot who is going blind from a wartime injury (Granger), and the pilot's childhood friend (Roc), who is secretly in love with him. The film was a huge success at the British box-office.
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The critics had a scathing analysis upon their initial reception of the films, and they were not alone, as some of the films' stars also expressed their dissatisfaction with the releases.
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Brady, Thomas F. (25 August 1947). Touch of Venus' Ready for Films: Artists Alliance to Produce Musical at the U-I Studios, Star Not Yet Named. New York Times (1923-Current file); . p13.
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Gainsborough released two melodramas in 1946 that took a change in the direction from the previous melodramas, in that both were more focused on men and masculinity. The first film,
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deliberately utilized the code to stifle foreign competition (which increased the financial burden of foreign studios) and poach talent, to therefore dominate the film industry.
407:, were voted third and fourth in their respective Best Actress Award and Best Actor Award categories . Despite the film coming in fourth in the "Best Film Award" category behind
1205:(himself a gay actor), and homosexuality was deemed to be deviant in nature. It was also illegal in both Britain and the United States during the year of the film's release.
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The British film industry were also confused at the inconsistencies of the PCA's decisions, which they believed were an attempt to exclude British films from the US market.
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Pryor, Thomas M. (15 December 1946). British Film Idol Casts Oral Bricks: James Mason Says Rank is Leading the English Movie Industry Into Trouble Outspoken Critic.
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Aspinall, Sue & Murphy, Roberts. (Eds.). (1983b). Gainsborough Melodrama: BFI Dossier 18 - Interview with Phyllis Calvert. London British Film Institute. p61.
1283:, Lord Cromer found that nude statutes or paintings in museums were not considered as obscene, but art, and therefore a live nude woman standing stationary, as a
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would later say he was also inspired by two other short magazine stories, "The Ship Sailed at Night" and "A Night in Algiers". The film explores a contemporary
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757:. It was shortlisted for the "Best British Film" for 1946 at the 1947 Daily Mail National Film Awards. The second melodrama released by Gainsborough in 1946,
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interview "I hated the films in retrospect, they're even worse now than they seemed at the time. I find it very difficult to say anything nice about them."
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715:(1943). The film tells the story of a love triangle that begins in childhood and concludes with a double love triangle in adulthood, involving violence and
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when cinema audiences consisted primarily of women. The influence of the films led to other British producers releasing similarly themed works, such as
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and frequently recurring actors who played similar characters in each. They were mostly based on popular books by female novelists and they encompassed
192:(1947-1949) film series were also notable in this regard. However, it was the melodramas that were the biggest financial successes for Gainsborough.
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Wilson, Cecil. (1948). Film Votes For The Million. in Jeffrey Truby (ed), The Daily Mail Film Award Annual 1948. Winchester Publications Ltd.
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and immoral behaviour. The film's US release was delayed by three years, with Gainsborough changing the title to the PCA's recommended title
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the most seen films of that year. When it was released in Australia in 1946, it was the only British film among the ten most popular films.
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Following the end of the war, the films began to make losses at the box office as they fell out of fashion. To try to re-kindle interest,
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the damage was done, and exhibitors later publicised that the film had "suffered too much from the censors to be entirely satisfactory".
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common musician. The film was again successful at the British box office. It was the only new release British film to be entered into the
127:
took advantage of this by providing films with powerful images of female independence and rebellion that resonated deeply with audiences.
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1183:(1947), which resulted in an easier transition to the US market, and fewer modifications required to be made to the films. While making
274:, and in subsequent years the films have become the subject of more favourable study. Following the positive reception by the public of
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897:(MPPDA), was not law, but rather an agreement between MPPDA members' studios and theatres to censor in order to clean up the image of
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Schallert, Edwin. (9 March 1947). British Film Star Irked by Censors: 'Silly,' Says Margaret Lockwood in Trans-Atlantic Phone Chat.
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843:(1947), marked the official end of the Gainsborough melodrama period, and was the only one of the sequence of films to be made in
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Noble, Peter. (1948). The Year in British Films. in Peter Noble (ed), The British Film Yearbook 1947-48. London, Skelton Robinson
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Aspinall, Sue & Murphy, Roberts. (Eds.). (1983a). Gainsborough Melodrama: BFI Dossier 18. London British Film Institute. p60.
1295:'s prevaricated intervention, highlighting that it was only shot in extreme long shot, and a flesh-coloured body suit was worn.
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Due to the success of the previous three films over the two years, Gainsborough released four melodramas in 1945. The first,
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was released in 1947; however, it was not successful and this marked the official end of the Gainsborough melodrama period.
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Despite this, the films were popular with the public to an extent that they catapulted Granger, Calvert and their co-stars
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668:, in 1950, but it was never made into a film. Ironically, Arliss's last film credit was as screenwriter for the remake of
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The final three Gainsborough melodrama films, released in 1947, reverted to placing women as the protagonist. The first,
573:(1945), fared much better, and was one of the biggest hits of the year. The story was adapted from the popular novel by
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The impact of the scrutiny by the PCA on British films had an effect upon the direction of Gainsborough Pictures, with
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Noble, Peter. (1948). Films of 1946. in Peter Noble (ed), The British Film Yearbook 1947-48. London, Skelton Robinson
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661:, whose company owned Gainsborough, was not in favour, and subsequently vetoed any plans to make a follow-up film.
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and tells the story of a selfish, manipulative and vindictive woman who engages in a double life, as noble lady and
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with sixteen minutes of the film cut, including amongst others, scenes showing Calvert's and Roc's naked backs.
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Phillips, Gene D. (2006). Beyond the Epic: The Life and Films of David Lean. The University Press of Kentucky.
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Everything you knew about cinema is probably wrong; BFI releases definitive list of the top 100 most-seen films
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was a notable box office attraction at British cinemas in 1946, becoming the sixth most successful film after
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2446:. (2538). Perth. The Sunday Times Magazine. p6. Retrieved 15 September 2017 via National Library of Australia
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3073:. in Groucho Marx (2007). The Groucho Letters: Letters from and to Groucho Marx. Simon & Schuster. p83.
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2908:. in Justine Ashby & Andrew Higson (eds.). (2006). British Cinema, Past and Present. Routledge. p21-32
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Eclipse Series 36: Three Wicked Melodramas from Gainsborough Pictures|The Current|The Criterion Collection
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156:(1955–1974). Gainsborough also produced other films during the war that featured strong women as the
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British box office upon its release in 1947; by 1953, it had accumulated a net revenue of ÂŁ200,000.
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and his two sons. Whilst there, she discovers life to be austere, and she is treated no better than
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2376:. (64). New South Wales, Australia. p5. Retrieved 26 October 2017 via National Library of Australia
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Enser's Filmed Books and Plays: A List of Books and Plays from which Films have been Made 1928-2001
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1279:(1934), when arguing for the inclusion of the skinny dipping scene in his film. In regards to the
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1047:(appropriate for the era portrayed), which they perceived to be very low-cut, and showing too much
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but an unrelated sequence of films that had similar themes that were usually developed by the same
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between a concert pianist (Lockwood) who, due to a heart condition, has months to live, a former
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took the honour of "most popular and outstanding British actress during the war years", ahead of
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Truby, Jeffrey. (ed). (1949) The Daily Mail Film Award Annual 1949. Winchester Publications Ltd.
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Truby, Jeffrey. (ed). (1948) The Daily Mail Film Award Annual 1948. Winchester Publications Ltd.
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Thumim, Janet. (1991). The 'Popular', Cash and Culture in the Postwar British Cinema Industry.
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Strong Women and Dark Doings: 'Three Wicked Melodramas from Gainsborough Pictures' - PopMatters
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Cleavage & the Code (August 5, 1946). Time: the Weekly News Magazine. Vol.48, (6). P 98
3025:
2572:. (394). New South Wales. p5. Retrieved 30 September 2017 via National Library of Australia
2443:
2231:. Issue 31,030. p5. Melbourne. Retrieved 9 September 2017 via National Library of Australia
1695:
1614:
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182:
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2968:. New South Wales, Australia. p7. Retrieved 3 April 2016 via National Library of Australia
2599:
Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 1930–1968
1415:
A large number of actors appeared in the films, but they are particularly associated with
8:
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709:. It was the second novel by Smith to be transformed into a Gainsborough melodrama after
697:
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393:
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was voted as the "most popular and outstanding British actor during the war years", with
312:
233:
197:
2807:
Banned in the U.S.A.: British Films in the United States and Their Censorship, 1933-1960
1352:
became head of production at Gainsborough. The films were made either at Gainsborough's
775:
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3338:
Lejeune, C.A. (16 September 1945). The Film Scene in London: Strictly a Family Affair.
3021:
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1830:
1361:
1357:
1270:
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344:(1943) voted second in the category for "Best Film" made between 1939 and 1945, behind
176:
123:, women attained more financial responsibility and independence by having to work, and
85:
3322:
Drazin, Charles. (1998). The Finest Years: British Cinema of the 1940s. André Deutsch
3283:. Volume 4 of The New York Times Encyclopedia of Film, 1896-1979, Times Books. p253.
3151:
2439:
2369:
2336:. Perth. p12. (Supplement) Retrieved 2 February 2014 via National Library of Australia
2329:
2283:
2224:
1866:
322:, ranked as 13th in the twentieth century and 15th in the all-time ranking. The first
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was officially the final Gainsborough melodrama film, and the only one to be made in
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73:
40:
2619:
Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema 1930–1934
1165:
capitulating to the US censor's norms in his final three Gainsborough melodramas,
855:
woman pursued by superstitious villagers as a witch, due to her being gifted with
291:(1945) was placed 9th, with an estimated attendance of 18.4 million people, while
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45:
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1986:
Truby, Jeffrey. (ed). (1948) British Films of 1947. Winchester Publications Ltd.
