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pretty thing. And neither is Ignacio, who announces the subject for his blackmail: ‘looking pretty costs a lot of money’. He is referring, of course, to his intent to pursue further surgery, prior to entering rehab and ‘cleaning up’ completely. He is blackmailing Berenguer, threatening to expose the truth of their past together, in order to achieve this. The charm and light-hearted wit we have come to
18 Greed. Shot 5: CU bald man facing CAM left. He bows Set in the early years of the twentieth century, Greed tells the story of McTeague, an illegal dentist. His friend Marcus introduces him to a new patient, Trina, whom he woos and wins. While waiting in McTeague’s surgery, Trina buys a lottery ticket and some time later, returning from a celebration of her
dental surgery. These scenes are sharply intercut with his background story. A former mineworker, Machin is exploited by the club’s managing élite for his ruthlessness as a rugby player, while seeking, and failing, to establish an emotionally based relationship with his widowed landlady, Margaret Hammond (Rachel Roberts). From the start, Lindsay Anderson and his editor Peter Taylor show a determination to pursue a flashback
), British Cinema in the Fifties: Gender, Genre and the ‘New Look’ , London : Routledge . Goodwin , Cliff ( 2011 ), Sid James: A Biography , London : Virgin Books . Grant , Elspeth ( 1955 ), ‘ At the Pictures: Dog-Watch Surgery ’, The Tatler , 27 July, 22 . Grant , Elspeth ( 1960 ), ‘ Cinema: A Flashback to Real Fun ’, The Tatler , 9 March, 45 . Grant , Linda ( 2007 ), ‘ Deathly Prose ’, The Guardian , 28 June. Harper , Sue and Porter , Vincent ( 2003 ), British Cinema of the 1950s: The Decline of
) executed in cold blood, but it blames the workers’ misguided defection to Semcar (the rebels’ leader) on their mistreatment by the British’ ( 2015 : 147). Alec’s attempts at mediation between the parties fail and although he decides to remain in the territory to help its future by providing medical help – his position remains an ambiguous one, while outside of his surgery are the sounds of encroaching civil war. British Consul (Robert Flemyng) advises that ‘we are visitors … in this country’, but although Windom speaks in the tones of the British Establishment, he is not
surgery using the most primitive tools made from any material he can find. In one scene he is shown removing a bullet from a patient with tweezers that appear to be constructed from sticks (S3E4). Throughout the horror of his imprisonment, Enys never leaves his post and rarely sleeps. When Williams is shot by the French guards, Enys stares in disbelief and rolls over on the floor in tears of desperation. This point illustrates the
demonstrates her skill by performing emergency surgery on the woman. The 1970 episode of Gunsmoke (1955–1975), ‘Sam McTavish, M.D.’ follows a similar plotline, even using the ‘Sam/Samantha’ name swap. When Doc Adams (Milburn Stone) has to travel out of town, he sends for a temporary replacement. Of course, Dr Sam McTavish (Vera Miles) turns out to be a woman. The townspeople are sceptical of her abilities but over time, they
. Significantly, it is only when Bill Seaton, the family patriarch and former miner, becomes a ‘boss’ himself that he is able to afford the pioneering orthopaedic surgery that allows him to walk again following the pit accident that broke his back in the first place – for Bill used the compensation money from the pit owners (brokered by Jack Ford no less) to set up the first of a successful chain of shops. This concern with the
transform her appearance by dyeing her hair blonde, undergoing surgery on her nose (Evans, 2004 : 131) and even tightly bandaging her body ‘in order to prolong her wholesome image well into adolescence’ (Stone, 2002 : 86). Musically, the opening songs are not remarkable: they are studiedly generic, purged of the specifics of copla and generically indistinguishable from popular music from all over Europe, and North America in
comes from each of their mouths; Frank’s after dental surgery and Margaret’s when she dies in hospital. It is ironic, after all, that they have spent the whole film not being able to find the right things to say to each other but are still linked graphically by the mouth. 7 Julia Hallam with Margaret Marshment, Realism and Popular Cinema, Manchester and New York, Manchester University Press, 2000, pp. 46–47. 8 Anderson, ‘Sport, Life and Art’, pp. 16–17. 9 Gavin Millar, ‘This Sporting Life’, Movie, No. 7 (February 1963), p. 33. 10 Ibid., p. 33. 11 Ibid., p. 33. 12 This