Geraldine Moffat as Glenda. Moffatt was an experienced actress who had trained at the Bristol Old Vic Theatre School. She attracted Hodges' attention not just for her good looks but for her work on Alun Owen's television plays Stella and Doreen. [22] In contrast, Nigel Andrews found the characters to be clichéd archetypes of the criminal underworld, such as the "homosexual chauffeur, bloated tycoon, glamorous mistress", describing the film as "perfunctory". [91]

Starring: Michael Caine, Ian Hendry, Britt Ekland, John Osborne, Geraldine Moffat, Dorothy White, Bryan Mosley, Alun Armstrong, Petra Markham We’ve got business up north, you could screw things up.’ From the very first minute when he goes, ‘Well, I’m going,’ in essence his fate is sealed right from that first frame, and with that brilliant, haunting theme tune. In 1969, producer Michael Klinger devised plans for a gangster film to capitalise on public interest in the British criminal underworld after the Kray Twins' convictions. Klinger was invited to view a first print of Peter Walker's Man of Violence (1969) and was unimpressed, telling the director "I'm going to make a gangster film, but it's going to cost a lot more than this and it's going to be better". [27] a b Mayer, Geoff (2007). Encyclopedia of film noir. England: Greenwood Press. p.195. ISBN 978-0-313-33306-4.

Goodbye Doreen

What does shine through is Ted's self-destructive character. It's clear that he was talented, whether that be writing, art or jazz. But, it is also clear that Ted was not comfortable in his own skin and he would turn to drink to make him feel normal (a common trait in those with alcohol problems). Our sister title, The Journal, declared: "Michael Caine heads the cast but the real star is Newcastle.

a b c Williams, Tony (2006). "Great Directors: Mike Hodges". Senses of Cinema (40). Archived from the original on 11 March 2012 . Retrieved 11 March 2012. BFI’s notes on their restoration state it is primarily sourced from the 35mm original negative, but portions had been replaced with sections of the duplicating negative, more than likely due to damage. For these portions BFI were able to source the yellow, cyan and magenta protection Promaster elements, made from the original negative. BFI also notes that the film’s “final look”—which I assume includes colour grading—was based on previous restorations/releases from 1971, 1999 and 2014.

Murphy, Robert; Chibnall, Steve (1999). British Crime Cinema (2nded.). England: Routledge. p.132. ISBN 0-415-16870-8 . Retrieved 6 March 2012. Jason Wood also adds a contribution to the booklet that ends up taking up most of the last half of it,an extensive look at the work of Roy Budd. Wood first writes up a brief bio about the composer before reprinting interviews he conducted with musicians Barry Adamson, Matt Johnson, Jah Wobble, and writer Bob Stanley, each participant explaining how Budd’s work has influenced them or impacted film scores since. It’s one of the more extensive and well-researched pieces on Budd I’ve read.

A resurgence of critical and public interest in the film in the 1990s led to the British Film Institute (BFI) releasing a new print of the film in 1999. It worked with Hodges to restore the film, with Hodges sourcing another set of negatives of the original opening, which were found in the archives of the BBC. The team then spliced the beginning segment onto a high-quality print of the film. [71] The reissue premiered at the National Film Theatre [77] and went on general release on 11 June 1999, showing at the Tyneside Cinema in Newcastle. [71] Casting the playwright John Osborne as the Northern mob boss Cyril Kinnear is an interesting choice that pays off. He’s unassuming looking, softly spoken and slightly effete. He’s definitely not your typical gangster, but there’s an air of danger and menace to him exactly because he’s so calm and unassuming.

I Am Legend 2 is pressing ahead

Mike Hodges in Conversation (2022, 60 mins): the director discusses his career in this interview recorded at BFI Southbank Certainly the scenes capturing Newcastle's West End, the River Tyne ferry at Wallsend, and the bookmaker's shop in Hebburn, among others, recall a gritty depiction of old Tyneside that has since been consigned to history. Monahan, William (11 November 2011). "Top 5 British Crime and Suspense Films from the '60s and '70s". Slate. Archived from the original on 18 March 2012 . Retrieved 16 March 2012. Bennett, Ray (9 September 2004). "Dead Man's Shoes at the Venice International Film Festival". Hollywood Reporter.

When the film opened to the public at the Haymarket that week, it carried an 'X' certificate and was screened four times each day. The place and its atmosphere are as much a part of the film as Paris was in Rififi or San Francisco in Bullitt." Peter Waymark. "Richard Burton top draw in British cinemas". Times [London, England] 30 Dec. 1971: 2. The Times Digital Archive. Web. 11 July 2012.

References

Pomerance, Murray (2009). Rolando, Caputo (ed.). "Notes on Some Limits of Technicolor: The Antonioni Case". Senses of Cinema. Australia: Senses of Cinema Inc (53). Archived from the original on 25 March 2012 . Retrieved 16 March 2012.