By Tom Ryall

In this primary entire serious research 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 movies could be understood. The good fortune of Pygmalion and French with no Tears, in line with performs by means of George Bernard Shaw and Terence Rattigan, with his major contributions to wartime British cinema, made Asquith considered one of Britain's major movie makers.

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93. 76 Brownlow, David Lean, pp. 405–7. 77 Wansell, Terence Rattigan, p. 267. , p. 299. 79 Brownlow, David Lean, p. 407. 80 P. 58), p. 19. 58), p. 6. 82 B. McFarlane, An Autobiography of British Cinema (London: Methuen, 1997), p. 68. 83 R. Manvell, Films and Filming, April (1959), 21. 59), p. 17. 85 In an interview in McFarlane, An Autobiography of British Cinema, p. 99. 60), p. 24. 29), p. 45. 88 R. Murphy, Sixties British Cinema (London: BFI Publishing, 1992), p. 91. 63), Production Review Supplement, p.

19. MUP_Ryall_01_Chap 1 24 7/26/05, 10:04 AM 2 The formative years Asquith began his film career in 1926 at a point when the British film industry was moving through a production crisis. The First World War, of course, had disrupted the European cinemas in particular but, in terms of the volume of production, the British cinema had recovered well and, for example, well over a hundred films were produced annually from 1919 until 1922. Thereafter production began to decline and a pattern of ‘boom and bust’ became discernible, one which was to become familiar to British film-makers as a recurrent feature of the British film industry at various times in its history.

1956), p. 111 ff. 52 – BFI cuttings collection: The Importance of Being Earnest. 67 S. Harper and V. Porter, British Cinema of the 1950s. The Decline of Deference (Oxford: Oxford University Press, 2003), pp. 13–14. 68 Minney, Puffin Asquith, pp. 152–3. 54), p. 22. 70 Minney, Puffin Asquith, p. 155. 71 Wansell, Terence Rattigan, p. 213. 54) – BFI cuttings collection: Carrington VC. 58), pp. 3–4. 74 P. Massie, ‘What Asquith Did For Me’, Films and Filming, February (1958), 28. 57), p. 93. 76 Brownlow, David Lean, pp.

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