(“Tibby”) Clarke were more in tune with Balcon’s conservative vision than the more complex work of Robert Hamer and Alexander Mackendrick.īalcon’s ideology espoused a particular definition of “realism” in opposition to what he termed “tinsel”. Among this group of “Young Gentlemen”, director Charles Crichton and screenwriter T.E.B. In so doing, he utilised some of the approaches of MGM’s “boy genius” Irving Thalberg “to work on ideas that were acceptable to him in order to make films that were consistent in tone yet individually different, and at the same time to keep the studio running on an economic basis” (2). Taking charge of the studio in 1938 after several years managing Gainsborough and Gaumont-British, as well as an unhappy period running the British branch of MGM Studios, he soon formed a creative elite known as Mr. As Vincent Porter notes, both studios came “to represent something intrinsically and culturally British”, a particular ideological goal of Ealing’s production chief Michael Balcon (1). Clarke Phot: Douglas Slocombe Ed: Charles Hasse Art Dir: Norman Arnold Mus: Georges AuricĬast: Alastair Sim, Valerie White, Jack Warner, Harry Fowler, Douglas Barr, Joan Dowlingĭespite its association with the Ealing group of comedies which gained popular national and international acclaim during the early 1950s, Hue and Cry actually represents an accidental success that gave the studio a particular identity in much the same way as horror eventually defined Hammer Studios in the late 1950s. Source: NFVLS Prod Co: Ealing Prod: Michael Balcon Dir: Charles Crichton Scr: T.E.B.
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