The Angry Silence
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The Angry Silence
Directed byGuy Green
Screenplay byBryan Forbes
Story byRichard Gregson
Michael Craig
Produced byRichard Attenborough
Bryan Forbes
Jack Rix
StarringRichard Attenborough
Pier Angeli
Michael Craig
Bernard Lee
CinematographyArthur Ibbetson
Edited byAnthony Harvey
Music byMalcolm Arnold
Production
company
Beaver Films
Distributed byBritish Lion Film Corporation
Release date
  • 15 March 1960 (1960-03-15)
Running time
95 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£97,000[1][2]

The Angry Silence is a 1960 black-and-white British drama film directed by Guy Green and starring Richard Attenborough, Pier Angeli, Michael Craig and Bernard Lee.[3]

The film marked the first release through screenwriter Bryan Forbes's production venture, Beaver Films, and Forbes won a BAFTA Award for Best British Screenplay at the 14th British Academy Film Awards and a nomination for the Academy Award for Best Original Screenplay at the 33rd Academy Awards for his contribution (shared with original story writers Michael Craig and Richard Gregson).[4] Green called it a "landmark" in his career.[5]

Synopsis

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Factory lathe worker Tom Curtis has two children and his wife, Anna, is pregnant, putting him under financial pressure. They live with his friend and co-worker, Joe Wallace. Consequently, Curtis refuses to take part in an unofficial strike, meaning a loss of wages, which he is entitled to do. The strike is planned by outside activist Travers and orchestrated by shop steward Bert Connolly, who concocts spurious demands as part of his campaign to pressure the management into agreeing to a closed shop, giving the union greater influence.

Those who continue to work find that their properties are subject to repeated attacks, including bricks through windows and arson, and join the strike out of fear. Connolly confronts the gang of young perpetrators (consisting of Eddie, Gladys, Mick, and Chuck), aware of their culpability. Curtis alone continues to work in a show of defiance against threats and intimidation. Joe finds himself unable to defend his friend, opting instead to "fall in line" with the majority.

When the strike ends, Curtis is accused of being a scab and sent to Coventry.[6] Then, when anti-union newspapers interview him and report on his plight, Connolly demands his dismissal, backing his demand with a work to rule and overtime ban. Management fears that continued publicity will mean the loss of a major contract, while some workers take matters into their own hands.

Eventually, another wildcat strike occurs, causing a ruckus outside of the factory entrance. Curtis arouses the ire of two of the young thugs, Eddie and Gladys, the former of whom beats Curtis up while the latter keeps lookout. Curtis is sent to the hospital, where the doctors perform surgery to extract one of his eyes. Pat locates Joe, informing him of the news. He arrives at the hospital, whereupon he encounters Anna and the two reconcile. Afterwards, Joe tracks down Gladys and Eddie, running over Gladys's foot with his scooter. Eddie stabs Joe in the stomach during a subsequent struggle, but Joe overpowers him and punches his face several times before dragging him back to the factory. Joe takes the stage and berates the crowd for turning against Tom, ultimately summoning the courage to speak his own mind.

Cast

[edit]

Production

[edit]

Kenneth More was initially considered for the role of Tom Curtis but turned it down when offered the lead in Sink the Bismarck!.[7][8] Director Guy Green said "we all felt very noble" not accepting full pay but says the film was excellent for his career.[5] The film was entered into the 10th Berlin International Film Festival.[9]

Release

[edit]

After the film's release, Richard Attenborough visited a working men's club in Aberdare, South Wales, that was refusing to show the film. Many such clubs had banned the film because of its anti-strike plot. However, after Attenborough explained his position on the film, the miners allowed it to be screened. This was important because, during the 1960s, films required such showings to drive ticket sales.[4]

Reception

[edit]

Critical

[edit]

The Monthly Film Bulletin wrote: "The first film of a new production company, The Angry Silence bears striking witness to the effect Room at the Top has had on British cinema. One notes its forthright dialogue, contemporary awareness and air of controversy, its energy and its ambition. Too much ambition, perhaps: the film has several themes – mob law, TUC weakness, bad industrial relations, the right to dissent – whose admixture and thorough working out, possible in a novel, are less ideally suited to the cinema. To cover them all successfully would demand a grasp that is as yet beyond Bryan Forbes', the scriptwriter's, capacities. To their credit, the producers, Forbes and Richard Attenborough, have taken evident pains to achieve a surface authenticity."[10] Variety wrote that Guy Green had directed with "quiet skill, leaving the film to speak for itself'. Stanley Kauffmann of The New Republic described it as "an excellently made and disturbing film".[11]

