Hope and Glory (film)
Hope and Glory is a 1987 British-American comedy-drama-war film, written and directed by John Boorman and based on his own experiences of growing up in the Blitz in London during the Second World War. The title is derived from the traditional British patriotic song "Land of Hope and Glory"; the film was distributed by Columbia Pictures. The film tells the story of the Rohan family and their experiences of the Blitz as seen through the eyes of the son, Billy. Hope and Glory was a commercial success, it received thirteen BAFTA Award nominations, winning for Best Actress in a Supporting Role. Beginning just before the start of the Second World War, the film tells the story of the Rohan family: Billy, his sisters Sue and Dawn, his parents Grace and Clive, living in a suburb of London. After the war starts, Clive joins the army. Seen through the eyes of 10-year-old Billy, the "fireworks" provided by the Blitz every night are as exciting as they are terrifying, his family do not see things in quite the same way as the bombs continue to drop, but their will to survive brings them closer together.
The nightly raids do not provide the only drama, however, as his older sister, falls for a Canadian soldier, becomes pregnant and, finding her life turned upside down, soon discovers the value of her family. The family moves to the Thames-side home of Grace's parents when their house burns down; this provides an opportunity for Bill to spend more time with his curmudgeonly grandfather. Sebastian Rice-Edwards as Billy Rohan Sarah Miles as Grace Rohan David Hayman as Clive Rohan Geraldine Muir as Sue Rohan Sammi Davis as Dawn Rohan Susan Wooldridge as Molly Derrick O'Connor as Mac Ian Bannen as Grandfather George Anne Leon as Grandma Jean-Marc Barr as Corporal Bruce Carrey The main film set was built on the disused runway at the former Wisley Airfield in Surrey and other scenes by the river were shot near Shepperton Lock.filming took place in Hightown Road, Ringwood. Hampshire; the "newsreel" footage shown in the local cinema contains scenes from the 1969 film Battle of Britain. The film was favourably reviewed by critic Pauline Kael in her film reviews collection Hooked: It's hard to believe that a great comedy could be made of the Blitz but John Boorman has done it.
In his new, autobiographical film, he has had the inspiration to desentimentalize wartime Britain and show us the Second World War the way he saw it as an eight-year-old. The war frees the Rohans from the dismal monotony of their pinched white-collar lives, he doesn't deny the war its terrors. Yet he gives everything a comic fillip. That's the joy of the film: the war has its horrors, but it destroys much of what the genteel poor like Grace Rohan, have been able to acknowledge they wanted destroyed. It's like a English variant of the Taviani brothers' The Night of the Shooting Stars. American critic Emanuel Levy's review was positive. Academy Awards Best Picture - Nominated Best Director - Nominated Best Original Screenplay - Nominated Best Cinematography - Nominated Best Art Direction - NominatedGolden Globe Awards Golden Globe Award for Best Motion Picture - Musical or Comedy - Won Best Director - Nominated Best Screenplay - NominatedBritish Academy Film Awards Best Film - Nominated Best Direction - Nominated Best Actress in a Leading Role - Nominated Best Actor in a Supporting Role - Nominated Best Actress in a Supporting Role - Won Best Original Screenplay - Nominated Best Film Music - Nominated Best Cinematography - Nominated Best Production Design - Nominated Best Costume Design - Nominated Best Editing - Nominated Best Sound - Nominated Best Makeup and Hair - NominatedHope and Glory won the Boston Society of Film Critics Award for Best Film, the Evening Standard British Film Award for Best Film, the National Society of Film Critics Award for Best Director and was named one of the year's Top Ten Films by the National Board of Review.
