By Paul Newland
Whereas postwar British cinema and the British new wave have bought a lot scholarly awareness, the misunderstood interval of the Seventies has been relatively missed. Don’t glance Now uncovers forgotten yet richly lucrative motion pictures, together with Nicolas Roeg’s Don’t glance Now and the movies of Lindsay Anderson and Barney Platts-Mills. This quantity deals perception into the careers of significant filmmakers and sheds mild at the genres of experimental movie, horror, rock and punk motion pictures, in addition to representations of the black group, shifts in gender politics, and variations of tv comedies. The participants ask looking questions about the character of British movie tradition and its dating to pop culture, tv, and the cultural underground.
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Extra resources for Don't Look Now: British Cinema in the 1970s
He disguises himself as her sister to avoid capture but unfortunately both ‘women’ come to the attention of a saturnine sergeant played by Oliver Reed. While the development of the relationship between the two men offers the film’s central gender unorthodoxy, Pauline Kael also noticed how Jackson’s ‘androgynous performance gives the movie an extra dimension of sexual ambiguity’ (Kael 1977: 299). Many of her films partake in scenes of performativity that could be read in terms of queerness: Gudrun’s campy pantomime of Tchaikovsky’s wife at the behest of the gay artist Loerke in Women in Love (the role would essay properly in The Music Lovers); the monarch’s transformation of herself into living icon in Elizabeth R; the obsessive role-playing of the sister servants in Jean Genet’s The Maids (Christopher Miles, 1974), a play originally intended for male actors in drag; acting as Sarah Bernhardt in The Incredible Sarah (Richard Fleischer, 1976) culminating in her triumphant performance in male apparel as Joan of Arc; playing an anticommercial campaigner rumoured to be transsexual in Health (Robert Altman, 1980).
Suggestions of vagina dentata are prominent in her first two films with Ken Russell, with Women in Love replete with shots foregrounding Jackson’s mouth, either bearing sharp gritted teeth – described in the press as ‘designed for crunching up bones’ (Norman 1970) – or wide open in mocking laughter or strange rapture, as with the disorienting sequence after frightening away Gerald’s cattle, in which her accusation of nonownership is markedly oral: ‘They’re not yours, you haven’t swallowed them’.
While pursuing the British Lion takeover his acting had gone onto the backburner, with the result that he appeared in a number of inferior films including The Twenty-Carat Snatch (Jean Herman, 1971) and Innocent Bystanders (Peter Collinson, 1972). He found it difficult to re-establish his film star status and the best of his 1970s acting work was done for television. Appropriately, his final performance was in an acclaimed BBC Wales adaptation of Richard Llewellyn’s How Green Was My Valley (1975–1976) playing the patriarch of a mining family not unlike his own.