1231:. A precedent was established by the BBFC's assessment of the Gainsborough film
5401:
5138:
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4835:
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3339:
3201:
2401:
Hollywood Sneaks In 15 Films on '25 Best' List of Arty Britain. (15 Jan 1947).
2119:
1949:
Film Noir, Detective and Mystery Movies on DVD: A Guide to the Best in Suspense
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107:(1950) and often with the talent that made Gainsborough melodramas successful.
1146:
Despite these protestations, another British film and Gainsborough melodrama,
1060:
297:(1944) was placed 40th, with an estimated attendance of 11.7 million people.
5444:
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2008:
1975:
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455:. It tells the story of a young woman and a cold aristocrat who enter into a
203:
161:
97:
3158:. Vol 15 (23). p32. Retrieved 3 April 2016 via National Library of Australia
2731:
Censorship and the Permissive Society: British Cinema and Theatre, 1955-1965
2385:
300:
In regards solely to British productions, the same list identified that the
280:(1943), a number of similar pictures were made, often based on melodramatic
5073:
4947:
4890:
4875:
3904:
3813:
3501:
Bright Lights, Big City: London Entertained, 1830-1950. Collins & Brown
3111:
3006:
2553:
2137:
1768:
1699:
1647:
The Women's Companion to International Film. University of California Press
1618:
1565:
1444:
1432:
1369:
1299:
1213:
1188:
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371:
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281:
263:
116:
28:
3304:
Hollywood's Censor: Joseph I. Breen and the Production Code Administration
2981:. New York Times. p. X5. Retrieved 3 April 2016 via New York Times Archive
459:. When the young woman falls in love with a strolling actor, her hopes of
5205:
5008:
2118:
Lejeune, C.A. (03 Oct 1943). Notes About Birds and Pictures from London.
1448:
1416:
1374:
986:
925:
848:
844:
642:
578:
430:
421:
375:
259:
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32:
2688:
The British Board of Film Censors: Film Censorship in Britain, 1896-1950
2290:. Brisbane. p4. Retrieved 10 July 2012 via National Library of Australia
1455:
directed several of the most successful films. Other directors included
1348:
played a major role in overseeing a number of the earlier films. Later,
5411:
5058:
4972:
4855:
1378:
1349:
1257:
and censor for all theatrical performances in London, in regard to the
1208:
1198:
1073:
1023:
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852:
831:
623:
525:(1944). However, it performed very badly at the box office in the US.
5360:
4825:
1436:
886:
827:
271:
267:
36:
1767:
Gaumont-British Picture: Increased Takings and Costs. (15 Nov 1944)
1113:(1946, starring Lockwood), in comparison to American films, such as
4810:
3169:
Transatlantic Crossings: British Feature Films in the United States
2870:
Transatlantic Crossings: British Feature Films in the United States
811:
772:
641:(1946); it also claimed "Best Actor" and "Best Actress" awards for
582:
132:
3655:
Jean Kent: Suffolk Gainborsough melodramas actress dies - BBC News
2640:
Children, Cinema and Censorship: From Dracula to the Dead End Kids
1867:
British Poll Most Popular Stars: James Mason and Margaret Lockwood
905:(PCA), and therefore could not be released in American theatres.
2663:
The Wages of Sin: Censorship and the Fallen Woman Film, 1928–1942
1056:
1031:
963:(1949), not for the film itself, but because the PCA objected to
815:
720:
716:
590:
460:
2979:
Notes From London's Film Studios: Thriller What, No Love Affair?
626:, for excitement and gratification. Released in December 1945,
1044:
688:
664:
Leslie Arliss did go on to write a sequel for the film, titled
654:
586:
2708:
The Hidden Cinema: British Film Censorship in Action 1913-1972
1407:
bore a resemblance to the old Gainsborough melodrama formula.
2751:
1912-1949: The Early Years at the BBFC: 1916 - T. P. O’Connor
1748:"Melodrama, Self and Nation in Post-War British Popular Film.
1007:
477:(1944) was adapted from the short story "Love and Forget" by
331:
225:(1944) as "a load of crap - and a smash hit!", while calling
144:
131:, who was head of production at Gainsborough, pushed forward
68:
23:
were a sequence of films produced by the British film studio
2995:
Gaslight Melodrama: From Victorian London to 1940s Hollywood
2136:
Gaumont-British Picture: Increased Net Profit (04 Nov 1945).
2088:(Sunday Magazine) Vol.35.(1,806).p9 Retrieved 21 March 2020.
1316:) an airline folder that contained a hidden magazine titled
653:
wanted to capitalize on the success of the film by making a
514:, the film details the obstacles a young woman, who is born
3720:
3671:
Britain Can Take It: British Cinema in the Second World War
3041:
Melodrama, Self and Nation in Post-War British Popular Film
1211:'s first film during his period in charge at Gainsborough,
115:
During the mid-1940s, with many of the men fighting in the
1873:. Retrieved 4 March 2013 via National Library of Australia
1308:(1948), in which air stewardess Mary Johnstone (played by
1291:
bathing under a jungle waterfall nude, following director
859:, and how she is saved from persecution and employed as a
682:. However the film was not successful, and it received a "
593:; while the third sister, who also has children, is in an
67:(1945). The popularity of the films with audiences peaked
4952:
3685:
Realism and Tinsel: Cinema and Society in Britain 1939-48
2418:
Realism and Tinsel: Cinema and Society in Britain 1939-48
2349:
Realism and Tinsel: Cinema and Society in Britain 1939-48
2306:
Realism and Tinsel: Cinema and Society in Britain 1939-48
2244:
Realism and Tinsel: Cinema and Society in Britain 1939-48
2158:
Realism and Tinsel: Cinema and Society in Britain 1939-48
2035:
Realism and Tinsel: Cinema and Society in Britain 1939-48
1833:. (28 November 2004) News Online. retrieved 29 March 2020
1671:
Realism and Tinsel: Cinema and Society in Britain 1939-48
608:
The final melodrama released by Gainsborough in 1945 was
403:(1947), while her co-stars in the film, Patricia Roc and
310:(1945), which was ranked second of all time, just behind
237:(1946) "terrible films" and saying that he "didn't like"
771:. The film tells the story of the Italian violinist and
143:
Previously, Gainsborough had made films in a variety of
2764:
Creativity And Constraint In The British Film Industry
496:
The third film in the sequence, and the second of the
243:(1944) because of its "drippy characters". Meanwhile,
3351:
Robson, Emanuel W. & Robson, Mary Major. (1947).
1814:. Archived 3 August 2012. Retrieved 7 April 2020 via
979:, and were insinuating sex. The PCA refused to grant
1298:
Box argued the scene with Roc was not perversion or
895:
Motion Picture Producers and Distributors of America
818:
where she was raised from childhood, arrives on the
538:. The film tells the story of a woman who developed
867:and his family. However, the family has lost their
649:, respectively. Head of Production at Gainsborough
362:(1945), were voted third and fourth, respectively.
3644:Madonna of the Seven Moons - The Criterion Channel
3281:The New York Times Encyclopedia of Film: 1941-1946
2083:Australia's Favorite Stars And Movies of the Year.
326:in 1946, which are seen as the predecessor to the
1644:Kuhn, Annette. & Radstone, Susannah. (1994).
947:(1948), both due to religious and moral grounds;
464:1943. Phyllis Calvert later recalled it "had two
5442:
4235:
2225:Britons Prefer Their Own Films To US Productions
1082:, which slipped through their own censorship".
16:Group of films produced by Gainsborough Pictures
3543:. The University Press of Kentucky. pp273-274.
3261:Sure Seaters: The Emergence of Art House Cinema
2581:James Mason 1947 Film Favourite. (2 Jan 1948).
2325:
2323:
3435:. Manchester University Press. p69 & p76.
3024:. vol. 166 (9). p29. Retrieved 1 May 2020 via
2181:The Power of Film Propaganda: Myth or Reality?
1690:
1688:
875:
4221:
3706:
3240:J. Arthur Rank and the British Film Industry.
847:. Adapted from the novel of the same name by
148:with the studios, in a manner resembling the
3263:. University of Minneapolis Press. pp36-37.
2848:J. Arthur Rank and the British Film Industry
2682:
2680:
2678:
2320:
2204:J. Arthur Rank and the British Film Industry
2018:
2016:
1917:
1915:
1913:
1911:
1783:Burton, Alan & Chibnall, Steve. (2013).
1340:imagery, influenced by the earlier style of
1312:) hands passenger Jimmy Marshall (played by
1059:; previously, the PCA had utilized the term
3454:
3452:
3450:
3448:
3146:
3144:
2989:
2987:
2077:
2075:
1685:
908:In contrast to the PCA's written code, the
585:(sometimes in front of her husband) and an
350:(1945). Two other Gainsborough melodramas,
4228:
4214:
3713:
3699:
3669:Aldgate, Anthony & Richards, Jeffrey.
3396:
3394:
3392:
3390:
3388:
3298:
3296:
3234:
3232:
3230:
3035:
3033:
2725:
2723:
2665:. Madison: University of Wisconsin Press.