The Radio Times Guide to Films gave the film 3/5 stars, writing: "Although this fascinating melodrama was made decades ago, its attitudes to trade unionism and industrial action are curiously contemporary. Screenwriter Bryan Forbes explores a range of political issues, but the practised rhetoric sounds false in the mouths of the rank and file, and the best moments are not the confrontations between strikebreaker Richard Attenborough and his workmates, but those depicting the pressures on his marriage. Attenborough gives a sterling performance, but the acting honours go to Pier Angeli as his distraught wife and Alfred Burke as the devious agent provocateur."[12]

Leslie Halliwell said: "Irresistibly reminding one of a po-faced I'm Alright Jack, this remains a fresh and urgent film which unfortunately lost excitement in its domestic scenes."[13] Some critics have raised doubts about the politics of the film, particularly with regard to trivialisation of the needs and demands of the workers.[14] Others suggest that the film is also a reflection of British working-class values at the time, such as 'an Englishman's home is his castle'.[15] On Rotten Tomatoes the film has a rating of 80%, based on reviews from five critics.[16]

Box office

[edit]

Kinematograph Weekly said the film "comfortably got by" at the box office.[17]

By 1971 the film had made an estimated profit of £58,000.[1] In 1997 Bryan Forbes estimated the profit at £200,000.[2]

References

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The Angry Silence

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The Angry Silence is a 1960 black-and-white British drama film directed by Guy Green and produced by Beaver Films, starring Richard Attenborough as factory worker Tom Curtis, who refuses to join an unofficial wildcat strike and subsequently endures silent intimidation and social ostracism from his colleagues.[1][2] The screenplay, co-written by Bryan Forbes, Richard Attenborough, and Guy Green, portrays the tensions between individual conscience and group loyalty in an industrial setting, highlighting the personal costs of non-conformity amid union pressures.[3][4] The film features supporting performances by Pier Angeli as Curtis's pregnant wife, Michael Craig as a sympathetic foreman, and Bernard Lee as a union official, with additional cast including Alfred Burke and Geoffrey Keen.[5] Filmed in England, it draws on real-world labor disputes to depict escalating retaliation against Curtis, including workplace sabotage and threats to his family, underscoring themes of bullying and ideological manipulation within labor movements.[2][6] Upon release, The Angry Silence received praise for its straightforward examination of industrial unrest and individual resilience, earning a nomination for the Academy Award for Best Original Screenplay and a win for Best British Screenplay at the British Academy Film Awards.[4] Director Guy Green was awarded the OCIC Prize at the Berlin International Film Festival for the film's moral stance on personal integrity.[7] Critics noted its integrity and avoidance of sensationalism, though it provoked debate over its portrayal of union tactics.[8]

Storyline

Plot Synopsis

Tom Curtis, a shopfloor worker at the Martindales factory in northern England, supports his pregnant wife Anna and their two young children, Cathy and Brian, while sharing their home with lodger and colleague Joe Wallace.[9] Shop steward Bert Connolly secretly collaborates with external union agitator Travers to initiate an unofficial wildcat strike over workplace grievances, leading most employees to walk out and form a picket line.[9] Initially, Tom and a few others cross the picket line to continue working, driven by financial necessities, but mounting intimidation—including smashed home windows and severed washing lines—forces all but Tom to join the strike.[9] After a confrontation with Connolly, Tom persists alone, prompting his fellow workers to impose a silent ostracism, ignoring him entirely during shifts and treating him as invisible.[9] The isolation intensifies as media scrutiny highlights Tom's defiance, drawing public support but further alienating him from colleagues; his son Brian faces bullying at school, and factory management, including works manager Davis and owner Mr. Martindale, proposes a compromise settlement that the strikers reject under Travers and Connolly's influence.[9] A gang of Teddy boys led by Barrett escalates the reprisals with vandalism and a hit-and-run attack that blinds Tom in one eye.[9] Joe uncovers evidence of the gang's involvement, confronts Barrett to extract a confession, and publicizes the assault to the workers, shaming them into ending the strike; Travers departs for London as operations resume, leaving Tom to recover from his injuries while having upheld his individual stance.[9]

