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4 D. Thomson, The New Biographical Dictionary of Cinema Fourth Edition (London: Little, Brown, 2003), p. 35. 5 C. Barr, All Our Yesterdays (London: BFI Publishing, 1986), p. 7. 6 R. , 1971), p. 182. 7 O. 39), p. 12. 8 C. Drazin, The Finest Years. British Cinema of the 1940s (London: Andre Deutsch, 1998), p. 187. 9 A. Asquith, ‘Days with Chaplin. –Dec. (1952), p. 125. 10 R. J. Minney, Puffin Asquith (London: Leslie Frewin, 1973), p. 49. 11 C. Belfrage, All is Grist (London: Parallax Press, 1988), p.
36 Rachael Low indicates that both British Instructional and Asquith himself were interested in the new possibilities presented by sound technology making plans for sound production with the recently formed British Phototone: The firm was from the first connected with both Blattner and British Instructional. 37 It is not difficult to envisage Underground with a specifically designed effects and music track. One sequence in particular seems almost planned for its sound possibilities. After Bill’s entrapment by Kate in the underground he goes to see Nell and waits outside the store for her.
8. 51 Wansell, Terence Rattigan, p. 96. 52 J. Chapman, ‘Why We Fight. Pastor Hall and Thunder Rock’, in A. Burton, T. O’Sullivan, and P. Wells (eds), The Family Way. The Boulting Brothers and British Film Culture (Trowbridge, Wiltshire: Flicks Books, 2000), p. 86. 41), p. 41), p. 28. An early title for the film was Fate Knocking at the Door, a reference to the opening notes of Beethoven’s Fifth Symphony. 54 See S. P. , 2001), p. 85–6. MUP_Ryall_01_Chap 1 23 7/26/05, 10:04 AM 24 anthony asquith 55 56 57 58 59 Flare Path opened on 13 August 1942 at the Apollo Theatre, London.