A sequel to the film, titled Queen and Country, was made in 2014. The film tells the story of an older Bill Rohan as a soldier during the Korean War; the film was selected to be screened as part of the Directors' Fortnight section of the 2014 Cannes Film Festival. It was released in 2015. Hope and Glory on IMDb Hope and Glory at AllMovie Hope and Glory at Box Office Mojo Hope and Glory at Rotten Tomatoes
Sir Alan William Parker is an English film director and screenwriter. Parker's early career, beginning in his late teens, was spent as a copywriter and director of television advertisements. After about ten years of filming adverts, many of which won awards for creativity, he began screenwriting and directing films. Parker is noted for working in differing genres, he has directed musicals, including Bugsy Malone, Pink Floyd – The Wall, The Commitments and Evita. His films have won ten Golden Globes and six Academy Awards. Parker was appointed a Commander of the Order of the British Empire for his services to the British film industry and knighted in 2002, he has been active in both British cinema and American cinema, along with being a founding member of the Directors Guild of Great Britain and lecturing at various film schools. In 2013 he received the BAFTA Academy Fellowship Award, the highest honour the British Film Academy can give a filmmaker. Parker donated his personal archive to the British Film Institute's National Archive in 2015.
Parker was born into a working-class family in Islington, North London, the son of Elsie Ellen, a dressmaker, William Leslie Parker, a house painter. He grew up on a council estate of Islington, which has always made it easy for him to remain "almost defiantly working-class in attitudes" said the British novelist and screenwriter Ray Connolly. Parker says that although he had his share of fun growing up, he always felt he was studying for his secondary school exams, while his friends were out having a good time, he had an "ordinary background" with no aspirations to become a film director, nor did anyone in his family have any desire to be involved in the film industry. The closest he came, he says, to anything related to films was learning photography, a hobby inspired by his uncles: "That early introduction to photography is something I remember."Parker attended Dame Alice Owen's School, concentrating on science in his last year. He left school when he was eighteen to work in the advertising field, hoping that the advertising industry might be a good way to meet girls.
His first job was office boy in the post room of an advertising agency. But more than anything, he says, he wanted to write, would write essays and ads when he got home after work, his colleagues encouraged him to write, which soon led him to a position as a copywriter in the company. Parker took jobs with different agencies over the next few years, having by become proficient as a copywriter. One such agency was Collett Dickenson Pearce in London, where he first met the future producers David Puttnam and Alan Marshall, both of whom would produce many of his films. Parker credits Puttnam with inspiring him and talking him into writing his first film script, Melody. By 1968, Parker had moved from copywriting to directing numerous television advertisements. In 1970, he joined Alan Marshall to establish a company to make advertisements; that company became one of Britain's best commercial production houses, winning nearly every major national and international award open to it. Among their award-winning adverts were the UK Cinzano vermouth advertisement, a Heineken advert, noted for using one hundred actors.
Parker credits his years writing and directing adverts for his success as a film director: Looking back, I came from a generation of filmmakers who couldn't have started anywhere but commercials, because we had no film industry in the United Kingdom at the time. People like Ridley Scott, Tony Scott, Adrian Lyne, Hugh Hudson, myself. So commercials proved to be important. Parker made his first fictional film titled No Hard Feelings; the film is a bleak love story set against the Blitz on London during the Second World War, when the Luftwaffe bombed the city for 57 consecutive nights. Parker was born during one of those bombing raids, says "the baby in that could well have been me". With no feature film directing experience, he could not find financial backing, decided to risk using his own money and funds from mortgaging his house to cover the cost; the film impressed the BBC, which bought the film and showed it on television a few years in 1976. The BBC producer Mark Shivas had, in the interim contracted Parker to direct The Evacuees, a Second World War story written by Jack Rosenthal, shown as a Play for Today.
