depiction of post-war crime. Unusually, there is a proper femme fatale , but as played by the crude, brassy Christine Norden, she hardly rivals her American sisters in crime. Like more blatant attempts to ape American models such as No Orchids for Miss Blandish (1948), Night Beat is an unsatisfactory melange of undigested and conflicting traditions. International interventions That
dislocation as we view Mary from behind as she ascends the steps leading out of the Square. The mood is set by the foreboding sounds of Ray Martin’s score, timpani-saturated and augmented only by the steady clicking of Mary’s high-heels. As Viv Chadder (1999) has noted, the iconography of women’s feet is a leitmotif of the post-war crime film, and in Yield to the Night it becomes an obsessive fixation. As she hails a taxi, we
for anarchy and terror’ ( Independent , 10 December). In the Guardian , Henry Porter hoped to see the West acting with greater determination and ‘retributive force’ than it had in Bosnia, arguing both that the victims of 9/11 ‘must receive the justice denied the men of Srebrenica’ and that the West ought to do more to apprehend those accused of war crimes in the former Yugoslavia
Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.
Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.