A question of background

class and the politics of impulse in Time Without Pity (1957), The Gypsy and the Gentleman (1957), Blind Date (1959) and The Criminal (1960)

in Joseph Losey
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Although Joseph Losey was ambivalent about how to represent an active class consciousness, as he focused exclusively on the foibles of the bourgeoisie through the representation of hermetic upper- and middle-class milieu, this limited focus starts to expand later. Losey introduces some form of class analysis into each of his next four films, Time Without Pity, The Gypsy and the Gentleman, Blind Date and The Criminal, his first English features released under his own name. Each represents an initial stab at exploring the complex codes and mores of the British class system, a project that will reach full fruition in the Harold Pinter-scripted films of the 1960s. Usually in Losey, the victims of impulse resort to an over-reliance on the structure of segmented time as a security blanket against the annihilating effects of non-linear duration. The irony is that in Time Without Pity the situation is reversed.

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