The work was based on true events which involved the evacuation of school children from central Manchester for protection. The Evacuees won a BAFTA for best TV drama and an Emmy for best International Drama. Parker next wrote and directed his first feature film, Bugsy Malone, a parody of early American gangster films and American musicals, but with only child actors. Parker's desire in making the film was to entertain both children and adults with a unique concept and style of film: I'd worked a lot with kids and I had four young children of my own at the time; when you do have young children like that you're sensitive to the kind of materials that's available for them... The only kind of movies they could see were Walt Disney movies... I thought it would be nice to make a movie that would be good for the kids, the adults that had to take them. So to be honest, Bugsy Malone was a pragmatic exercise to break into American film
A journalist is a person who collects, writes, or distributes news or other current information to the public. A journalist's work is called journalism. A journalist can specialize in certain issues. However, most journalists tend to specialize, by cooperating with other journalists, produce journals that span many topics. For example, a sports journalist covers news within the world of sports, but this journalist may be a part of a newspaper that covers many different topics. A reporter is a type of journalist who researches and reports on information in order to present in sources, conduct interviews, engage in research, make reports; the information-gathering part of a journalist's job is sometimes called reporting, in contrast to the production part of the job such as writing articles. Reporters may split their time between working in a newsroom and going out to witness events or interviewing people. Reporters may be assigned a specific area of coverage. Depending on the context, the term journalist may include various types of editors, editorial writers and visual journalists, such as photojournalists.
Journalism has developed a variety of standards. While objectivity and a lack of bias are of primary concern and importance, more liberal types of journalism, such as advocacy journalism and activism, intentionally adopt a non-objective viewpoint; this has become more prevalent with the advent of social media and blogs, as well as other platforms that are used to manipulate or sway social and political opinions and policies. These platforms project extreme bias, as "sources" are not always held accountable or considered necessary in order to produce a written, televised, or otherwise "published" end product. Matthew C. Nisbet, who has written on science communication, has defined a "knowledge journalist" as a public intellectual who, like Walter Lippmann, David Brooks, Fareed Zakaria, Naomi Klein, Michael Pollan, Thomas Friedman, Andrew Revkin, sees their role as researching complicated issues of fact or science which most laymen would not have the time or access to information to research themselves communicating an accurate and understandable version to the public as a teacher and policy advisor.
In his best-known books, Public Opinion and The Phantom Public, Lippmann argued that most individuals lacked the capacity and motivation to follow and analyze news of the many complex policy questions that troubled society. Nor did they directly experience most social problems, or have direct access to expert insights; these limitations were made worse by a news media that tended to over-simplify issues and to reinforce stereotypes, partisan viewpoints, prejudices. As a consequence, Lippmann believed that the public needed journalists like himself who could serve as expert analysts, guiding “citizens to a deeper understanding of what was important.” In 2018, the United States Department of Labor's Occupational Outlook Handbook reported that employment for the category, "reporters and broadcast news analysts," will decline 9 percent between 2016 and 2026. Journalists sometimes expose themselves to danger when reporting in areas of armed conflict or in states that do not respect the freedom of the press.
Organizations such as the Committee to Protect Journalists and Reporters Without Borders publish reports on press freedom and advocate for journalistic freedom. As of November 2011, the Committee to Protect Journalists reports that 887 journalists have been killed worldwide since 1992 by murder, crossfire or combat, or on dangerous assignment; the "ten deadliest countries" for journalists since 1992 have been Iraq, Russia, Mexico, Pakistan, Somalia and Sri Lanka. The Committee to Protect Journalists reports that as of December 1, 2010, 145 journalists were jailed worldwide for journalistic activities. Current numbers are higher; the ten countries with the largest number of currently-imprisoned journalists are Turkey, Iran, Burma, Vietnam, Cuba and Sudan. Apart from the physical harm, journalists are harmed psychologically; this applies to war reporters, but their editorial offices at home do not know how to deal appropriately with the reporters they expose to danger. Hence, a systematic and sustainable way of psychological support for traumatized journalists is needed.
