Flame in the Streets

Flame in the Streets is a 1961 film directed by Roy Ward Baker[1] and based on the 1958 play Hot Summer Night by Ted Willis. It opened at the Odeon Leicester Square in London's West End on 22 June 1961.

Flame in the Streets
Directed byRoy Ward Baker
(as Roy Baker)
Produced byRoy Ward Baker
(as Roy Baker)
Written byTed Willis
StarringJohn Mills
Sylvia Syms
Brenda De Banzie
Earl Cameron
Johnny Sekka
Music byPhilip Green
CinematographyChristopher Challis
Edited byRoger Cherrill
Distributed byJ. Arthur Rank Film Distributors (UK)
Release date
22 June 1961 (UK)
12 September 1962 (US)
Running time
93 mins
CountryUnited Kingdom
LanguageEnglish

Synopsis

Racial tensions manifest themselves at home, work and on the streets during Bonfire Night in the burgeoning West Indian community of post-war Britain. Trade union leader Jacko Palmer fights for the rights of a black worker but struggles with the news that his own daughter, Kathie, is planning to marry a West Indian, much against his own logic and the hysterical prejudice of his wife Nell.

Production and Reception

Flame in the Streets was produced at Pinewood Studios by the Rank Organisation, with Willis moving the action from the "hot summer night" of his original play to Guy Fawkes Night. Filming began, appropriately, on 5 November 1960. The new title recalled Willis's earlier play No Trees in the Street, which had itself been filmed two years before. Willis also added two characters, Gabriel Gomez and Harry Mitchell, who are only referred to in the play, and opened out the action to include a nocturnal street brawl in the final reel. Producer-director Roy Ward Baker made the film in CinemaScope, with a cast headed by John Mills, Sylvia Syms, Brenda De Banzie, Earl Cameron and Johnny Sekka.


Flame in the Streets opened in London on 22 June 1961, with general release following on 9 July.[2] Daily Herald critic Paul Dehn called it a "terrifying and ferocious film",[3] but in The Spectator Isabel Quigley observed that "its impact is mild" while conceding that "the obvious visual comparison between the outward and inward flames and fireworks" was effectively handled.[4] Willis's script was nominated for a 'Best British Screenplay' BAFTA award,[5] as well as being novelised by John Burke for Four Square Books.

In his autobiography, The Director's Cut (2000), Roy Ward Baker noted that the film had recently been shown at a Brixton cinema "to mark the 50th anniversary of the arrival in Britain of the steamer Windrush, bringing Caribbeans to work here. ... Some of the older ones [in the audience] testified that it was a true picture of the conditions the incomers faced and in some areas still do face."[6]

Cast
gollark: Independently distributed free letters, actually.
gollark: They is a monoid in the category of endofunctors, in fact.
gollark: "Represent" is equivocatey. They "represent" people in that they stand in for the name in a sentence. They don't "represent" them like an image of them or something might.
gollark: This is actually a rather bad solution, though.
gollark: Since you have to get people to remap it as open before they accept your new thing.

References
  1. https://www.imdb.com/title/tt0054879/
  2. F Maurice Speed, Film Review 1962-1963, Macdonald & Co 1962
  3. Paul Dehn, 'This Terrifying and Ferocious Film', Daily Herald 23 June 1961
  4. Isabel Quigley in The Spectator 30 June 1961
  5. https://www.imdb.com/title/tt0054879/
  6. Roy Ward Baker, The Director's Cut, Reynolds & Hearn 2000
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.