Production

Development and Screenplay

The screenplay for The Angry Silence stemmed from an original story treatment by actor Michael Craig and Richard Gregson, Craig's brother, which centered on a factory worker facing ostracism for declining to participate in an unofficial wildcat strike.[4] [1] Bryan Forbes transformed this concept into the feature-length script, incorporating details reflective of 1950s British industrial practices such as "sending to Coventry"—the deliberate social isolation of non-striking colleagues—amid frequent unauthorized stoppages in factories.[1] While not tied to one particular dispute, the narrative drew from broader post-war labor frictions, including tensions between individual workers and union enforcers, as observed in the era's manufacturing sector.[10] In early 1959, Richard Attenborough and Bryan Forbes founded Beaver Films as an independent production entity to pursue personal projects outside studio constraints, selecting The Angry Silence as their debut.[11] [1] Attenborough, leveraging his industry connections, obtained a £100,000 budget from distributor British Lion, overcoming skepticism about the script's appeal given its focus on contentious workplace dynamics rather than escapist entertainment.[11] Forbes handled screenplay revisions alongside co-production duties, refining the treatment to underscore the human cost of conformity in labor conflicts without explicit partisan alignment in early drafts.[4] Guy Green was appointed director in 1959 to helm pre-production, prioritizing a documentary-style approach to portray the era's factory environments authentically.[1]

Casting and Filming

Richard Attenborough starred as Tom Curtis, the factory worker who defies a wildcat strike, a role that showcased his ability to embody an ordinary, principled individual facing social ostracism.[1] Pier Angeli portrayed his wife Anna, providing emotional support amid the conflict, while Michael Craig played Joe Wallace, Curtis's loyal colleague who grapples with divided loyalties.[1] Bernard Lee appeared as the union shop steward Bert Connolly, representing collective authority, and Oliver Reed made an early screen appearance as Mick, a thuggish striker involved in intimidating non-strikers.[1][12] Principal photography took place primarily on location to capture authentic industrial environments, with key factory scenes filmed at the Ransomes and Rapier engineering works in Ipswich, Suffolk, utilizing the site's machinery and structures for realism.[13] Street sequences depicting worker unrest were shot in nearby Tyler Street and Hawes Street, Ipswich, while additional exterior shots occurred in Shepherd's Bush, London, on September 9, 1959.[14][15] The production, the debut feature from Beaver Films—co-founded by Attenborough and writer Bryan Forbes—employed practical crowd extras to simulate strike dynamics and mob violence without involving actual trade unions, which later protested the film's anti-militant stance.[14] Filming wrapped principal photography by late 1959 on a budget of £98,000, allowing for post-production ahead of the March 1960 premiere, though logistical hurdles arose in choreographing tense confrontation scenes to convey escalating peer pressure and vandalism realistically.[1][15]

Themes and Analysis

Individualism Versus Collective Pressure

In The Angry Silence, protagonist Tom Curtis exemplifies individual agency by continuing to work during an unofficial wildcat strike at his factory, prioritizing his family's immediate financial needs—including supporting his pregnant wife and young children—over collective action that offers no guaranteed benefits.[9] This choice stems from verifiable personal circumstances, such as Curtis's role as the sole breadwinner in a household vulnerable to income loss, underscoring how enforced solidarity can impose empirical harms like wage forfeiture and heightened risk of eviction or malnutrition for dependents.[16] Psychological isolation follows as coworkers impose a deliberate "angry silence," severing social ties and amplifying Curtis's alienation, which manifests in familial strain and self-doubt without external validation.[2] Causal mechanisms of group conformity drive escalation, as peer pressure transitions from verbal ostracism to physical intimidation, including sabotage of Curtis's tools and an attempted acid attack, demonstrating how collective mandates suppress dissent through verifiable threats to personal safety rather than rational negotiation.[17] The film's depiction prioritizes individual decision-making grounded in self-interest—Curtis's assessment of strike futility amid rumors of external agitation—over abstract solidarity, revealing how conformity enforces uniformity at the cost of adaptive, context-specific choices that sustain personal welfare.[18] This portrayal contrasts with prevailing mid-20th-century narratives framing strikes as inherently equitable, yet wildcat actions in the UK during the 1950s and 1960s frequently disrupted production without official union sanction, leading to measurable economic losses such as fragmented supply chains and reduced output in manufacturing sectors.[19] For instance, Ministry of Labour data indicated that approximately 95% of stoppages in the early 1960s were unofficial wildcats, correlating with broader industrial volatility that hampered GDP growth and export competitiveness compared to stable peer economies.[20] Such disruptions empirically burdened non-participants with indirect costs like inflation spikes and job insecurity, validating Curtis's prioritization of verifiable individual stability over ideologically driven collective halts.[21]