2540:. Retrieved 20 April 2020 via Google Books
2519:. Retrieved 20 April 2020 via Google Books
2470:. Retrieved 20 April 2020 via Google Books
2454:
2452:
2298:
2296:
2132:
2130:
2128:
1373:, the only Gainsborough melodrama made in
27:between 1943 and 1947 that conformed to a
2801:
2799:
2675:
2657:
2655:
2593:
2591:
2585:. Dublin. p7. Retrieved 30 September 2017
2503:
2501:
2499:
2460:The British Working Class in Postwar Film
2263:
2261:
2150:
2148:
2146:
2013:
1980:
1908:
1901:
1899:
1795:. Retrieved 1 April 2020 via Google Books
1779:
1777:
763:, was adapted from the biographic novel,
616:Life And Death of the Wicked Lady Skelton
55:(1945), and modern-dress dramas, such as
3445:
3152:Margaret Lockwood's Fame Brings Problems
3141:
2984:
2797:
2795:
2793:
2791:
2789:
2787:
2785:
2783:
2781:
2779:
2271:. vol. 32(3). pp245-271. Retrieved from
2072:
1967:
1965:
1959:Retrieved 17 April 2020 via Google Books
1931:
1929:
1927:
1883:
1881:
1879:
1609:
1607:
1605:
1603:
1601:
1599:
1597:
1595:
800:The penultimate Gainsborough melodrama,
635:, held in 1947, finishing second behind
481:, although director and co-screenwriter
3622:The Wicked Lady - The Criterion Channel
3521:Nights Out: Life in Cosmopolitan London
3460:Patricia Roc: The Goddess of the Odeons
3385:
3306:. Columbia University Press pp264-265.
3293:
3227:
3215:Patricia Roc: The Goddess of the Odeons
3128:Patricia Roc: The Goddess of the Odeons
3094:
3092:
3090:
3088:
3086:
3051:Retrieved 3 March 2020 via Google Books
3030:
2859:Retrieved 1 March 2020 via Google Books
2720:
2621:. New York: Columbia University Press.
2480:"Thrill-Type Tales Choice of British".
2449:
2293:
2215:Retrieved 1 March 2020 via Google Books
2125:
1943:
1941:
1862:
1860:
1858:
1856:
1785:Historical Dictionary of British Cinema
1758:Retrieved 3 March 2020 via Google Books
1658:Retrieved 3 March 2020 via Google books
1097:when it came to British films, such as
5443:
5004:Associated British Picture Corporation
3583:. Wickedlady.com Retrieved 11 May 2020
2652:
2588:
2532:Manchester University Press. pp72-75.
2496:
2258:
2143:
1989:
1896:
1803:
1801:
1774:
851:, the film tells the story of a young
810:, the film tells the story of a young
614:. The film was adapted from the novel
534:(1945), was adapted from the novel by
4209:
3694:
3250:Retrieved 5 May 2020 via Google Books
3011:
2776:
2462:. Manchester University Press. P200.
2284:James Mason Top of British Box Office
1998:
1962:
1924:
1876:
1592:
1385:, but subsequent films that followed
5373:History of British film certificates
5237:British Board of Film Classification
3523:. Yale University Press. pp259-260.
3483:. Manchester University Press. p47.
3150:Strutton, Bill. (15 November 1947).
3083:
2829:. McFarland & Company. pp48-77.
2743:
2192:. Retrieved 1 March via Google Books
1938:
1853:
765:The Magic Bow: A Romance of Paganini
701:, was adapted from the novel of the
552:(1945), was adapted from a novel by
5272:National Film and Television School
5257:British Society of Cinematographers
3563:. University Press of Mississippi.
2827:Foreign Films in America: A History
2511:Manchester University Press. p210.
1798:
1580:List of Gainsborough Pictures films
13:
2566:British Films were Popular in 1947
2081:Armitage, Mary. (4 January 1947).
2058:An Autobiography of British Cinema
1717:An Autobiography of British Cinema
834:battle between the two brothers.
334:) and inspiration for the current
285:melodramas appeared on this list:
14:
5487:
5277:National Science and Media Museum
5164:Woolf & Freedman Film Service
3069:Allen, Fred. (27 December 1951).
2926:The Encyclopaedia of British Film
2617:Doherty, Thomas Patrick. (1999).
2438:Kirsch, Dick. (13 October 1946).
1842:James, Nick. (27 November 2004).
1831:Gone with the Wind tops film list
1470:
1026:would also recall in a letter to
31:style. The melodramas were not a
5425:
5424:
3648:
3637:
3626:
3615:
3604:
3595:
3586:
3573:
3553:
3533:
3404:. Manchester University Press.
3342:. p. X3. Retrieved 20 March 2016
441:The first film in the sequence,
5339:British Independent Film Awards
3663:
3513:
3493:
3473:
3425:
3415:
3365:
3345:
3332:
3316:
3273:
3253:
3207:
3194:
3181:
3161:
3120:
3101:
3063:
3054:
2971:
2954:
2945:English Move In With Slow Drama
2938:
2918:
2898:
2882:
2862:
2839:
2819:
2756:
2700:
2632:
2611:
2575:
2559:
2543:
2522:
2473:
2432:
2408:
2395:
2379:
2363:
2339:
2277:
2234:
2218:
2195:
2172:
2112:
2091:
2049:
2025:
1836:
1824:
1037:Scenes of rape and adultery in
1000:Changes had also to be made to
633:Daily Mail National Film Awards
560:of the couple's newly employed
546:The next film in the sequence,
324:Daily Mail National Film Awards
5267:Cinema Exhibitors' Association
5149:Tigon British Film Productions
5024:British National Films Company
4968:Warner Bros. Studios Leavesden
2097:Baskin, Ellen. (Ed.). (2018).
1761:
1740:
1731:
1708:
1661:
1638:
1627:
1332:Many of the films make use of
1201:motives by Wycroft, played by
1134:The Postman Always Rings Twice
1053:Motion Picture Production Code
903:Production Code Administration
883:Motion Picture Production Code
814:woman, who, after leaving the
674:(1983), which was directed by
410:The Courtneys of Curzon Street
1:
3633:Odd man out|Film|The Guardian
3156:The Australian Women's Weekly
2977:Lejeune, C.A. (23 Dec 1945).
2960:Insiders. (26 October 1945).
1869:(26 April 1946). Perth. p13.
1787:. The Scarecrow Press. p178.
1585:
1122:The Miracle of Morgan's Creek
910:British Board of Film Censors
436:
5356:Cinematograph Films Act 1927
4237:Cinema of the United Kingdom
3969:The Man Who Changed His Mind
3541:Cecil B. DeMille's Hollywood
3279:Brown, Gene. (ed.) (1984).
3242:London, Routledge. pp69-71.
3039:Laitila, Johanna. (2018). "
2962:Stricter Movie Morals Tipped
2851:, London, Routledge. 68-74.
2706:Robertson, James C. (1993).
2686:Robertson, James C. (2013).
2601:. Rutgers University Press.
2429:. Retrieved via Google Books
2360:. Retrieved via Google Books
2317:. Retrieved via Google Books
2255:. Retrieved via Google Books
2109:. Retrieved via Google Books
2046:. Retrieved via Google Books
1750:" Taylor & Francis p23.
1682:. Retrieved via Google Books
1410:
1267:New York Censor Review Board
1237:(1944), whereby viewers see
893:, the then president of the
210:
7:
5471:Gainsborough Pictures films
5334:British Academy Film Awards
5064:G. B. Samuelson Productions
5019:British Instructional Films
3519:Walkowitz, Judith. (2012).
3259:Wilinsky, Barbara. (2001).
3005:. Retrieved 1 May 2020 via
2904:Richards, Jeffrey. (2006).
2309:. London. Routledge. p209.
2247:. London. Routledge. p208.
2207:, London, Routledge. p164.
2184:, Continuum: London. p.180
2161:. London. Routledge. p207.
2055:MacFarlane, Brian. (1997).
2038:. London. Routledge. p206.
2005:Daily Mail Film Awards 1948
1972:Daily Mail Film Awards 1947
1947:Reid, John Howard. (2009).
1888:Daily Mail Film Awards 1946
1714:MacFarlane, Brian. (1997).
1573:
1104:Pink String and Sealing Wax
876:Problems with the US Censor
328:British Film Academy Awards
119:, and many of the children
80:Pink String and Sealing Wax
10:
5492:
5262:Children's Film Foundation
4901:Mister Smith Entertainment
3766:Madonna of the Seven Moons
3539:Birchard, Robert. (2004).
3499:Weightman, Gavin. (1992).
3479:Babington, Bruce. (2002).
3458:Hodgson, Michael. (2013).
3431:Babington, Bruce. (2002).
3238:Macnab, Geoffrey. (1993).
3213:Hodgson, Michael. (2013).
3126:Hodgson, Michael. (2013).
2928:. Methuen Publishing Ltd.
2924:McFarlane, Brian. (2005).
2766:. Palgrave MacMillan. p52
2762:Petrie, Duncan J. (1991).
2729:Aldgate, Anthony. (1995).
2421:. London. Routledge. p35.
2374:The Sunday Herald (Sydney)
2352:. London. Routledge. p46.
2169:Retrieved via Google Books
1746:Laitila, Johanna. (2018).
1674:. London. Routledge. p27.
1624:. Retrieved 21 March 2020.
1502:Madonna of the Seven Moons
1020:Madonna of the Seven Moons
1015:Madonna of the Seven Moons
1003:Madonna of the Seven Moons
953:, for the use of the word
666:The Wicked Lady's Daughter
531:Madonna of the Seven Moons
391:(1945) came second behind
353:Madonna of the Seven Moons
228:Madonna of the Seven Moons
110:
5420:
5321:
5300:
5224:
5196:Documentary Film Movement
5176:
5159:Woodfall Film Productions
5079:General Film Distributors
4991:
4798:
4786:
4243:
3832:
3729:
3561:The Lost World of DeMille
3302:Doherty, Thomas. (2007).
