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By Ian Mackillop and Neil Sinyard

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Englishness had for a season an honourable moral content and a I am Professor of Cultural Studies at the University of Sheffield and author, most recently, of People’s Witness: The Journalist in Modern Politics (Yale University Press, 2002). My immediate interest in the war films of the 1950s was prompted by my national service as a 2nd Lieutenant in the Parachute Regiment and the Middle East during and after the disgraceful Suez campaign of 1956. Fred Inglis MacKillop_04_Ch3 35 9/1/03, 9:29 am 36   …………………………………………… place to which it belonged.

13 While even Dickinson’s admirers might balk at Men of Two Worlds (1946) being included among the top fifty British films, Durgnat’s comparison of Cavalcanti’s They Made Me a Fugitive (1947) with Howard Hawks’s The Big Sleep (1946) and his praise for David MacDonald’s The Brothers (1947) for dealing effectively with issues explored in American Westerns seems judicious, and his claims for the films of Powell and Pressburger now look surprisingly modest. A Mirror for England has acquired an unjustified reputation for plot and character errors.

Lindsay Anderson joined the university film society at Oxford, where he was an English literature student, at the age of 23 in 1946. 6 All of them would later become prominent film critics, and in the case of Reisz, along with Anderson himself, a successful director of films, both in Britain and America, of works such as Saturday Night and Sunday Morning (1960) and The French Lieutenant’s Woman (1981). When Anderson graduated in 1948, he and his friends continued to publish the journal from London until the beginning of 1952.

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