Critique of Militant Unionism

In The Angry Silence, militant unionism is depicted through an unofficial wildcat strike orchestrated by communist-leaning shop stewards at a factory, who manipulate grievances to enforce collective action without democratic union approval or ballot, prioritizing ideological disruption over worker welfare.[22] The protagonists uncover that the agitators, Travers and Gregg, exploit minor disputes to advance Soviet-aligned agendas, reflecting tactics used by Communist Party of Great Britain (CPGB) activists in British unions during the era.[22] [23] This portrayal critiques how such unofficial actions bypassed official negotiation processes, as evidenced by real 1950s-1960s cases where CPGB-influenced elements in trade unions instigated wildcat strikes to challenge management and moderate labor leadership, often implying external ideological motives.[24] [25] The film further illustrates union-enforced loyalty through bullying and sabotage against holdouts like Tom Curtis, who faces social isolation, property damage, and threats to his family, underscoring the coercive underbelly of collectivist pressure that prioritized group conformity over individual agency.[26] This narrative debunks idealized views of union solidarity by exposing victims of internal purges, akin to documented intimidation in mid-century British workplaces where non-compliant workers endured ostracism to maintain strike discipline.[22] Such tactics fostered economic sabotage, as strikes halted production arbitrarily, contrasting with legitimate bargaining that had secured post-war wage gains and employment protections through structured negotiations.[23] Empirical data reinforces the film's emphasis on causal harms from unchecked militancy: UK Office for National Statistics records show working days lost to labor disputes rising from 1.39 million in 1960 to 6.85 million in 1969, with unofficial strikes contributing disproportionately to disruptions in manufacturing sectors like the film's factory setting.[27] These losses correlated with productivity drags and inflation pressures, as fragmented wildcat actions fragmented bargaining power and deterred investment, outweighing short-term concessions in long-term economic stability.[28] While acknowledging unions' role in countering employer exploitation, the depiction prioritizes evidence of militancy's inefficiencies, where ideological agitators amplified grievances into self-defeating standoffs.[26]

Release

Premiere and Distribution

The Angry Silence had its world premiere in London on 10 March 1960.[29] Distributed domestically by British Lion Films, the film received a nationwide release in the United Kingdom shortly thereafter.[30] In the United States, it opened on 12 December 1960.[1] British Lion Films managed international distribution, though initial rollouts beyond the UK were constrained, with European markets seeing delayed or selective screenings.[30]

Reception

Critical Response

Upon its release in 1960, The Angry Silence garnered positive reviews for its realistic depiction of industrial unrest and individual defiance against collective pressure. Bosley Crowther of The New York Times praised the film as a "blunt look at British labor," noting its loaded implications that cut deep into English working-class life and tensions between personal integrity and group conformity.[8] Contemporary critics appreciated its contemporary subject matter and authentic factory settings, with Paddy Whannel in New Left Review highlighting how it addressed elements long absent in British cinema, such as modern industrial strife without descending into outright anti-union rhetoric but critiquing unofficial wildcat actions.[31] The film's aggregated critical approval stands at 80% on Rotten Tomatoes, based on five reviews, reflecting acclaim for its grounded portrayal of labor dynamics. Richard Attenborough's lead performance as the ostracized worker Tom Curtis drew particular commendation for its subtlety and power, conveying quiet resolve amid escalating isolation. Emanuel Levy described it as a "powerful and subtle" portrayal that anchored the narrative's emotional core. Eye for Film echoed this, emphasizing Attenborough's ability to humanize the protagonist's principled stand against mob mentality.[32] However, some reviewers offered mixed assessments, critiquing the film's pacing and occasional lapses into melodrama that amplified its messaging on individualism versus union coercion. Amber Wilkinson in Eye for Film noted a "broad brush" approach to the rights of the individual against the collective, culminating in melodramatic violence that risked oversimplifying complex labor issues, though the underlying tensions remained factually rooted in mid-20th-century British strikes.[32] A review in Starburst Magazine found the semi-kitchen-sink realism riveting in its early factory sequences but hampered by later sentimental excesses, questioning the narrative's balance between dramatic tension and didacticism.[33] Detractors like those in Ruthless Culture acknowledged the well-constructed script and performances but labeled it propagandistic in its portrayal of worker thuggery, arguing it prioritized a neoliberal worldview over nuanced realism, though conceding its technical effectiveness.[17] These views highlighted the film's bold handling of divisive themes without dismissing its artistic intent or evidentiary basis in real union practices.[17]