3107:Brooke, Michael. (2014).
3043:." Taylor & Francis.
2951:. Retrieved 31 March 2020
2906:Rethinking British Cinema
2845:Macnab, Geoffrey. (1993).
2597:Prince, Stephen. (2003).
2556:. Retrieved 20 April 2020
2458:Gillett, Philip. (2003).
2201:Macnab, Geoffrey. (1993).
2178:Reeves, Nicholas. (2003)
2122:(1923-Current file) : X3.
1850:. Retrieved 29 March 2019
1808:The Ultimate Chart: 1–100
1705:. Retrieved 18 April 2020
1613:Brooke, Michael. (2014).
1249:Box cited the rulings by
1018:had the bedroom scene in
822:to become a servant to a
781:1946 Cannes Film Festival
581:and indulges in multiple
506:(1944). Adapted from the
5089:Hemdale Film Corporation
4938:Recorded Picture Company
3841:The Passionate Adventure
3579:Jaremko, H. (May 2000).
3400:Spicer, Andrew. (2006).
3375:. Greenwood Press. p53.
3355:. Sidneyan Society p46.
2872:. Continuum. pp121-126.
2825:Segrave, Kerry. (2004).
2805:Slide, Anthony. (1998).
2528:Spicer, Andrew. (2006).
2507:Spicer, Andrew. (2006).
2414:Murphy, Robert. (2003).
2345:Murphy, Robert. (2003).
2302:Murphy, Robert. (2003).
2240:Murphy, Robert. (2003).
2154:Murphy, Robert. (2003).
2031:Murphy, Robert. (2003).
1327:
1137:(1946) and specifically
692:nomination for Dunaway.
121:evacuated to rural areas
5456:1940s in British cinema
5282:Northern Ireland Screen
5216:Gainsborough melodramas
4866:Hammer Film Productions
4089:I'll Be Your Sweetheart
3865:The Triumph of the Rat
3732:Gainsborough melodramas
3373:Guide to British Cinema
3167:Street, Sarah. (2002).
2993:Barefoot, Guy. (2016).
2868:Street, Sarah. (2002).
2809:. Bloomsbury Academic.
2753:. Retrieved 14 May 2020
2390:Internet Movie Database
2101:. New York. Routledge.
792:, was adapted from the
487:rivalrous love triangle
457:marriage of convenience
447:(1943), was based on a
336:National Film Awards UK
21:Gainsborough melodramas
5461:Lists of British films
5242:British Film Institute
5034:Clarendon Film Company
5029:Butcher's Film Service
4943:Scott Free Productions
4137:Here Come the Huggetts
3581:Patricia Roc Interview
3371:Mayer, Geoff. (2003).
3353:The World Is My Cinema
3217:. AuthorHouse. p112.
3117:. Retrieved 7 May 2020
3115:British Film Institute
3109:The Wicked Lady (1945)
3071:Letter to Groucho Marx
2949:New York Times Archive
2638:Smith, Sarah. (2005).
2568:. (21 February 1948).
2552:. (27 December 2007).
2386:Razzie Awards for 1984
2332:. (16 February 1947).
2286:. (20 December 1946).
2227:. (12 February 1946).
1812:British Film Institute
1703:British Film Institute
1667:Murphy, Robert. (2003)
1622:British Film Institute
1615:Gainsborough Melodrama
1276:Four Frightened People
1158:(1947) also incurred.
597:marriage to a brutal,
589:to relieve her of her
508:novel of the same name
449:novel of the same name
249:British Film Institute
168:"unofficial trilogy",
5407:National Theatre Live
5191:British horror cinema
5124:The Rank Organisation
5069:Gainsborough Pictures
5014:British and Dominions
4831:Double Negative (VFX)
3945:Friday the Thirteenth
3913:A Night in Montmartre
3897:The Return of the Rat
3822:When the Bough Breaks
3723:Gainsborough Pictures
3678:Gainsborough Pictures
3559:Kobal, John. (2019).
2997:. Continuum pp63-64.
2661:Jacobs, Lea. (1997).
2550:A History of Violence
2370:Kids Like The Kissing
1810:. (28 November 2004).
1398:When the Bough Breaks
1076:in the American film
1045:women's dress bodices
885:, referred to as the
736:The Bells of St Marys
370:in second place, and
125:Gainsborough Pictures
25:Gainsborough Pictures
5390:London Film Festival
5247:BFI National Archive
5211:Kitchen sink realism
4816:Big Talk Productions
4787:Production companies
4185:Christopher Columbus
4081:A Place of One's Own
3806:The Root of All Evil
3673:. I.B. Tauris, 2007.
3462:. AuthorHouse. p113
3130:. AuthorHouse. p113
3026:The Internet Archive
2440:Ingrid A Non-Starter
2330:Britain's Best Films
1951:. Lulu Books. p259.
1550:The Root of All Evil
1510:A Place of One's Own
1336:lighting and mildly
1244:House of 1,000 Women
1180:The Root of All Evil
869:stately country home
789:The Root of All Evil
549:A Place of One's Own
385:In the 1947 awards,
347:The Way to the Stars
152:(1947-1957) and the
5119:Merton Park Studios
5114:MGM-British Studios
5104:London Film Company
5084:Halas and Batchelor
5049:Denham Film Studios
4983:Working Title Films
4193:So Long at the Fair
4161:The Huggetts Abroad
4129:My Brother's Keeper
3481:Launder and Gilliat
3433:Launder and Gilliat
3171:. Continuum. p123.
2733:. Clarendon Press.
2642:. Wiley-Blackwell.
2403:The Washington Post
2372:. (16 April 1950).
1871:The West Australian
1269:in relation to the
742:Piccadilly Incident
638:Piccadilly Incident
595:emotionally abusive
587:extramarital affair
394:Piccadilly Incident
313:Spring in Park Lane
104:The Reluctant Widow
5099:Ideal Film Company
4999:Amicus Productions
4931:Shepperton Studios
4886:Jellyfish Pictures
4821:British Lion Films
4806:Aardman Animations
4177:The Bad Lord Byron
4065:Two Thousand Women
3881:The Constant Nymph
3721:Films produced by
3687:. Routledge, 1992.
2140:(1901- 2003) : p3.
1358:Lime Grove Studios
1234:Two Thousand Women
620:Magdalen King-Hall
540:dual personalities
416:Great Expectations
302:most popular films
177:Two Thousand Women
5476:Drama film series
5438:
5437:
5378:Home Video Charts
5172:
5171:
5094:Hepworth Pictures
4978:Wimbledon Studios
4896:Longcross Studios
4851:Film4 Productions
4203:
4202:
3782:They Were Sisters
3750:Fanny by Gaslight
3676:Cook, Pam (ed.).
3189:Los Angeles Times
2966:The Newcastle Sun
2947:(June 20, 1947).
2482:Los Angeles Times
2061:. Methuen. p 110
1720:. Methuen. p 230
1694:Brooke, Michael.
1518:They Were Sisters
1494:Fanny by Gaslight
1421:Margaret Lockwood
1354:Islington Studios
1289:Claudette Colbert
1239:Phyllis Calvert's
1155:The White Unicorn
1149:They Were Sisters
1079:The Dolly Sisters
1013:Another act that
982:Fanny by Gaslight
865:country gentleman
748:The Captive Heart
647:Margaret Lockwood
570:They Were Sisters
503:Fanny by Gaslight
382:in third place.
374:, who was third.
364:Margaret Lockwood
359:They Were Sisters
319:Fanny by Gaslight
294:Fanny by Gaslight
256:Margaret Lockwood
240:Fanny by Gaslight
135:, in contrast to
92:The White Unicorn
64:They Were Sisters
5483:
5428:
5427:
5186:British New Wave
5134:Southall Studios
5054:Eagle-Lion Films
4926:Pinewood Studios
4916:Passion Pictures
4796:
4795:
4230:
4223:
4216:
4207:
4206:
4153:It's Not Cricket
4145:Vote for Huggett
4057:Give Us the Moon
4041:Bees in Paradise
3993:Strange Boarders
3715:
3708:
3701:
3692:
3691:
3683:Murphy, Robert.
3680:. Cassell, 1997.
3657:
3652:
3646:
3641:
3635:
3630:
3624:
3619:
3613:
3608:
3602:
3599:
3593:
3590:
3584:
3577:
3571:
3557:
3551:
3537:
3531:
3517:
3511:
3497:
3491:
3477:
3471:
3456:
3443:
3429:
3423:
3419:
3413:
3398:
3383:
3369:
3363:
3349:
3343:
3336:
3330:
3320:
3314:
3300:
3291:
3277:
3271:
3257:
3251:
3236:
3225:
3211:
3205:
3198:
3192:
3185:
3179:
3165:
3159:
3148:
3139:
3124:
3118:
3105:
3099:
3096:
3081:
3067:
3061:
3058:
3052:
3037:
3028:
3020:. (7 May 1947).
3015:
3009:
2991:
2982:
2975:
2969:
2958:
2952:
2942:
2936:
2922:
2916:
2902:
2896:
2886:
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2866:
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2843:
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2817:
2803:
2774:
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2754:
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2741:
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2718:
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2698:
2684:
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2659:
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2636:
2630:
2615:
2609:
2595:
2586:
2579:
2573:
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2557:
2547:
2541:
2526:
2520:
2505:
2494:
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2477:
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2447:
2436:
2430:
2412:
2406:
2399:
2393:
2383:
2377:
2367:
2361:
2343:
2337:
2334:The Sunday Times
2327:
2318:
2300:
2291:
2288:The Courier-Mail
2281:
2275:
2273:Internet Archive
2265:
2256:
2238:
2232:
2222:
2216:
2199:
2193:
2176:
2170:
2152:
2141:
2134:
2123:
2116:
2110:
2095:
2089:
2079:
2070:
2053:
2047:
2029:
2023:
2020:
2011:
2002:
1996:
1993:
1987:
1984:
1978:
1969:
1960:
1945:
1936:
1933:
1922:
1919:
1906:
1903:
1894:
1885:
1874:
1864:
1851:
1840:
1834:
1828:
1822:
1820:Internet Archive
1805:
1796:
1781:
1772:
1771:(1921-1950) : 2.
