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In the early 1950s, 20th Century Fox, like all the Hollywood studios, began facing massive declines in theatre attendance. The advent of television provided Americans with a cheaper and more convenient form of entertainment at home, where families could watch a wide variety of programmes at little additional cost. Desperate to lure potential moviegoers away from their television sets, studio chiefs began exploiting the two obvious advantages that film enjoyed over the new medium: the size of its images and, at a time when television broadcasting was in black-and-white, the ability to produce photographic colour. The introduction of Kodak's Eastmancolor film stock in 1950 made movie production more affordable and efficient, since it could be used with conventional cameras, unlike the previous and more cumbersome Technicolor system. Within four years, over 50 percent of all Hollywood features were being produced in colour.   LEFT: A typical 1950s American family gathered around a te...

After World War II, the world was divided into two competing ideological and military blocs: the West, led by the capitalist United States, and the East, which operated within the Soviet Union's communist sphere. Under the authoritarian rule of Mao Zedong, China initially aligned with the USSR, securing much-needed economic and industrial aid, as well as military support to counter American influence in East Asia. In the late 1950s, however, border disputes and ideological disagreements led China to break the alliance with the Eastern Bloc and become an independent power, challenging both Soviet and American policies. As a result of the Sino-Soviet split and the trade restrictions imposed by the United States after the Korean War, China experienced a significant period of economic and cultural isolation that ended only in the early 1970s. In the midst of the political tensions of the Cold War, Chinese-born Eurasian physician and author Han Suyin emerged as a key figure in bridging...

Since Halloween is a few days away, I thought it would only be appropriate if this week on «Film Friday» I brought you a horror picture. Although I'm not a fan of the genre, I loved this particular film. As the poster claims, «You'll get the shock of your life!» Directed by Jack Clayton, The Innocents (1961) begins when Miss Giddens (Deborah Kerr), a minister's daughter, is engaged by the wealthy master of Bly House (Michael Redgrave) as governess for his niece Flora (Pamela Franklin) and his nephew Miles (Martin Stephens). Upon arriving at Bly, Miss Giddens is warmly greeted by Flora and Mrs. Grose (Megs Jenkins), the housekeeper. Soon after, she receives a letter from Miles's boarding school explaining that he is being expelled for attempting to corrupt his fellow students. Mrs. Grose assures her that Miles is not a bad child, but Miss Giddens is apprehensive about meeting the boy. When Miles returns to Bly, he appears to be an angelic, well-mannered child, and Mis...

In honour of Deborah Kerr's 95th birthday, which is today, this week on «Film Friday» I bring you what is perhaps one of her best remembered pictures. This is one of my personal favourites of hers, and also the film that made me a Robert Mitchum fan.  Directed by John Huston, Heaven Knows, Mr. Allison (1957) begins when United States Marine Corporal Allison (Robert Mitchum) finds himself stranded on a deserted South Pacific island in 1944. He finds an abandoned settlement and a chapel with one occupant, Sister Angela (Deborah Kerr), an Irish Catholic novice nun who has not yet taken her final vows. She herself has only landed there a few days before with Father Philips, who has since died. Despite their extreme differences in backgrounds and outlooks, their are respectful of each other's vocation and soon form a close bond. For a while, Allison and Sister Angela have the bountiful island completely to themselves, but then a detachment of Japanese troops arrives to set up a wea...