However, only little and fragmented support programs exist so far. The Newseum in Washington, D. C. is home to the Journalists Memorial, which lists the names of over 2,100 journalists from around the world who were killed in the line of duty. The relationship between a professional journalist and a source can be rather complex, a source can sometimes impact the direction of the article written by the journalist; the article'A Compromised Fourth Estate' uses Herbert Gans' metaphor to capture their relationship. He uses a dance metaphor'The Tango' to illustrate the co-operative nature of their interactions "It takes two to tango". Herbert suggests that the source leads but journalists object to this notion for two reasons: It signals source supremacy in news making, it offends journalists' professional culture, which emphasizes editorial autonomy. This dance metaphor helps showcase consensus within the relationship but the article describe the common relation between the two "A relationship with sources, too cozy is compromising of journalists’ integrity and risks becoming collusive.
Journalists have favored a
A Passage to India (film)
A Passage to India is a 1984 British-American epic historical drama film written and edited by David Lean. The screenplay is based on the play of the same name by Santha Rama Rau, based on the 1924 novel of the same name by E. M. Forster. Set in the 1920s during the period of the British Raj, the film tells the story of the interactions of several characters in the fictional city of Chandrapore, namely Dr. Aziz, Mrs Moore, Adela Quested, Richard Fielding; when newcomer to India Adela accuses Aziz of an attempted rape within the famed Marabar Caves, the city is split between the British elite and the native underclass as the budding friendship between Aziz and Fielding is tested. The film explores themes of racism, imperialism and the nature of relationships both friendly and marital; this was the final film of Lean's prestigious career, the first feature-film he had directed in fourteen years, since Ryan's Daughter in 1970. Receiving universal critical acclaim upon its release with many praising it as Lean's finest since Lawrence of Arabia, A Passage to India received eleven nominations at the Academy Awards, including Best Picture, Best Director for Lean, Best Actress for Judy Davis for her portrayal as Adela Quested.
Peggy Ashcroft won the Academy Award for Best Supporting Actress for her portrayal as Mrs Moore, making her, at 77, the oldest actress to win the award, Maurice Jarre won his third Academy Award for Best Original Score. Adela Quested is sailing from England to British Raj India with Mrs Moore, the latter the mother of her intended bridegroom, Ronny Heaslop, he is the City magistrate in Chandrapore, the anglicized spelling of Chandrapur. Adela intends to see; the ladies are disappointed to find that the British community is much separated from the Indian population and culture with a growing Indian independence movement in the 1920s. They are encouraged when the local school superintendent Richard Fielding, brings into their acquaintance the eccentric elderly Hindu Brahmin scholar Professor Narayan Godbole. Mrs Moore meets by chance another Indian local, Dr Aziz Ahmed, a widower, surprised by her kindness and lack of prejudice. Aziz offers to host an excursion to the local Marabar Caves; the initial exploration of the caves shows that the size of the party should be limited when Mrs Moore suffers from claustrophobia and the noise from the large entourage echoes exponentially inside the caves.
Mrs Moore encourages Adela and Aziz to continue their exploration of the caves alone with just one guide. They reach the caves at a higher elevation some distance from the group and, before entering, Aziz steps away to smoke a cigarette, he returns to find. Shortly afterwards, he sees her running headlong down the hill, dishevelled, she is picked up by the doctor's wife, Mrs. Callendar, taken to the Callendars' home. Adela delirious. Dr Callendar medicates Adela with a hypodermic syringe. Upon his return to Chandrapore, accused of attempting to rape Adela at the caves, is jailed to await trial, the incident becomes a cause célèbre. Mrs Moore believes Aziz to not have committed any offence and she leaves India for England. At sea, Mrs Moore dies quickly. In court, Adela is questioned by the prosecution. Aziz is celebrated for his innocence and Adela is abandoned to her own devices by the British except for Mr Fielding, who assists her to safety at the college, she plans to return to England at the earliest moment.