1765:
1759:
1744:
1738:
1735:
1729:
1712:
1706:
1692:
1683:
1665:
1659:
1642:
1636:
1631:
1625:
1611:
1263:Windmill Theatre
1255:Lord Chamberlain
1116:Double Indemnity
1095:double standards
863:by the son of a
776:Niccolò Paganini
536:Margery Lawrence
522:This Happy Breed
171:Millions Like Us
117:Second World War
74:The Seventh Veil
43:dramas, such as
5491:
5490:
5486:
5485:
5484:
5482:
5481:
5480:
5466:Melodrama films
5441:
5440:
5439:
5434:
5416:
5317:
5296:
5292:UK Film Council
5287:Scottish Screen
5220:
5201:Ealing comedies
5178:
5168:
5109:Mancunian Films
5039:Bryanston Films
4987:
4911:Palace Pictures
4881:The Imaginarium
4861:Goldcrest Films
4846:Eon Productions
4841:Elstree Studios
4788:
4782:
4239:
4234:
4204:
4199:
4001:The Ghost Train
3828:
3774:The Wicked Lady
3742:The Man in Grey
3725:
3719:
3666:
3661:
3660:
3653:
3649:
3642:
3638:
3631:
3627:
3620:
3616:
3609:
3605:
3600:
3596:
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3587:
3578:
3574:
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3534:
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3498:
3494:
3478:
3474:
3457:
3446:
3430:
3426:
3420:
3416:
3399:
3386:
3370:
3366:
3350:
3346:
3337:
3333:
3321:
3317:
3301:
3294:
3278:
3274:
3258:
3254:
3237:
3228:
3212:
3208:
3199:
3195:
3186:
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3166:
3162:
3149:
3142:
3125:
3121:
3106:
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3097:
3084:
3068:
3064:
3059:
3055:
3038:
3031:
3016:
3012:
2992:
2985:
2976:
2972:
2959:
2955:
2943:
2939:
2923:
2919:
2903:
2899:
2887:
2883:
2867:
2863:
2844:
2840:
2824:
2820:
2804:
2777:
2761:
2757:
2748:
2744:
2728:
2721:
2705:
2701:
2685:
2676:
2660:
2653:
2637:
2633:
2616:
2612:
2596:
2589:
2583:The Irish Times
2580:
2576:
2564:
2560:
2548:
2544:
2527:
2523:
2506:
2497:
2484:. 7 July 1946.
2479:
2478:
2474:
2457:
2450:
2437:
2433:
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2396:
2384:
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2196:
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2117:
2113:
2096:
2092:
2080:
2073:
2054:
2050:
2030:
2026:
2021:
2014:
2003:
1999:
1994:
1990:
1985:
1981:
1970:
1963:
1946:
1939:
1934:
1925:
1920:
1909:
1904:
1897:
1886:
1877:
1865:
1854:
1841:
1837:
1829:
1825:
1816:Wayback Machine
1806:
1799:
1782:
1775:
1766:
1762:
1745:
1741:
1736:
1732:
1713:
1709:
1693:
1686:
1666:
1662:
1643:
1639:
1632:
1628:
1612:
1593:
1588:
1576:
1526:The Wicked Lady
1478:The Man in Grey
1473:
1465:Bernard Knowles
1461:Anthony Asquith
1457:Arthur Crabtree
1429:Stewart Granger
1425:Phyllis Calvert
1413:
1362:Shepherd's Bush
1344:. The producer
1330:
1314:David Tomlinson
1310:Phyllis Calvert
1225:David MacDonald
1203:Robert Helpmann
1099:The Wicked Lady
1040:The Wicked Lady
938:Black Narcissus
899:motion pictures
878:
837:The next film,
808:L. A. G. Strong
730:The Wicked Lady
712:The Man in Grey
671:The Wicked Lady
628:The Wicked Lady
611:The Wicked Lady
575:Dorothy Whipple
567:The next film,
512:Michael Sadleir
444:The Man in Grey
439:
388:The Wicked Lady
380:Stewart Granger
368:Phyllis Calvert
341:The Man in Grey
307:The Wicked Lady
288:The Wicked Lady
277:The Man in Grey
247:said in a 1983
245:Phyllis Calvert
217:Stewart Granger
213:
150:Ealing comedies
113:
52:The Wicked Lady
46:The Man in Grey
17:
12:
11:
5:
5489:
5479:
5478:
5473:
5468:
5463:
5458:
5453:
5436:
5435:
5433:
5432:
5421:
5418:
5417:
5415:
5414:
5409:
5404:
5402:London in film
5399:
5392:
5387:
5380:
5375:
5370:
5363:
5358:
5353:
5348:
5341:
5336:
5331:
5325:
5323:
5319:
5318:
5316:
5315:
5310:
5304:
5302:
5298:
5297:
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5294:
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5284:
5279:
5274:
5269:
5264:
5259:
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5244:
5239:
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5228:
5226:
5222:
5221:
5219:
5218:
5213:
5208:
5203:
5198:
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5188:
5182:
5180:
5174:
5173:
5170:
5169:
5167:
5166:
5161:
5156:
5151:
5146:
5141:
5139:Stoll Pictures
5136:
5131:
5126:
5121:
5116:
5111:
5106:
5101:
5096:
5091:
5086:
5081:
5076:
5071:
5066:
5061:
5056:
5051:
5046:
5041:
5036:
5031:
5026:
5021:
5016:
5011:
5006:
5001:
4995:
4993:
4989:
4988:
4986:
4985:
4980:
4975:
4970:
4965:
4960:
4958:Thin Man Films
4955:
4950:
4945:
4940:
4935:
4934:
4933:
4928:
4921:Pinewood Group
4918:
4913:
4908:
4906:Number 9 Films
4903:
4898:
4893:
4888:
4883:
4878:
4873:
4871:HandMade Films
4868:
4863:
4858:
4853:
4848:
4843:
4838:
4836:Ealing Studios
4833:
4828:
4823:
4818:
4813:
4808:
4802:
4800:
4793:
4784:
4783:
4781:
4780:
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4265:
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4240:
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4201:
4200:
4198:
4197:
4189:
4181:
4173:
4165:
4157:
4149:
4141:
4133:
4125:
4121:Broken Journey
4117:
4109:
4101:
4093:
4085:
4077:
4069:
4061:
4053:
4045:
4037:
4029:
4021:
4013:
4005:
3997:
3989:
3981:
3977:Oh, Mr Porter!
