By Sarah Barrow, John White

In Fifty Key British Films, Britain's top recognized movies equivalent to Clockwork Orange, the complete Monty and Goldfinger are scrutinised for his or her amazing skill to articulate the problems of the time. this is often crucial examining for an individual in quality, cult film. 

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10–11. Robert Murphy, ‘The Lodger’, in John Pym, Time Out Film Guide 2004, London, Penguin, 2003, p. 691. Amy Sergeant, British Cinema: A Critical History, London, BFI, 2005. Franc¸ois Truffaut, Hitchcock, London, Simon & Schuster, 1985. SARAH BARROW 16 PICCADILLY (1929) PICCADILLY (1929) [Production Company: British International Pictures. Director/ producer: E. A. Dupont. Screenwriter: Arnold Bennett. Cinematographer: Werner Brandes. Music: Neil Brand (for DVD). Editor: J. W. McConaughty. Art Director: Alfred Junge.

8 The now familiar track around the audience follows, but here they are not viewing a specific spectacle; instead this shot is deliberately focused in a lingering close-up on the faces of the Limehouse workers with an almost Vertovian sense of record. Attention shifts to a drunken white woman whose subsequent dancing with a Negro leads to alarm, and her ejection, to the discomfort of Shosho and Valentine, a similarly mixed-race couple. Limehouse functions as the darker side of Piccadilly; a reminder that, when genders are disturbed and there is some looking back at the gaze on otherness, violence can follow.

What motivates the spy? Not the ideal of patriotism but money. Britain is represented as a repressed, parochial country where the 29 THE 39 STEPS (1935) landowners, travelling salesmen, academics, politicians – even milkmen – are hypocrites, liars and murderers. Religion is a cover for cruelty and misogyny in the character of the Scottish crofter; the hymn book which stops a bullet aimed at Hannay has a practical rather than spiritual use. The thriller is often interpreted as an allegory – the shadowy organisation against the hero who defeats it – but The 39 Steps removes these certainties through the constant undermining of audience expectations.

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