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Extra info for Alan Clarke
George’s Room (1967) also features a ‘man’ (John Neville) meeting a ‘woman’ (Geraldine Moffatt). She is a Northern widow looking to rent out a room; however, this is ‘not merely a room’, but has come to symbolise her inability to escape her dead husband’s stranglehold and rebuild her self-esteem. George moved into the spare room having lost interest in sex, and she grew to fear this room during her Friday visits to collect the housekeeping money: ‘I wasn’t to knock, just wait until he called. Mind, I had to behave myself when I got in.
There began a long struggle to clear his name, crucial in which was David Yallop’s book To Encourage the Others. Investigative journalist Yallop was another of Clarke’s collaborators whose work explores similar areas. Beyond Reasonable Doubt? touches upon scapegoats and individual victims of injustice; How They Stole the Game studies FIFA President Dr João Havelenge, sharing with The Firm a concern with those feeding off football; while the semi-fictional Unholy Alliance – which Clarke and Yallop discussed filming – portrays a real-life global cartel dwarfing that portrayed by Clarke in Beloved Enemy (1981).
Therefore, I will reflect upon the ‘studio system’ of the single play which I described in my Introduction by discussing one of the less representative pieces with which Clarke Rolinson_AC_02_Chap 1 28 17/5/05, 9:05 am The director in television’s ‘studio system’ 29 developed his technique as a director on 16mm film: The Hallelujah Handshake (1970). Following a superb year for Colin Welland, it is not surprising that reviewers privileged him as the author of The Hallelujah Handshake. This was one of four plays for which he won the Society of Film and Television Arts Award for best script, along with Slattery’s Mounted Feet, Say Goodnight to Your Grandma and Roll on Four O’Clock.