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EPILOGUE
showed that he had not lost, after all, his genuine feeling for cinema. Many would include his The Browning Version (1951), but one wishes that Asquith could be given more time away from making film versions of stage-plays, no matter how strongly he defends the process. The perennial genre of middle-class comedy, essentially suburban and always respectable and conformist, could boast Cornelius's Genevieve (1953) as its proudest example, while the equally perennial Boy Scout, war-heroics pictures of which there have been so many would no doubt have Lewis Gilbert's The Dambusters (1955) at its peak. To admirers of Olivier 's particular style of cinema-cum-theatre acting, Richard III (1955) provided a surfeit of talent — histrionic and decorative; I found it preferable to the earlier Olivier-Shakespeares.
This leaves only a few unforeseen notables to record: Zoltan Korda's sincere and worthwhile Cry, the Beloved Country (1951); Havelock-Allan and Fergus McDonald's modest but excellent thriller The Small Voice (1948); Philip Leacock's honest The Brave Don't Cry (1952) (about the only Group III product worth recalling), and the same director's humble but commendable The Kidnappers (1953) and Innocent Sinners (1957). Other pictures worth mention were: Bernard Miles and Alan Osbiston's courageous independent effort The Chance of a Lifetime (1950); Jack Clayton's prize-winning and craftsmanlike short-story film The Bespoke Overcoat (1955); Thorold Dickinson's well-intentioned if uneven Israeli picture, Hill 24 Does Not Answer (1955); Peter Glenville's rather stagey but sincere The Prisoner (1955) and, more recently, Pat Jackson's fresh and charming Virgin Island (1957). As the period under review ended, Jack Clayton achieved high critical praise for Room at the Top (1958), which revealed him as a professionally-skilled director handling a subject which at least dealt with a serious aspect of contemporary England, while Ronald Neame's The Horse's Mouth (1958), lazily directed, allowed Alec Guinness to exploit the Ealing style comedy at the expense of 'modern art'. A last-minute surprise came from the film technicians union's own company, ACT Films; it
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