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Anthony Asquith$
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Tom Ryall

Print publication date: 2011

Print ISBN-13: 9780719064524

Published to Manchester Scholarship Online: July 2012

DOI: 10.7228/manchester/9780719064524.001.0001

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 03 August 2021

The ‘international’ film

The ‘international’ film

(p.141) 7 The ‘international’ film
Anthony Asquith

Tom Ryall

Manchester University Press

This chapter scrutinizes the final phase of Anthony Asquith's career and the internationalising of the scope of his films. Since the late 1940s, the major Hollywood companies and the new breed of independent American producers had been making films in Britain and other European countries, generating a more international approach to the business of film making. Asquith's third Shaw adaptation, The Millionairess (1960), was also made under American auspices, as a contribution to an expanded British-based schedule of ‘runaway’ productions planned by Twentieth Century Fox. His next film Two Living, One Dead was shot entirely in a Swedish studio and on location in Stockholm. Guns of Darkness had a foreign setting, a story of revolution in a Latin America republic, and much of the film was shot on location in Spain. Both films indicated the ‘international trend’ in some respects – non-British settings, filmed wholly or partly overseas, ‘international Hollywood stars’ and United States distribution links in the case of Guns of Darkness. However, it was Asquith's two final films that embodied what most critics thought of as the vices of ‘international’ film production in the 1960s.

Keywords:   internationalising, Hollywood companies, film making, Twentieth Century Fox, Guns of Darkness, Swedish studio

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