Aziz vows to find a new job in another Indian state. Meanwhile, through Adela, Fielding has married Stella Moore, Mrs Moore's daughter from her second marriage. Aziz reconciles with Fielding, Aziz writes to Adela asking her to forgive him for taking so long to come to appreciate the courage she exercised when she withdrew her accusation in court. E. M. Forster began writing A Passage to India during a stay in India from late 1912 to early 1913, completing it only after he returned to India as secretary to a maharajah in 1921; the novel was published on 6 June 1924. It differs from Forster's other major works in the overt political content, as opposed to the lighter tone and more subdued political subtext in works such as Howards End and A Room With a View. A Passage to India deals with the delicate balance between the English and the Indians during the British Raj; the question of what happened in the caves remains unanswered in the novel. A Passage to India sold well and was praised in literary circles.
It is regarded as Forster's best novel becoming a classic of English literature. Over many years several film directors were interested in adapting the novel to the big screen, but Forster, criticized when the novel was published, rejected every offer for the film rights believing that any film of his novel would be a travesty, he feared that whoever made it would come down on the side of the English or the Indians, he wanted balance. However he did allow Indian author Santha Rama Rau to adapt the novel for the theatre in 1957. David Lean had read the novel and saw the play in London in 1960, impressed, attempted to purchase the rights at that time, but Forster, who rejected Santha Rama Rau's suggestion to allow Indian film director Satyajit Ray to make a film, said no. Following Forster's death i
Sir Noël Peirce Coward was an English playwright, director and singer, known for his wit and what Time magazine called "a sense of personal style, a combination of cheek and chic and poise". Coward attended a dance academy in London as a child, making his professional stage début at the age of eleven; as a teenager he was introduced into the high society. Coward achieved enduring success as a playwright, publishing more than 50 plays from his teens onwards. Many of his works, such as Hay Fever, Private Lives, Design for Living, Present Laughter and Blithe Spirit, have remained in the regular theatre repertoire, he composed hundreds of songs, in addition to well over a dozen musical theatre works, poetry, several volumes of short stories, the novel Pomp and Circumstance, a three-volume autobiography. Coward's stage and film acting and directing career spanned six decades, during which he starred in many of his own works. At the outbreak of the Second World War Coward volunteered for war work, running the British propaganda office in Paris.
He worked with the Secret Service, seeking to use his influence to persuade the American public and government to help Britain. Coward won an Academy Honorary Award in 1943 for his naval film drama, In Which We Serve, was knighted in 1969. In the 1950s he achieved fresh success as a cabaret performer, performing his own songs, such as "Mad Dogs and Englishmen", "London Pride" and "I Went to a Marvellous Party". Coward's plays and songs achieved new popularity in the 1960s and 1970s, his work and style continue to influence popular culture, he did not publicly acknowledge his homosexuality, but it was discussed candidly after his death by biographers including Graham Payn, his long-time partner, in Coward's diaries and letters, published posthumously. The former Albery Theatre in London was renamed the Noël Coward Theatre in his honour in 2006. Coward was born in 1899 in a south-western suburb of London, his parents were Arthur Sabin Coward, a piano salesman, Violet Agnes Coward, daughter of Henry Gordon Veitch, a captain and surveyor in the Royal Navy.
Violet's cousin, Rachel Veitch, was mother of Field-Marshal Douglas Haig. Noël Coward was the second of their three sons, the eldest of whom had died in 1898 at the age of six. Coward's father lacked ambition and industry, family finances were poor. Coward appeared in amateur concerts by the age of seven, he attended the Chapel Royal Choir School as a young child. He was a voracious reader. Encouraged by his ambitious mother, who sent him to a dance academy in London, Coward's first professional engagement was in January 1911 as Prince Mussel in the children's play The Goldfish. In Present Indicative, his first volume of memoirs, Coward wrote: One day... a little advertisement appeared in the Daily Mirror.... It stated that a talented boy of attractive appearance was required by a Miss Lila Field to appear in her production of an all-children fairy play: The Goldfish; this seemed to dispose of all argument. I was a talented boy, God knows, when washed and smarmed down a bit, passably attractive.
