By Tom Ryall
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Extra resources for Anthony Asquith
15 The leading actors were Annette Benson, Brian Aherne, and Donald Calthrop. Calthrop was the most experienced with acting roles dating from the 1910s whereas Benson and Aherne had both MUP_Ryall_02_Chap 2 32 7/26/05, 10:05 AM the formative years 33 began their careers in the early 1920s. 17 They played a husband and wife film star team with Calthrop, a character actor who became familiar in slightly seedy, mildly villainous roles, playing a Chaplinesque film comedian who was having an affair with the Benson character.
A Biography (London: Fourth Estate, 1996), p. 96. 50 ‘The Champagne Set’, Films and Filming, February (1965), p. 8. 51 Wansell, Terence Rattigan, p. 96. 52 J. Chapman, ‘Why We Fight. Pastor Hall and Thunder Rock’, in A. Burton, T. O’Sullivan, and P. Wells (eds), The Family Way. The Boulting Brothers and British Film Culture (Trowbridge, Wiltshire: Flicks Books, 2000), p. 86. 41), p. 41), p. 28. An early title for the film was Fate Knocking at the Door, a reference to the opening notes of Beethoven’s Fifth Symphony.
The cinema of stars and genres, of fast-paced narration, of romance and violence, had effectively established itself as ‘cinema’ per se in the minds of audiences in a range of countries, and especially in Britain. 3 Its substantial presence in British film culture had certainly prompted ideological concerns among the intelligentsia and fears of cultural colonisation. 5 The British film industry, a British cinema, meant far more than economics and business, and was deeply implicated in issues of cultural and national identity.