3973:
3965:
3957:
3949:
3941:
3933:
3929:Jack's the Boy
3925:
3917:
3909:
3901:
3893:
3889:The First Born
3885:
3877:
3869:
3861:
3857:The Sea Urchin
3853:
3845:
3836:
3834:
3830:
3829:
3827:
3826:
3818:
3810:
3802:
3794:
3786:
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3717:
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3703:
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3689:
3688:
3681:
3674:
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3659:
3658:
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3636:
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3614:
3603:
3594:
3585:
3572:
3552:
3532:
3512:
3492:
3472:
3444:
3424:
3414:
3384:
3364:
3344:
3340:New York Times
3331:
3315:
3292:
3272:
3252:
3226:
3206:
3202:New York Times
3193:
3180:
3160:
3140:
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3100:
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2897:
2881:
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2775:
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2558:
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2407:
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2338:
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2257:
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2171:
2142:
2124:
2120:New York Times
2111:
2090:
2071:
2048:
2024:
2012:
1997:
1988:
1979:
1961:
1937:
1923:
1907:
1895:
1875:
1852:
1835:
1823:
1797:
1773:
1760:
1739:
1730:
1707:
1696:Caravan (1946)
1684:
1660:
1637:
1626:
1590:
1589:
1587:
1584:
1583:
1582:
1575:
1572:
1571:
1570:
1562:
1554:
1546:
1538:
1530:
1522:
1514:
1506:
1498:
1490:
1482:
1472:
1471:Selected films
1469:
1412:
1409:
1392:Good-Time Girl
1383:social realism
1356:or the larger
1329:
1326:
1305:Broken Journey
1285:Tableau vivant
1281:Windmill Girls
1259:Windmill Girls
1229:skinny dipping
1163:Maurice Ostrer
1128:Scarlet Street
1087:J. Arthur Rank
977:double meaning
960:Bad Lord Byron
877:
874:
794:J. S. Fletcher
769:Manuel Komroff
754:Road to Utopia
676:Michael Winner
659:J. Arthur Rank
651:Maurice Ostrer
554:Osbert Sitwell
498:costume dramas
479:J. W. Drawbell
438:
435:
212:
209:
160:, such as the
154:Hammer Horrors
129:Maurice Ostrer
112:
109:
15:
9:
6:
4:
3:
2:
5488:
5477:
5474:
5472:
5469:
5467:
5464:
5462:
5459:
5457:
5454:
5452:
5451:1940s in film
5449:
5448:
5446:
5431:
5423:
5422:
5419:
5413:
5410:
5408:
5405:
5403:
5400:
5398:
5397:
5393:
5391:
5388:
5386:
5385:
5381:
5379:
5376:
5374:
5371:
5369:
5368:
5364:
5362:
5359:
5357:
5354:
5352:
5349:
5347:
5346:
5342:
5340:
5337:
5335:
5332:
5330:
5327:
5326:
5324:
5320:
5314:
5311:
5309:
5306:
5305:
5303:
5299:
5293:
5290:
5288:
5285:
5283:
5280:
5278:
5275:
5273:
5270:
5268:
5265:
5263:
5260:
5258:
5255:
5253:
5252:BFI Southbank
5250:
5248:
5245:
5243:
5240:
5238:
5235:
5233:
5230:
5229:
5227:
5225:Organisations
5223:
5217:
5214:
5212:
5209:
5207:
5204:
5202:
5199:
5197:
5194:
5192:
5189:
5187:
5184:
5183:
5181:
5175:
5165:
5162:
5160:
5157:
5155:
5154:Warwick Films
5152:
5150:
5147:
5145:
5144:Tempean Films
5142:
5140:
5137:
5135:
5132:
5130:
5127:
5125:
5122:
5120:
5117:
5115:
5112:
5110:
5107:
5105:
5102:
5100:
5097:
5095:
5092:
5090:
5087:
5085:
5082:
5080:
5077:
5075:
5072:
5070:
5067:
5065:
5062:
5060:
5057:
5055:
5052:
5050:
5047:
5045:
5044:The Danzigers
5042:
5040:
5037:
5035:
5032:
5030:
5027:
5025:
5022:
5020:
5017:
5015:
5012:
5010:
5007:
5005:
5002:
5000:
4997:
4996:
4994:
4990:
4984:
4981:
4979:
4976:
4974:
4971:
4969:
4966:
4964:
4963:Vertigo Films
4961:
4959:
4956:
4954:
4951:
4949:
4946:
4944:
4941:
4939:
4936:
4932:
4929:
4927:
4924:
4923:
4922:
4919:
4917:
4914:
4912:
4909:
4907:
4904:
4902:
4899:
4897:
4894:
4892:
4889:
4887:
4884:
4882:
4879:
4877:
4874:
4872:
4869:
4867:
4864:
4862:
4859:
4857:
4854:
4852:
4849:
4847:
4844:
4842:
4839:
4837:
4834:
4832:
4829:
4827:
4824:
4822:
4819:
4817:
4814:
4812:
4809:
4807:
4804:
4803:
4801:
4797:
4794:
4792:
4785:
4779:
4776:
4774:
4771:
4769:
4766:
4764:
4761:
4759:
4756:
4754:
4751:
4749:
4746:
4744:
4741:
4739:
4736:
4734:
4731:
4729:
4726:
4724:
4721:
4719:
4716:
4714:
4711:
4709:
4706:
4704:
4701:
4699:
4696:
4694:
4691:
4689:
4686:
4684:
4681:
4679:
4676:
4674:
4671:
4669:
4666:
4664:
4661:
4659:
4656:
4654:
4651:
4649:
4646:
4644:
4641:
4639:
4636:
4634:
4631:
4629:
4626:
4624:
4621:
4619:
4616:
4614:
4611:
4609:
4606:
4604:
4601:
4599:
4596:
4594:
4591:
4589:
4586:
4584:
4581:
4579:
4576:
4574:
4571:
4569:
4566:
4564:
4561:
4559:
4556:
4554:
4551:
4549:
4546:
4544:
4541:
4539:
4536:
4534:
4531:
4529:
4526:
4524:
4521:
4519:
4516:
4514:
4511:
4509:
4506:
4504:
4501:
4499:
4496:
4494:
4491:
4489:
4486:
4484:
4481:
4479:
4476:
4474:
4471:
4469:
4466:
4464:
4461:
4459:
4456:
4454:
4451:
4449:
4446:
4444:
4441:
4439:
4436:
4434:
4431:
4429:
4426:
4424:
4421:
4419:
4416:
4414:
4411:
4409:
4406:
4404:
4401:
4399:
4396:
4394:
4391:
4389:
4386:
4384:
4381:
4379:
4376:
4374:
4371:
4369:
4366:
4364:
4361:
4359:
4356:
4354:
4351:
4349:
4346:
4344:
4341:
4339:
4336:
4334:
4331:
4329:
4326:
4324:
4321:
4319:
4316:
4314:
4311:
4309:
4306:
4304:
4301:
4299:
4296:
4294:
4291:
4289:
4286:
4284:
4281:
4279:
4276:
4274:
4271:
4269:
4266:
4264:
4261:
4259:
4256:
4254:
4251:
4250:
4248:
4246:
4245:Films by year
4242:
4238:
4231:
4226:
4224:
4219:
4217:
4212:
4211:
4208:
4195:
4194:
4190:
4187:
4186:
4182:
4179:
4178:
4174:
4171:
4170:
4166:
4163:
4162:
4158:
4155:
4154:
4150:
4147:
4146:
4142:
4139:
4138:
4134:
4131:
4130:
4126:
4123:
4122:
4118:
4115:
4114:
4110:
4107:
4106:
4102:
4099:
4098:
4097:Dear Murderer
4094:
4091:
4090:
4086:
4083:
4082:
4078:
4075:
4074:
4073:Waterloo Road
4070:
4067:
4066:
4062:
4059:
4058:
4054:
4051:
4050:
4046:
4043:
4042:
4038:
4035:
4034:
4030:
4027:
4026:
4022:
4019:
4018:
4017:Back-Room Boy
4014:
4011:
4010:
4006:
4003:
4002:
3998:
3995:
3994:
3990:
3987:
3986:
3982:
3979:
3978:
3974:
3971:
3970:
3966:
3963:
3962:
3958:
3955:
3954:
3950:
3947:
3946:
3942:
3939:
3938:
3934:
3931:
3930:
3926:
3923:
3922:
3918:
3915:
3914:
3910:
3907:
3906:
3902:
3899:
3898:
3894:
3891:
3890:
3886:
3883:
3882:
3878:
3875:
3874:
3870:
3867:
3866:
3862:
3859:
3858:
3854:
3851:
3850:
3846:
3843:
3842:
3838:
3837:
3835:
3831:
3824:
3823:
3819:
3816:
3815:
3811:
3808:
3807:
3803:
3800:
3799:
3798:The Magic Bow
3795:
3792:
3791:
3787:
3784:
3783:
3779:
3776:
3775:
3771:
3768:
3767:
3763:
3760:
3759:
3755:
3752:
3751:
3747:
3744:
3743:
3739:
3738:
3736:
3733:
3728:
3724:
3716:
3711:
3709:
3704:
3702:
3697:
3696:
3693:
3686:
3682:
3679:
3675:
3672:
3668:
3667:
3656:
3651:
3645:
3640:
3634:
3629:
3623:
3618:
3612:
3607:
3598:
3589:
3582:
3576:
3570:
3569:9781496825230
3566:
3562:
3556:
3550:
3549:9780813123240
3546:
3542:
3536:
3530:
3529:9781522679929
3526:
3522:
3516:
3510:
3509:9781855851313
3506:
3502:
3496:
3490:
3489:9780719056680
3486:
3482:
3476:
3469:
3468:9781481769402
3465:
3461:
3455:
3453:
3451:
3449:
3442:
3441:9780719056680
3438:
3434:
3428:
3418:
3411:
3410:9780719060007
3407:
3403:
3397:
3395:
3393:
3391:
3389:
3382:
3381:9780313303074
3378:
3374:
3368:
3362:
3361:9781447442578
3358:
3354:
3348:
3341:
3335:
3329:
3328:9780233989853
3325:
3319:
3313:
3312:9780231143585
3309:
3305:
3299:
3297:
3290:
3289:9780812910599
3286:
3282:
3276:
3270:
3269:9780816635634
3266:
3262:
3256:
3249:
3248:9780203396926
3245:
3241:
3235:
3233:
3231:
3224:
3223:9781481769402
3220:
3216:
3210:
3203:
3197:
3190:
3184:
3178:
3177:9780826413956
3174:
3170:
3164:
3157:
3153:
3147:
3145:
3137:
3136:9781481769402
3133:
3129:
3123:
3116:
3113:
3110:
3104:
3095:
3093:
3091:
3089:
3087:
3080:
3079:9781416536031
3076:
3072:
3066:
3057:
3050:
3049:9781138482753
3046:
3042:
3036:
3034:
3027:
3023:
3019:
3014:
3008:
3004:
3003:9780826453341
3000:
2996:
2990:
2988:
2980:
2974:
2967:
2963:
2957:
2950:
2946:
2941:
2935:
2934:9780413775269
2931:
2927:
2921:
2915:
2914:9781135125080
2911:
2907:
2901:
2895:
2894:9780813171555
2891:
2885:
2879:
2878:9780826413956
2875:
2871:
2865:
2858:
2857:9780203396926
2854:
2850:
2849:
2842:
2836:
2835:9780786417643
2832:
2828:
2822:
2816:
2815:9781860642548
2812:
2808:
2802:
2800:
2798:
2796:
2794:
2792:
2790:
2788:
2786:
2784:
2782:
2780:
2773:
2772:9781349214730
2769:
2765:
2759:
2752:
2746:
2740:
2739:9780198112419
2736:
2732:
2726:
2724:
2717:
2716:9780415090346
2713:
2710:. Routledge.