There appeared to be no earthly reason why Miss Lila Field shouldn't jump at me, we both believed that she would be a fool indeed to miss such a magnificent opportunity. The leading actor-manager Charles Hawtrey, whom the young Coward idolised and from whom he learned a great deal about the theatre, cast him in the children's play Where the Rainbow Ends. Coward played in the piece in 1912 at the Garrick Theatre in London's West End. In 1912 Coward appeared at the Savoy Theatre in An Autumn Idyll and at the London Coliseum in A Little Fowl Play, by Harold Owen, in which Hawtrey starred. Italia Conti engaged Coward to appear at the Liverpool Repertory Theatre in 1913, in the same year he was cast as the Lost Boy Slightly in Peter Pan, he reappeared in Peter Pan the following year, in 1915 he was again in Where the Rainbow Ends. He worked with other child actors including Hermione Gingold. In 1914, when Coward was fourteen, he became the protégé and the lover of Philip Streatfeild, a society painter.
Streatfeild introduced him to her high society friends. Streatfeild died from tuberculosis in 1915, but Mrs Astley Cooper continued to encourage her late friend's protégé, who remained a frequent guest at her estate, Hambleton Hall. Coward continued to perform during most of the First World War, appearing at the Prince of Wales's Theatre in 1916 in The Happy Family and on tour with Amy Brandon Thomas's company in Charley's Aunt. In 1917, he appeared in a comedy produced by Hawtrey. Coward recalled in his memoirs, "My part was reasonably large and I was quite good in it, owing to the kindness and care of Hawtrey's direction, he took endless trouble with me... and taught me during those two short weeks many technical points of comedy acting which I use to this day."In 1918, Coward was conscripted into the Artists Rifles but was assessed as unfit for active service because of a tubercular tendency, he was discharged on health grounds after nine months. That year he appeared in the D W Griffith film Heart
Fallen Angels (play)
Fallen Angels is a comedy by the English playwright Noël Coward. It ran until 29 August; the central theme of two wives admitting to premarital sex and contemplating adultery met hostility from the office of the official theatre censor, the Lord Chamberlain, the necessary licence was granted only after the personal intervention of the Chamberlain. In 1924 Coward achieved his first hit as a playwright with The Vortex, consolidated his success in March 1925 with the revue On with the Dance, his comedy Fallen Angels had attracted the interest of Gladys Cooper, who wanted to produce the piece and co-star with Madge Titheradge, but the contractual commitments of the two actresses precluded it. It was not until the success of The Vortex that other managements became eager to stage the playwright's existing works, which, as well as Fallen Angels, included Hay Fever and Easy Virtue. Fallen Angels was taken up by Marie Lohr and her husband Anthony Prinsep, who were jointly in management at the Globe Theatre in Shaftesbury Avenue.
They intended it as a vehicle for a popular West End star. There was some difficulty in obtaining a licence from the theatre censor, the Lord Chamberlain, whose approval was required for any public theatrical presentation. An official in the Lord Chamberlain's office recommended that a licence should be refused on the grounds that the loose morals of the two main female characters "would cause too great a scandal"; the Lord Chamberlain overruled his subordinate: "I take the view that the whole thing is so much unreal farcical comedy, that subject to a few modifications in the dialogue it can pass."Four days before the first night Bannerman was taken ill, Tallulah Bankhead was brought in as a last-minute substitute. The play ran for 158 performances, until 29 August. Julia Sterroll – Tallulah Bankhead Frederick Sterroll – Arthur Wellesley Jane Banbury – Edna Best William Banbury – Gerald Ames Saunders – Mona Harrison Maurice Duclos – Austin Trevor Source: The Times, 22 April 1925; the play is set in the London flat of Frederick and Julia Sterroll in 1925.
