Have one to sell?
Victim (BFI Film Classics) Paperback – 13 Jul 2011
See all 3 formats and editions Hide other formats and editions
Note: This item is eligible for click and collect. Details
Pick up your parcel at a time and place that suits you.
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
This shopping feature will continue to load items. In order to navigate out of this carousel please use your heading shortcut key to navigate to the next or previous heading.
Customers who bought this item also bought
Page 1 of 1 Start overPage 1 of 1
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Would you like to tell us about a lower price?
If you are a seller for this product, would you like to suggest updates through seller support?
An intimate study of a landmark film in the history of cinema and of British society, written by Dirk Bogarde's offical biographer and published to mark the 50th anniversary of the film's release
From the Back Cover
?Victim (1961) was a landmark in the history both of the cinema and of British society. This modest black-and-white thriller, produced by Michael Relph and directed by Basil Dearden, tackled explicitly the existing law governing homosexual offences, and in doing so eased the path towards partial decriminalisation in 1967. It was also a key moment in the life of its star, Dirk Bogarde, who, despite the risk to his box-office appeal, seized upon the role of a compromised barrister. In doing so, he shed the mantle of matinée idol and soon afterwards embarked on a more fulfilling career in the intellectual cinema.
John Coldstream's intimate study of Victim examines in detail the background to the production, focusing especially on the relationship between the film-makers, the screenwriters and the censor, John Trevelyan, whose participation at the script stage was crucial to its development. Half a century after its original release, one looks in vain to find Victim in the spasmodic surveys dedicated to identifying the greatest films of all time. However, as Coldstream argues, its recognition as a classic is more than justified by the vital contribution it made to gay cultural history and by its status as 'a movie that mattered'.