Box Office Performance

The Angry Silence, produced on a modest budget of £100,000 by the independent Beaver Films partnership of Richard Attenborough and Bryan Forbes, achieved strong commercial performance in the United Kingdom following its March 10, 1960, release.[11] The film drew significant attendance, ranking among the notable British successes of the year amid a landscape dominated by domestic productions, and proved profitable for its low-cost production model despite lacking major studio backing.[34] Its topical depiction of workplace unrest resonated with audiences during a period of heightened industrial strikes in Britain, including disputes in engineering and manufacturing sectors, which enhanced its relevance and draw without relying on high-profile stars beyond Attenborough's established presence.[34] The black-and-white format, however, constrained broader appeal in an era where color films were gaining traction, limiting its competitiveness against contemporaries like The League of Gentlemen (also 1960), which benefited from similar ensemble appeal but comparable production scale. International returns were more modest, with limited penetration in markets like the United States despite an Academy Award nomination for Best Original Screenplay, reflecting the challenges for British independents in securing widespread overseas distribution.[11] Overall, the film's earnings underscored the viability of restrained, issue-driven dramas for niche profitability rather than blockbuster dominance.[34]

Legacy and Impact

Cultural and Political Reappraisal

In 2016, StudioCanal released a digitally restored version of The Angry Silence on Blu-ray and DVD, sparking renewed scholarly and critical interest in its examination of labor conflicts and individual defiance against collective mandates.[35][36] This restoration highlighted the film's prescience amid post-Thatcher reflections on union decline, where membership fell from 13.3 million in 1979 to 7.3 million by 1990 due to legislative curbs on closed shops, secondary picketing, and strike ballots, compounded by defeats in confrontations like the 1984–1985 miners' strike that exposed the rigidity of militant strategies.[37][38] Such reappraisals frame the narrative of worker ostracism during unofficial action as an anticipation of how unchecked union tactics contributed to economic stagnation and membership erosion, prioritizing empirical outcomes over ideological solidarity. By 2024, discussions positioned The Angry Silence as a stark illustration of militant unionism's "national disgrace," linking its portrayal of coerced conformity to the long-term failures of practices that prioritized disruption over productivity, ultimately leading to diminished union influence in modern Britain.[26] Analyses of 20th-century UK strikes, including those in manufacturing sectors depicted in the film, cite its depiction of groupthink—where dissenters faced social and economic isolation—as prescient of real costs like lost wages and fractured communities, evidenced in events such as the 1950s wildcat actions that mirrored the story's factory setting.[39] This underscores causal links between enforced collectivism and individual harm, validated by historical data on strike-related productivity losses exceeding £1 billion annually in the 1970s before reforms.[40] The film's legacy extends to British social realism, where it diverged from prevailing left-leaning emphases on class victimhood by critiquing union overreach within working-class portrayals, influencing later works to incorporate tensions between personal autonomy and group demands without defaulting to pro-collective resolutions.[41][42] This approach enriched the genre's exploration of labor dynamics, fostering narratives that privileged verifiable individual incentives over romanticized solidarity, as seen in its alignment with kitchen-sink realism's focus on northern industrial life while challenging assumptions of inevitable union benevolence.[43]

