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Original poster (43 x 33 cm) printed in red with vignette of Chairman Mao to upper left. Slightly wrinkled and with traces of folding, minimal loss to left margin not affecting image or text, 6 inconspicuous pin holes, generally an excellent copy. An unusual and extremely scarce poster, we can trace no other copies. Joseph Losey, himself blacklisted by Hollywood in the 1950s for communist sympathies, here rebuked by the elusive Progressive Film Group (we can find no traces of them), for his so-called "reactionary films". Losey was born in La Crosse, Wisconsin, but grew to see himself as semi-British - by the time this poster was produced he had been living in Britain for almost two decades. "Thus of all subjects", writes film critic Nick James, "the British class system fascinated him most". This is apparent in nearly all of his films, perhaps most notably the The Servant (1963), with its sinister dissection of the English class system viewed from the interior of a posh Chelsea flat, The Accident (1967), with its depiction of the sexual power struggles between an Oxford don and his student for the attention of a young Austrian princess, and the Go-Between (1971), whose depiction of a cross-class romance in Norfolk during "the long Edwardian summer of imperial apogee" inspired countless British period costume dramas in its wake. Presumably it was his apparent fascination with the upper classes and "the sheen of decadence" that explains the suspicion with which some sections of the progressive left might have viewed Losey. Indeed, Raymond Carr, the don who was the model for Stephen in Accident, has gone on record to say of him: "I had been told that he was 'left wing' and opposed to the establishment. I came to the conclusion that he was a cinematic Proust, fascinated by the upper crust, even a snob." Nick James, "Joseph Losey & Harold Pinter: In search of poshlust times", 2012.
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