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Additional info for Alan Clarke
Home Secretary Reginald Maudling responded that ‘I have fully reviewed the facts of this case in the light of Mr. Yallop’s book and television production … I have found nothing to justify any action on my part … Although there are some understandable discrepancies of detail in the account of witnesses of the confused events on the warehouse roof, the essential facts of the shooting are clear. There is no information before me to cause me to think that the verdict of the jury was wrong’ (Hansard 1972).
The reading of personal style into this play demonstrates the limits of critical terminology. It was a real-life event which motivated its production, not an auteur’s dominant themes. And yet, the presence of potential Clarke ‘signatures’ in the play provides a fascinating extra layer. Clarke directed Roy Minton’s Horace for the same slot a week earlier, which also featured an innocent adult with a child’s mental age, and a younger but more aware accomplice, ultimately swallowed up by institutions.
However, in his series work over 1967 and 1968, Clarke employs some of his distinctive motifs. For instance, Angela Moreton (1967), in her review of Clarke’s episode of The Informer, noted the use of ‘long searching close-ups’. Rolinson_AC_02_Chap 1 23 17/5/05, 9:05 am 24 Alan Clarke Equally, the acclaimed A Man of Our Times afforded scope for individual contributions; according to John L Phillips (1968), each episode could ‘stand as a play in its own right’. James Towler (1970) eulogised that ‘in retrospect it becomes abundantly clear what a landmark it was.