Act 1Two youngish men, Frederick Sterroll and William Banbury, go off on a golfing trip, leaving their wives to amuse themselves as best they can. The wives have each received a postcard from Maurice Duclos, whose lovers they had both been before their marriages, he tells them he hopes to call on them imminently. Unsure whether they will be able to resist Maurice's powerful charm, they decide to leave before he arrives, but as they are about to go, suitcases in hand, the doorbell rings. Act 2The ring at the door had not been Maurice, the two women have decided to brave the forthcoming encounter. While waiting, quite nervously, for Maurice's arrival, they drink too many cocktails and too much champagne, their old rivalry for Maurice's affections surfaces, they begin to bicker, a tremendous quarrel ensues. By the end of the act Maurice has still not appeared and Julia has ordered Jane out of the flat. Act 3The next morning Julia wrongly imagines. In fury Julia tells William about his wife's supposed liaison.
Jane, having spent the night innocently alone at a hotel, concludes that Julia and Maurice have gone off together, she tells Frederick about her suspicions. Maurice arrives, reassures the husbands that nobody has gone off with anybody, there is nothing to worry about, he has taken the flat above the Sterrolls, invites both couples to come and see it. The men decline, Maurice escorts Julia and Jane to his flat. Presently the voices of all three are heard singing a sentimental love song. A production by the Amsterdam Municipal Theatre was banned after a few performances in 1926; the play was presented on Broadway in 1927, with the following cast: Julia Sterroll – Fay Bainter Frederick Sterroll – Gordon Ash Jane Banbury – Estelle Winwood William Banbury – Gerald Hamer Saunders – Eileen Beldon Maurice Duclos – Luis AlberniUnder the title Le Printemps de Saint-Martin, the play was given in Paris in 1928 and again in 1945. Fallen Angels was revived in London in 1949, with Hermione Gingold and Hermione Baddeley as the wives.
In a Broadway production in 1956 Nancy Walker and Margaret Phillips played Jane. A 1967 West End revival starred Constance Cummings. In 2000 Felicity Kendal and Frances de la Tour played the wives in a production at the Apollo Theatre, London. A television adaption of the play was broadcast by the BBC in 1963, with Ann Morrish and Moira Redmond as Julia and Jane. BBC radio presented a production in a month after the author's death. Julia was played by Mary Jane by Isabel Dean; the following year, an Anglia television adaptation starred Susannah York as Julia and Joan Collins as Jane. At the time of the original production critical opinion was divided, with the down-market section of the press taking a hostile, moralistic stance, the critics in the more serious newspapers taking a favourable view; the Daily Express called the piece an "unpleasant play which might the tickle the palate of certain playgoers who enjoy the decadent." The Daily Mirror found the leading characters and their "'modern' impudences" "very tiresome".
The Manchester Guardian praised Coward's theatrical skill as "little short of amazing". and the reviewer in The Observer, though rating the piece "neither a great nor a good play" on account of its overt theatricality and lack of depth, declared himself "vastly amuse" by it. The Times judged that the play confirmed Coward's position as "the mos
Kensal Green is an area in north-west London located in the London boroughs of Brent and Kensington & Chelsea. The surrounding areas are Harlesden to the West, Willesden to the north and Queens Park to the east and Notting Hill and White City to the south; the areas of College Park and Ladbroke Grove are located in the London boroughs of Hammersmith & Fulham and Kensington & Chelsea respectively. The area is located close to the site of Old Oak Common. Kensal Green is a residential area with good transport links to central London. Surrounding districts include Willesden to the north, Harlesden to the west, Queens Park to the east and Notting Hill to the south; as well as the Kensal Green ward, the area takes in the wards of Dalgarno, St Helens, parts of Queens Park and College Park & Old Oak. The area is known for independent boutiques and bars as well as Gee Barber, an original sixties gents' barber; the area has seen significant gentrification over recent years and is earning a reputation as a'celebrity haunt-meets-Nappy Valley'.
