Melodrama Screening and Discussion, Wednesday 26th of February, 5-7pm, Jarman 6

All are very welcome to join us for the fourth of this term’s screenings. We will be showing The Franchise Affair (1951, Lawrence Huntingdon, 95 mins) on Wednesday the 26th of February, 5-7pm, in Jarman 6.

The Franchise Affair is based on Josephine Tey’s 1948 novel of the same name. The third of Tey’s Inspector Alan Grant series of novels, it directly follows 1936’s A Shilling for Candles, adapted as Young and Innocent (1937). (You can see our discussion of this film here: )

Grant once more briefly appears, this time played by John Bailey, but the top-billed stars are Michael Denison and Dulcie Gray. Denison, as local lawyer Robert Blair, comes to the aid of Gray’s Marion Sharpe, and her mother (played by Marjorie Fielding). They have been accused of kidnapping and torturing a local young woman, Betty Kane (Ann Stephens). Tey’s plot was inspired by the real-life case of 18th Century maidservant Elizabeth Canning.

The New York Times considered both Tey’s novel and the film to belong to the melodrama genre. On the film’s release in the United States a very brief note labels the film ‘a British-made melodrama’ (3rd June 1952). Two months later, James Kelly reviewed Tey’s The Privateer (written under the name Gordon Daviot) for the same newspaper. In his review, Kelly applies the term ‘melodrama’ to The Franchise Affair and Brat Farrar – Tey’s 1949 non-Alan Grant novel (24th August 1952). Kelly provides more detail, claiming that Tey’s ‘vivid characterization, dispassionate reporting, and crisp writing can lend conviction to improbable melodrama’. Kelly’s view of melodrama is therefore pejorative – it is not believable, and praise is due to Tey for surmounting it.

We can perhaps discuss this in relation to the novel and/or film. In particular, it may be worth considering if the fact that the New York Times labelling of the film as ‘British melodrama’ has additional significance, commenting not just on its country of production, but its treatment of melodrama.

Do join us if you can.

Timetable for Spring 2020 Melodrama Screenings

All are welcome to attend our screening and discussion sessions in the Spring term. These will take place on ‘odd’ Wednesdays from 5-7pm in Jarman 6, starting on the 15th of January.

This term we will be turning our attention to film adaptations of detective novels written by women from the UK. This gives us the chance to compare melodrama on the page (from the 1930s to the 1950s) and the screen (with films dating from 1937 to 1963).

15th January 2020  Young and Innocent (1937, Alfred Hitchcock, UK, 83 mins) based on the 1936 novel A Shilling for Candles by Josephine Tey.

29th January 2020 Haunted Honeymoon (1940, Arthur B Woods, Richard Thorpe, UK 99 mins), an adaptation of the final entry in Dorothy L Sayers’ Lord Peter Wimsey series, Busman’s Honeymoon, published in 1937.

12th February 2020 Green For Danger (1946, Sidney Gilliat, UK, 91 mins), from Christianna Brand’s 1944 Inspector Cockerill novel of the same name.

26th February 2020 The Franchise Affair (1951, Lawrence Huntingdon, UK, 95 mins), adapted from Josephine Tey’s 1948 novel of the same name, which in turn was based on a real-life case. This is the 3rd of Tey’s Inspector Alan Grant series, immediately preceded by A Shilling for Candles (see 15th January 2020 entry above).

11th March 2020 Tiger in the Smoke (1956, Roy Ward Baker, UK, 94 mins) based on  Margery Alingham’s ‘Campion’ novel of the same name, the 17th of the series, from 1952.

25th March 2020 Murder at the Gallop (1963, George Pollock, UK, 81 mins), a very free adaptation of Agatha Christie’s 1953 Hercule Poirot novel, After the Funeral, which was altered to star Margaret Rutherford as Christie’s other best-known detective – Miss Jane Marple.

Additional details will be posted in due course.