Went the Day Well?

Went the Day Well? is one of the most unusual Ealing Studios pictures, a distinctly unsentimental war film made in the darkest days of WWII. Houston studies why the film avoids the cosy Ealing trademark. This Film Classics 20th anniversary edition comes with a new foreword by Geoff Brown, and a stunning new jacket design by Mark Swan.
This new edition of Houston's study is published in the Film Classics 20th anniversary series of special editions, with a new foreword by the author, and a stunning new jacket design by Mark Swan


Informationen zum Autor PENELOPE HOUSTON is a British film critic and journal editor. She was oneof the founders of the film journal Sequence, edited Sight & Sound, the journalof the BFI, and was a regular contributor to the Monthly Film Bulletin. She hasalso been a film critic for The Spectator, deputised as critic for The Times, haswritten for numerous newspapers and magazines, and is also the author ofThe Contemporary Cinema (1963) and Keepers of the Frame: Film Archives (1994). GEOFF BROWN, long associated as a critic with The Times, curated BFISouthbank's Cavalcanti retrospective in 2010, edited the book collection AlistairCooke at the Movies (2009), and has published widely on British cinema. He is anAssociate Research Fellow at the Cinema and Television Research Centre, De Montfort University, Leicester. Klappentext Went the Day Well? is one of the most unusual pictures Ealing Studios produced, a distinctly unsentimental war film made in the darkest days of World War II, and nothing like the loveable comedies that later became the Ealing trademark. Its clear-eyed view of the potential for violence lurking just below the surface in a quiet English village possibly owes something to the Graham Greene story on which it is based, though, as Penelope Houston shows, there remains a mystery about the extent to which Greene was actually involved in the scripting. Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within the Ealing coterie, is the chief reason why Went the Day Well? avoids the cosy feel of later, more familiar, Ealing films. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Geoff Brown pays homage to Penelope Houston's astute study, and places the book in the context of Went the Day Well?'s changing critical reception. Brown discusses the non-English qualities of the film's narrative, and the extent to which Cavalcanti brought a foreign sensibility to its very English setting. Zusammenfassung Went the Day Well? is one of the most unusual pictures Ealing Studios produced,a distinctly unsentimental war film made in the darkest days of World War II, and nothing like the loveable comedies that later became the Ealing trademark.Its clear-eyed view of the potential for violence lurking just below the surfacein a quiet English village possibly owes something to the Graham Greene storyon which it is based, though, as Penelope Houston shows, there remains amystery about the extent to which Greene was actually involved in the scripting.Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within theEaling coterie, is the chief reason why Went the Day Well? avoids the cosy feel oflater, more familiar, Ealing films. In his foreword to this special edition, published to celebrate the 20thanniversary of the BFI Film Classics series, Geoff Brown pays homage toPenelope Houston's astute study, and places the book in the context of Went theDay Well?'s changing critical reception. Brown discusses the non-Englishqualities of the film's narrative, and the extent to which Cavalcanti brought aforeign sensibility to its very English setting. Inhaltsverzeichnis Foreword Geoff Brown.- Acknowledgments.- Introduction.- 1 Storylines.- 2 Germans in the Back Garden.- 3 Actuality and Technique.- 4 They Came in Khaki.- 5 A Little Talent and Taste?.- Credits.- Bibliography....

Autorentext
PENELOPE HOUSTON is a British film critic and journal editor. She was one of the founders of the film journal Sequence, edited Sight & Sound, the journal of the BFI, and was a regular contributor to the Monthly Film Bulletin. She has also been a film critic for The Spectator, deputised as critic for The Times, has written for numerous newspapers and magazines, and is also the author of The Contemporary Cinema (1963) and Keepers of the Frame: Film Archives (1994). GEOFF BROWN, long associated as a critic with The Times, curated BFI Southbank's Cavalcanti retrospective in 2010, edited the book collection Alistair Cooke at the Movies (2009), and has published widely on British cinema. He is an Associate Research Fellow at the Cinema and Television Research Centre, De Montfort University, Leicester.

Klappentext
Went the Day Well? is one of the most unusual pictures Ealing Studios produced,
a distinctly unsentimental war film made in the darkest days of World War II,
and nothing like the loveable comedies that later became the Ealing trademark.
Its clear-eyed view of the potential for violence lurking just below the surface
in a quiet English village possibly owes something to the Graham Greene story
on which it is based, though, as Penelope Houston shows, there remains a
mystery about the extent to which Greene was actually involved in the scripting.
Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within the
Ealing coterie, is the chief reason why Went the Day Well? avoids the cosy feel of
later, more familiar, Ealing films.
In his foreword to this special edition, published to celebrate the 20th
anniversary of the BFI Film Classics series, Geoff Brown pays homage to
Penelope Houston's astute study, and places the book in the context of Went the
Day Well?'s changing critical reception. Brown discusses the non-English
qualities of the film's narrative, and the extent to which Cavalcanti brought a
foreign sensibility to its very English setting.

Zusammenfassung
Went the Day Well? is one of the most unusual pictures Ealing Studios produced, a distinctly unsentimental war film made in the darkest days of World War II, and nothing like the loveable comedies that later became the Ealing trademark. Its clear-eyed view of the potential for violence lurking just below the surface in a quiet English village possibly owes something to the Graham Greene story on which it is based, though, as Penelope Houston shows, there remains a mystery about the extent to which Greene was actually involved in the scripting. Or perhaps the direction by the Brazilian born Cavalcanti, a maverick within the Ealing coterie, is the chief reason why Went the Day Well? avoids the cosy feel of later, more familiar, Ealing films. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Geoff Brown pays homage to Penelope Houston's astute study, and places the book in the context of Went the Day Well?'s changing critical reception. Brown discusses the non-English qualities of the film's narrative, and the extent to which Cavalcanti brought a foreign sensibility to its very English setting.

Inhalt
Foreword Geoff Brown.- Acknowledgments.- Introduction.- 1 Storylines.- 2 Germans in the Back Garden.- 3 Actuality and Technique.- 4 They Came in Khaki.- 5 A Little Talent and Taste?.- Credits.- Bibliography.

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