In 2009, Chamberlayne Road in Kensal Rise was named by Vogue as the hippest street in Europe. The area is now home to a number of noteworthy residents including musicians Paloma Faith and Rita Ora, chef Thomasina Miers, film director, DJs and musicians Don Letts and Mark Rae, actress Thandie Newton, singer Lily Allen, model-turned-author Sophie Dahl, author Zadie Smith, handbag designer Bill Amberg, David Cameron's ex-strategy guru Steve Hilton, footballer-turned-media personality Ian Wright and Sienna Miller; the area now boasts Britain's first independent boutique cinema and social enterprise, The Lexi Cinema. It is staffed by local volunteers and all its profits go to an eco-village in South Africa. In 2014, luxury goods maker Mulberry named its handbag Kensal and launched an advertising campaign with Cara Delevingne. Time Out described Kensal Green as "a cool, rebellious young upstart with torn jeans and wacky ideas about politics and marijuana and shit", highlighting pubs The Chamberlayne and Paradise by Kensal Green, cocktail bar The Shop, high-end butcher Brooks and authentic Neapolitan pizzas from Sacro Cuore.
Burger restaurant Benz Burgers in Kensal Green, set up by entrepreneur Ben Todar in 2016, was awarded second best takeaway in Britain. It has traditionally been popular with those working in creative industries. According to local estate agents, those buying properties in the area include developers, people working in the financial district of the city and others moving from nearby Notting Hill; the area attracts Americans thanks to the American School in neighbouring St John's Wood, as well as being popular with the French due to a Lycée Français opening in Brent's former town hall. Little Wormwood Scrubs is a wide open space and has various activities, Kensington memorial Park remains popular amongst locals. Queens Park and King Edwards Vll park are both within walking distance. Part of one of the ten manors within the district of Willesden, Kensal Green is first mentioned in 1253, translating from old English meaning the King’s Holt, its location marked the boundary between Willesden and the Chelsea & Paddington, on which it remains today.
It formed part of one of ten manors, most Chamberlayne Wood Manor, named after Canon Richard de Camera. In the 15th century the Archbishop of Canterbury Henry Chichele, acquired lands in Willesden and Kingsbury. In 1443 he founded All Souls' College and endowed it with the same lands in his will; as a resultant, most of Willesden and Kensal Green remained agricultural until the mid-1800s, well into the Victorian era. In 1805, the construction of the Grand Junction Canal passed through the district to join the Regent's Canal at Paddington; as the combined Grand Union Canal, this allowed passage of commercial freight traffic from the Midlands to London Docks, hence onwards to the River Thames. There were two dairy farms in Kensal Green by the early 1800s, which expanded after the 1864 Act of Parliament which made it illegal to keep cattle within the City of London. Although by the late 1800s residential development had reduced the farmland, still in the 1890s many sheep and pigs were raised in the district.
One of the farms became a United Dairies creamery, supplied by milk trains from Mitre Bridge Junction. St. John's Church was built in 1844 followed by more inns. In 1832 Kensal Green Cemetery was incorporated by Act of Parliament and opened January 1833; this led to a revaluation of the surrounding lands, in 1835 ecclesiastical commissioners were appointed by the Crown, who reported in 1846 that: "the larger portion of the Prebendal Estates possess, in our opinion, a value far beyond their present agricultural value." With enough people living locally to create a new parish, in 1844 St. John the Evangelist Church in Kilburn Lane was consecrated; the 1851 census records just over 800 people living in the new parish. In the 1860s, Kensal Green manor house, situated where Wakeman Road joins Harrow Road, was demolished. Rapid increase in residential development followed, firstly with land west of Kilburn High Road, followed by the sale of Banister's Farm leading to the development of Bannister Road and Mortimer Road.
At this time Kensal Green was suffering huge social problems and had a reputation of being a slum, with 55% off its residents living in poverty and squalor, despite being neighbours to thriving Queen's Park. The rapid residential development led to local commissioners reporting in 1880 that there was inadequate drainage and sewerage facilities, with most houses having only improved access to what were the old agricultural drains. In that same year, All S