2709:
2703:
2697:
2696:9781138997707
2693:
2689:
2683:
2681:
2679:
2672:
2671:9780520207905
2668:
2664:
2658:
2656:
2649:
2648:9781850438120
2645:
2641:
2635:
2628:
2627:9780231500128
2624:
2620:
2614:
2608:
2607:9780813532813
2604:
2600:
2594:
2592:
2584:
2578:
2571:
2567:
2562:
2555:
2551:
2546:
2539:
2538:9780719060007
2535:
2531:
2525:
2518:
2517:9780719060007
2514:
2510:
2504:
2502:
2500:
2491:
2487:
2483:
2476:
2469:
2468:9780719062582
2465:
2461:
2455:
2453:
2445:
2441:
2435:
2428:
2427:9781280061752
2424:
2420:
2419:
2411:
2404:
2398:
2391:
2387:
2382:
2375:
2371:
2366:
2359:
2358:9781280061752
2355:
2351:
2350:
2342:
2335:
2331:
2326:
2324:
2316:
2315:9781280061752
2312:
2308:
2307:
2299:
2297:
2289:
2285:
2280:
2274:
2270:
2264:
2262:
2254:
2253:9781280061752
2250:
2246:
2245:
2237:
2230:
2226:
2221:
2214:
2213:9780203396926
2210:
2206:
2205:
2198:
2191:
2190:9780826473905
2187:
2183:
2182:
2175:
2168:
2167:9781280061752
2164:
2160:
2159:
2151:
2149:
2147:
2139:
2133:
2131:
2129:
2121:
2115:
2108:
2107:9781138715745
2104:
2100:
2094:
2087:
2084:
2078:
2076:
2068:
2067:9780413705204
2064:
2060:
2059:
2052:
2045:
2044:9781280061752
2041:
2037:
2036:
2028:
2019:
2017:
2010:
2009:British Pathe
2006:
2001:
1992:
1983:
1977:
1976:British Pathe
1973:
1968:
1966:
1958:
1957:9780557122233
1954:
1950:
1944:
1942:
1932:
1930:
1928:
1918:
1916:
1914:
1912:
1902:
1900:
1893:
1892:British Pathe
1889:
1884:
1882:
1880:
1872:
1868:
1863:
1861:
1859:
1857:
1849:
1848:Reel Classics
1845:
1839:
1832:
1827:
1821:
1817:
1813:
1809:
1804:
1802:
1794:
1793:9780810867949
1790:
1786:
1780:
1778:
1770:
1764:
1757:
1756:9781138482753
1753:
1749:
1743:
1734:
1727:
1726:9780413705204
1723:
1719:
1718:
1711:
1704:
1701:
1697:
1691:
1689:
1681:
1680:9781280061752
1677:
1673:
1672:
1664:
1657:
1656:9781853810817
1653:
1649:
1648:
1641:
1635:
1630:
1623:
1620:
1616:
1610:
1608:
1606:
1604:
1602:
1600:
1598:
1596:
1591:
1581:
1578:
1577:
1568:
1567:
1563:
1560:
1559:
1555:
1552:
1551:
1547:
1544:
1543:
1542:The Magic Bow
1539:
1536:
1535:
1531:
1528:
1527:
1523:
1520:
1519:
1515:
1512:
1511:
1507:
1504:
1503:
1499:
1496:
1495:
1491:
1488:
1487:
1483:
1480:
1479:
1475:
1474:
1468:
1466:
1462:
1458:
1454:
1453:Leslie Arliss
1450:
1446:
1442:
1441:Anne Crawford
1438:
1434:
1430:
1426:
1422:
1418:
1408:
1406:
1405:
1404:Boys in Brown
1400:
1399:
1394:
1393:
1388:
1384:
1380:
1376:
1372:
1371:
1365:
1363:
1359:
1355:
1351:
1347:
1343:
1342:German cinema
1339:
1338:expressionist
1335:
1325:
1323:
1319:
1318:Beauté modern
1315:
1311:
1307:
1306:
1301:
1296:
1294:
1293:Cecil DeMille
1290:
1286:
1282:
1278:
1277:
1272:
1268:
1264:
1260:
1256:
1252:
1247:
1245:
1240:
1236:
1235:
1230:
1226:
1222:
1221:
1216:
1215:
1210:
1206:
1204:
1200:
1195:
1190:
1186:
1185:The Magic Bow
1182:
1181:
1176:
1175:
1174:The Magic Bow
1170:
1169:
1164:
1159:
1157:
1156:
1151:
1150:
1144:
1142:
1141:
1140:Forever Amber
1136:
1135:
1130:
1129:
1124:
1123:
1118:
1117:
1112:
1111:
1106:
1105:
1100:
1096:
1092:
1088:
1083:
1081:
1080:
1075:
1071:
1065:
1062:
1058:
1054:
1050:
1046:
1042:
1041:
1035:
1033:
1029:
1025:
1021:
1016:
1011:
1009:
1005:
1004:
998:
996:
992:
988:
984:
983:
978:
974:
973:
968:
966:
962:
961:
956:
952:
951:
946:
945:
940:
939:
933:
931:
927:
923:
917:
915:
914:T.P. O'Connor
911:
906:
904:
900:
896:
892:
888:
884:
873:
870:
866:
862:
858:
854:
850:
846:
842:
841:
835:
833:
829:
825:
821:
817:
813:
809:
805:
804:
798:
795:
791:
790:
784:
782:
777:
774:
770:
766:
762:
761:
760:The Magic Bow
756:
755:
750:
749:
744:
743:
738:
737:
732:
731:
726:
722:
718:
714:
713:
708:
707:Eleanor Smith
704:
700:
699:
693:
691:
690:
685:
684:Worst Actress
681:
677:
673:
672:
667:
662:
660:
656:
652:
648:
644:
640:
639:
634:
629:
625:
621:
617:
613:
612:
606:
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584:
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559:
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541:
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533:
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526:
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517:
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509:
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499:
494:
492:
488:
484:
483:Leslie Arliss
480:
476:
475:
470:
467:
462:
458:
454:
453:Eleanor Smith
450:
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445:
434:
432:
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316:(1948), and
315:
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298:
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290:
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204:The Magic Bow
200:
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185:
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183:Waterloo Road
179:
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98:Idol of Paris
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38:
34:
30:
26:
22:
5396:Look at Life
5394:
5382:
5367:Harry Potter
5365:
5343:
5215:
5129:Rock Studios
5074:Gate Studios
4948:Syncopy Inc.
4891:London Films
4876:Heyday Films
4191:
4183:
4175:
4167:
4159:
4151:
4143:
4135:
4127:
4119:
4111:
4103:
4095:
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4063:
4055:
4047:
4039:
4033:Dear Octopus
4031:
4023:
4015:
4007:
3999:
3991:
3983:
3975:
3967:
3961:My Old Dutch
3959:
3951:
3943:
3935:
3927:
3921:Hindle Wakes
3919:
3911:
3905:Taxi for Two
3903:
3895:
3887:
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3863:
3855:
3847:
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3796:
3788:
3780:
3772:
3764:
3756:
3748:
3740:
3731:
3684:
3677:
3670:
3664:Bibliography
3650:
3639:
3628:
3617:
3606:
3597:
3588:
3575:
3555:
3535:
3515:
3495:
3475:
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3417:
3367:
3347:
3334:
3318:
3275:
3255:
3209:
3196:
3183:
3163:
3122:
3112:Screenonline
3103:
3065:
3056:
3013:
3007:Google Books
2973:
2956:
2940:
2920:
2900:
2884:
2864:
2846:
2841:
2821:
2758:
2745:
2702:
2690:. Routledge
2634:
2613:
2577:
2561:
2554:The Scotsman
2545:
2530:, Sydney Box
2524:
2509:, Sydney Box
2481:
2475:
2444:Sunday Times
2434:
2417:
2410:
2397:
2381:
2365:
2348:
2341:
2305:
2279:
2243:
2236:
2220:
2202:
2197:
2179:
2174:
2157:
2138:The Observer
2114:
2093:
2056:
2051:
2034:
2027:
2000:
1991:
1982:
1847:
1838:
1826:
1769:The Scotsman
1763:
1742:
1733:
1715:
1710:
1700:Screenonline
1670:
1663:
1646:
1640:
1629:
1619:Screenonline
1564:
1558:The Brothers
1556:
1548:
1540:
1532:
1524:
1516:
1508:
1500:
1492:
1484:
1476:
1445:Dennis Price
1433:Patricia Roc
1414:
1402:
1396:
1390:
1386:
1368:
1366:
1346:Edward Black
1331:
1322:The Brothers
1321:
1317:
1303:
1300:pornographic
1297:
1280:
1274:
1261:show in the
1258:
1248:
1243:
1232:
1220:The Brothers
1218:
1212:
1207:
1193:
1189:R. J. Minney
1184:
1178:
1172:
1166:
1160:
1153:
1147:
1145:
1138:
1132:
1126:
1120:
1114:
1108:
1107:(1945), and
1102:
1098:
1091:Joseph Breen
1084:
1077:
1070:Betty Grable
1066:
1038:
1036:
1028:Groucho Marx
1019:
1014:
1012:
1001:
999:
994:
991:fallen women
980:
970:
969:
958:
948:
944:Oliver Twist
942:
936:
934:
918:
907:
891:Will H. Hays
879:
857:second sight
838:
836:
820:Isle of Skye
803:The Brothers
801:
799:
787:
785:
764:
758:
752:
746:
740:
734:
728:
724:
710:
696:
694:
687:
680:Faye Dunaway
678:and starred
669:
665:
663:
636:
627:
624:highwaywoman
615:
609:
607:
568:
566:
547:
545:
529:
527:
520:
516:illegitimate
501:
495:
472:
471:
442:
440:
426:
420:
419:(1946), and
414:
408:
405:Dennis Price
398:
392:
386:
384:
372:Patricia Roc
357:
351:
345:
339:
317:
311:
305:
299:
292:
286:
275:
264:Patricia Roc
253:
238:
232:
226:
220:
214:
202:
196:
194:
189:The Huggetts
187:
181:
175:
169:
142:
114:
102:
101:(1948), and
96:
90:
84:
78:
72:
62:
56:
50:
44:
29:melodramatic
20:
18:
5206:Free Cinema
5009:Astra Films
4009:I Thank You
3503:. pp88-90.