Controversies and Defenses

Left-leaning critics and trade union officials accused The Angry Silence of constituting anti-union propaganda, portraying wildcat strikes as inherently tyrannical and workers' solidarity as mob rule.[12][44] The National Union of Mineworkers, for example, overwhelmingly voted in 1960 to prohibit screenings in Welsh mining communities, viewing the film's depiction of union coercion as a threat to collective action.[12] Such objections often stemmed from sources with institutional ties to labor movements, which prioritized narratives of worker unity over accounts of internal dissent or strike-related disruptions.[44] Screenwriter Bryan Forbes and producer-star Richard Attenborough countered these claims by clarifying that the film opposed bullying tactics and extremist subversion within unions, not legitimate organized labor.[45] Forbes, in reflections on the production, described it as targeting "the bully boys" and "the lunatic far left fringe," drawing from observed abuses rather than ideological opposition to trade unions.[45] A 1960 review echoed this, stating the film was "not anti-union" but critiqued coercive elements that undermined voluntary association.[46] From a right-leaning perspective, the film served as a defense of individual conscience against collectivist overreach, earning praise in conservative outlets for addressing government-neglected tensions in industrial relations.[47] This appraisal aligned with documented patterns of unofficial strikes in 1960s Britain, where non-participants faced ostracism or threats, contributing to production halts and economic inefficiency without official union sanction—issues that fueled policy responses like the 1969 In Place of Strife proposals to curb such actions.[47] Defenses against pro-union interpretations emphasize causal evidence of strike harms, including forgone wages for compliant workers and broader productivity losses, over ideologically filtered solidarity claims.[47]

References

  1. The Angry Silence (1960) - IMDb
  2. Angry Silence, The (1960) - BFI Screenonline
  3. The Angry Silence - Rotten Tomatoes
  4. The Angry Silence - Variety
  5. The Angry Silence (1960) - Full cast & crew - IMDb
  6. The Angry Silence - Catalogue - Rialto Pictures
  7. Awards - The Angry Silence (1960) - IMDb
  8. Screen: Blunt Look at British Labor:' The Angry Silence' in Premiere ...
  9. Angry Silence, The (1960) Synopsis - BFI Screenonline
  10. The Angry Silence (1960) - User reviews - IMDb
  11. Remembering Richard Attenborough - BFI
  12. Labor Pains | Cinema Sojourns
  13. 21 films you didn't know were made in Suffolk | Great British Life
  14. Angry Silence, The - Reelstreets
  15. Sep. 09, 1959 - Filming The Angry Silence . Location shots ... - Alamy
  16. The Angry Silence (1960) - Plot - IMDb
  17. REVIEW — The Angry Silence (1960) - Ruthless Culture
  18. The Angry Silence (1960) Movie Review from Eye for Film
  19. Militant trade unionism: lessons from the 1960s - Socialism Today
  20. [PDF] The Macroeconomic Impact of Liberal Economic Policies in the UK
  21. The Future of Strikes and Trade Unions
  22. 'The Angry Silence': The Hypocrisy of Militant Trade Unionism | The ...
  23. The Communist Party and the trade unions - History & Policy
  24. WILDCAT STRIKERS WARNED IN BRITAIN - The New York Times
  25. 5. The trade union movement: a fifth column?
  26. Militant trade unionism was a national disgrace – and this film shows ...
  27. Labour disputes; working days lost due to strike action
  28. The changing pattern of UK strikes, 1964-2014 | Emerald Insight
  29. The Angry Silence (1960) directed by Guy Green - Letterboxd
  30. Movie List - British Lion Films
  31. Paddy Whannel, Striking for Kicks, NLR I/3, May–June 1960
  32. http://www.eyeforfilm.co.uk/review/the-angry-silence-1960-film-review-by-amber-wilkinson
  33. THE ANGRY SILENCE - STARBURST Magazine
  34. The Angry Silence (1960) - Turner Classic Movies
  35. The Angry Silence Blu-ray (Vintage Classics) (United Kingdom)
  36. The Angry Silence (1960) DVD Review from Eye for Film
  37. Union membership has halved since 1980 - BBC News
  38. [PDF] The Legacy of Thatcher's Anti-Union Policies: Economic Growth vs ...
  39. The Angry Silence - Radical OD
  40. Can UK trade unions recover their post-war power?
  41. The Powerful Impact of British New Wave - Robert C Morton
  42. Angry Silence | Ruthless Culture
  43. [PDF] Social Realism: A British Art Cinema - White Rose eTheses Online
  44. [PDF] Weekly Journal of the Socialist Labour League - Vol. 4, No 143
  45. The Angry Silence, Britain 1960 | Talking Pictures - WordPress.com
  46. Striking For Kicks - ProQuest
  47. The Conservative Party and the extreme right 1945–75
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