3018:Breen's Nix
1449:Dulcie Gray
1417:James Mason
1375:Technicolor
1334:chiaroscuro
1253:, the then
1251:Lord Cromer
1187:, producer
1177:(1946) and
1061:décolletage
995:Man of Evil
987:prostitutes
941:(1947) and
926:bootlegging
861:housekeeper
849:Norah Lofts
845:Technicolor
657:; however,
643:James Mason
603:controlling
583:flirtations
431:Technicolor
422:Odd Man Out
376:James Mason
356:(1945) and
260:James Mason
231:(1945) and
201:(1946) and
180:(1944) and
158:protagonist
86:Hungry Hill
61:(1944) and
49:(1943) and
33:film series
5445:Categories
5412:Telecinema
5384:James Bond
5351:Censorship
5329:Box office
5177:Genres and
5059:Eros Films
4973:Warp Films
4856:Framestore
4105:Easy Money
4049:Time Flies
4025:Uncensored
3985:Doctor Syn
3937:It's a Boy
3758:Love Story
3402:Sydney Box
2007:. (1948).
1974:. (1947).
1698:. (2014).
1586:References
1486:Love Story
1389:, such as
1379:Sydney Box
1350:Sydney Box
1265:, and the
1209:Sydney Box
1199:homosexual
1074:June Haver
1051:for their
1024:Fred Allen
972:Love Story
965:Lord Byron
832:tug of war
824:clan chief
579:egocentric
558:possession
474:Love Story
437:Melodramas
222:Love Story
219:described
58:Love Story
5361:Eady Levy
5313:Directors
5179:movements
4953:S4C Films
4826:DNA Films
4169:Marry Me!
2490:165714120
2229:The Argus
1437:Jean Kent
1411:Personnel
930:Hollywood
922:gangsters
887:Hays Code
828:livestock
703:same name
562:companion
268:Jean Kent
211:Reception
69:mid-1940s
37:film crew
5430:Category
5345:Carry On
4811:BBC Film
4253:Pre-1920
3953:Wild Boy
2486:ProQuest
2086:The Mail
1574:See also
1271:pre-code
1223:(1947),
1171:(1946),
1131:(1945),
1125:(1944),
1119:(1944),
1089:invited
1049:cleavage
812:orphaned
773:composer
599:sadistic
466:West End
425:(1947),
413:(1947),
186:(1945).
137:Ealing's
133:escapism
95:(1947),
89:(1947),
83:(1945),
77:(1945),
4791:studios
4113:Miranda
3873:Blighty
3849:The Rat
3790:Caravan
3204:. p. X6
3022:Variety
2570:Tribune
2388:at the
1890:(1946)
1534:Caravan
1194:Caravan
1168:Caravan
1110:Bedelia
1057:anatomy
1032:snooker
955:bastard
950:Henry V
816:convent
725:Caravan
717:larceny
698:Caravan
591:boredom
461:eloping
330:(later
272:stardom
234:Caravan
198:Caravan
174:(1943)
166:Gilliat
162:Launder
111:History
41:costume
5308:Actors
5301:People
4992:Former
4799:Active
4196:(1950)
4188:(1949)
4180:(1949)
4172:(1949)
4164:(1949)
4156:(1949)
4148:(1949)
4140:(1948)
4132:(1948)
4124:(1948)
4116:(1948)
4108:(1948)
4100:(1947)
4092:(1945)
4084:(1945)
4076:(1945)
4068:(1944)
4060:(1944)
4052:(1944)
4044:(1944)
4036:(1943)
4028:(1942)
4020:(1942)
4012:(1941)
4004:(1941)
3996:(1938)
3988:(1937)
3980:(1937)
3972:(1936)
3964:(1934)
3956:(1934)
3948:(1933)
3940:(1933)
3932:(1932)
3924:(1931)
3916:(1931)
3908:(1929)
3900:(1929)
3892:(1928)
3884:(1928)
3876:(1927)
3868:(1926)
3860:(1926)
3852:(1925)
3844:(1924)
3825:(1947)
3817:(1947)
3809:(1947)
3801:(1946)
3793:(1946)
3785:(1945)
3777:(1945)
3769:(1944)
3761:(1944)
3753:(1944)
3745:(1943)
3567:
3547:
3527:
3507:
3487:
3466:
3439:
3408:
3379:
3359:
3326:
3310:
3287:
3267:
3246:
3221:
3175:
3134:
3077:
3047:
3001:
2932:
2912:
2892:
2876:
2855:
2833:
2813:
2770:
2749:BBFC.
2737:
2714:
2694:
2669:
2646:
2625:
2605:
2536:
2515:
2488:
2466:
2425:
2356:
2313:
2269:Screen
2251:
2211:
2188:
2165:
2105:
2065:
2042:
1955:
1791:
1754:
1724:
1678:
1654:
1569:(1947)
1561:(1947)
1553:(1947)
1545:(1946)
1537:(1946)
1529:(1945)
1521:(1945)
1513:(1945)
1505:(1945)
1497:(1944)
1489:(1944)
1481:(1943)
1401:, and
957:, and
889:after
723:girl.
689:Razzie
655:sequel
605:man.
601:, and
500:, was
338:, saw
282:period
266:, and
145:genres
5322:Other
5232:BAFTA
3833:Other
3814:Jassy
3191:. B1.
2405:. p2.
1650:p169
1566:Jassy
1387:Jassy
1370:Jassy
1328:Style
1273:film
1214:Jassy
1008:taboo
853:gypsy
840:Jassy
721:gypsy
427:Jassy
400:Jassy
332:BAFTA
304:were
270:into
4789:and
4778:2024
4773:2023
4768:2022
4763:2021
4758:2020
4753:2019
4748:2018
4743:2017
4738:2016
4733:2015
4728:2014
4723:2013
4718:2012
4713:2011
4708:2010
4703:2009
4698:2008
4693:2007
4688:2006
4683:2005
4678:2004
4673:2003
4668:2002
4663:2001
4658:2000
4653:1999
4648:1998
4643:1997
4638:1996
4633:1995
4628:1994
4623:1993
4618:1992
4613:1991
4608:1990
4603:1989
4598:1988
4593:1987
4588:1986
4583:1985
4578:1984
4573:1983
4568:1982
4563:1981
4558:1980
4553:1979
4548:1978
4543:1977
4538:1976
4533:1975
4528:1974
4523:1973
4518:1972
4513:1971
4508:1970
4503:1969
4498:1968
4493:1967
4488:1966
4483:1965
4478:1964
4473:1963
4468:1962
4463:1961
4458:1960
4453:1959
4448:1958
4443:1957
4438:1956
4433:1955
4428:1954
4423:1953
4418:1952
4413:1951
4408:1950
4403:1949
4398:1948
4393:1947
4388:1946
4383:1945
4378:1944
4373:1943
4368:1942
4363:1941
4358:1940
4353:1939
4348:1938
4343:1937
4338:1936
4333:1935
4328:1934
4323:1933
4318:1932
4313:1931
4308:1930
4303:1929
4298:1928
4293:1927
4288:1926
4283:1925
4278:1924
4273:1923
4268:1922
4263:1921
4258:1920
3565:ISBN
3545:ISBN
3525:ISBN
3505:ISBN
3485:ISBN
3464:ISBN
3437:ISBN
3422:P51.
3406:ISBN
3377:ISBN
3357:ISBN
3324:ISBN
3308:ISBN
3285:ISBN
3265:ISBN
3244:ISBN
3219:ISBN
3173:ISBN
3132:ISBN
3075:ISBN
3045:ISBN
2999:ISBN
2930:ISBN
2910:ISBN
2890:ISBN
2874:ISBN
2853:ISBN
2831:ISBN
2811:ISBN
2768:ISBN
2735:ISBN
2712:ISBN
2692:ISBN
2667:ISBN
2644:ISBN
2623:ISBN
2603:ISBN
2534:ISBN
2513:ISBN
2464:ISBN
2423:ISBN
2354:ISBN
2311:ISBN
2249:ISBN
2209:ISBN
2186:ISBN
2163:ISBN
2103:ISBN
2063:ISBN
2040:ISBN
1953:ISBN
1789:ISBN
1752:ISBN
1722:ISBN
1676:ISBN
1652:ISBN
1463:and
1447:and
1072:and
924:and
751:and
645:and
164:and
19:The
1360:in
1034:."
1010:.
767:by
705:by
618:by
510:by
491:RAF
451:by
5447::
3447:^
3387:^
3295:^
3229:^
3154:.
3143:^
3085:^
3032:^
2986:^
2964:.
2778:^
2722:^
2677:^
2654:^
2590:^
2498:^
2451:^
2442:.
2416:,
2347:,
2322:^
2304:,
2295:^
2260:^
2242:,
2156:,
2145:^
2127:^
2074:^
2033:,
2015:^
1964:^
1940:^
1926:^
1910:^
1898:^
1878:^
1855:^
1846:.
1818:,
1800:^
1776:^
1687:^
1669:,
1617:.
1594:^
1467:.
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1451:.
1443:,
1439:,
1435:,
1431:,
1427:,
1423:,
1419:,
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1364:.
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3470:.
3412:.
3138:.
2629:.
2492:.
2392:.
2069:.
1728:.
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