Kitchen sink realism

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Template:Short description Template:Use dmy dates Template:Infobox Film Movement Kitchen sink realism (or kitchen sink drama) is a British cultural movement that developed in the late 1950s and early 1960s in theatre, art,<ref>Template:Cite book</ref> novels, film and television plays, whose protagonists usually could be described as "angry young men" who were disillusioned with modern society. It used a style of social realism which depicted the domestic situations of working-class Britons, living in cramped rented accommodation and spending their off-hours drinking in grimy pubs, to explore controversial social and political issues ranging from abortion to homelessness. The harsh, realistic style contrasted sharply with the escapism of the previous generation's so-called "well-made plays".

The films, plays and novels employing this style are often set in poorer industrial areas in the North of England, and use the accents and slang heard in those regions. The films It Always Rains on Sunday (1947) and The Blue Lamp (1950) are precursors of the genre, and the John Osborne play Look Back in Anger (1956) is thought of as the first of the genre. The gritty love-triangle of Look Back in Anger, for example, takes place in a cramped, one-room flat in the English Midlands. Shelagh Delaney's 1958 play A Taste of Honey (which was made into a film of the same name in 1961) is about a white teenage schoolgirl who has an affair with a black sailor, gets pregnant and then moves in with a gay male acquaintance; it raises issues such as class, ethnicity, gender and sexual orientation. The conventions of the genre have continued into the 2000s, finding expression in such television shows as Coronation Street and EastEnders.<ref name=heilpern/>

The term "Kitchen Sink School" was first used in the visual arts, where the art critic David Sylvester used it in 1954 to describe a group of painters who called themselves the Beaux Arts Quartet, and depicted social realist–type scenes of domestic life.<ref>Walker, John. (1992) "Kitchen Sink School". Glossary of Art, Architecture & Design since 1945, 3rd. ed. Retrieved 20 January 2012.</ref>

History

The cultural movement was rooted in the ideals of social realism, an artistic movement expressed in the visual and other realist arts which depicts working class activities. Many artists who subscribed to social realism were painters with socialist political views.Template:Citation needed While the movement has some commonalities with Socialist Realism, another style of realism which was the "official art" advocated by the governments of the Soviet Union and other Eastern Bloc countries, the two had several differences. While social realism is a broader type of art that realistically depicts subjects of social concern,<ref>Todd, James G. "Social Realism". Art Terms. Museum of Modern Art, 2009.</ref> Socialist realism is characterized by the glorified depiction of socialist values, such as the emancipation of the proletariat, in a realistic manner.<ref>Korin, Pavel, “Thoughts on Art”, Socialist Realism in Literature and Art. Progress Publishers, Moscow, 1971, p. 95.</ref>

Unlike Socialist realism, social realism is not an official art produced by or under the supervision of the government. The leading characters are often 'anti-heroes' rather than part of a class to be admired, as in Socialist realism.Template:Citation needed Typically, protagonists in social realism are dissatisfied with their working class lives and the world, rather than being idealised workers who are part of a Socialist utopia in the process of creation. As such, social realism allows more space for the subjectivity of the author to be displayed.

Partly, social realism developed as a reaction against RomanticismTemplate:Citation needed, which promoted lofty concepts such as the "ineffable" beauty and truth of art and music and even turned them into spiritual ideals. As such, social realism focused on the "ugly realities of contemporary life and sympathized with working-class people, particularly the poor." (The quotation is from George Shi, of the University of Fine Arts, Valencia).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Features

Kitchen sink realism involves working class settings and accents, including accents from Northern England.<ref>Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The films and plays often explore taboo subjects such as adultery, pre-marital sex, abortion, and crime.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Origins of the term

In the United Kingdom, the term "kitchen sink" derived from expressionist paintings by John Bratby that contained an image of a kitchen sink.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Bratby did various kitchen and bathroom-themed paintings, including three paintings of toilets. Bratby's paintings of people often depicted the faces of his subjects as desperate and unsightly.<ref>Ian Chilvers; John Glaves-Smith (2009). A Dictionary of Modern and Contemporary Art. Oxford University Press. p. 259. Template:ISBN</ref><ref>"John Bratby 1928–1992". Tate. Retrieved 6 January 2014.</ref> Kitchen sink realism artists painted everyday objects, such as trash cans and beer bottles. The critic David Sylvester wrote an article in 1954 about trends in recent English art, calling his article "The Kitchen Sink" in reference to Bratby's picture. Sylvester argued that there was a new interest among young painters in domestic scenes, with stress on the banality of life.<ref name=heilpern/> Other artists associated with the kitchen sink style include Derrick Greaves, Edward Middleditch and Jack Smith.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

1950s to 1960s

Before the 1950s, the United Kingdom's working class were often depicted stereotypically in Noël Coward's drawing room comedies and British films.Template:Citation needed Kitchen sink realism was seen as being in opposition to the "well-made play", the kind which theatre critic Kenneth Tynan once denounced as being set in "Loamshire", of dramatists like Terence Rattigan. "Well-made plays" were a dramatic genre from nineteenth-century theatre which found its early 20th-century codification in Britain in the form of William Archer's Play-Making: A Manual of Craftmanship (1912),<ref>Template:Cite book</ref> and in the United States with George Pierce Baker's Dramatic Technique (1919).<ref>J L Styan, Modern Drama in Theory and Practice I, quoted by Innes (2000, 7).</ref> Kitchen sink works were created with the intention of changing that. Their political views were initially labeled as radical, sometimes even anarchic.Template:Citation needed

John Osborne's play Look Back in Anger (1956) depicted young men in a way that is similar to the then-contemporary "Angry Young Men" movement of film and theatre directors. The "angry young men" were a group of mostly working and middle class British playwrights and novelists who became prominent in the 1950s. Following the success of the Osborne play, the label "angry young men" was later applied by British media to describe young writers who were characterised by a disillusionment with traditional British society. The hero of Look Back In Anger is a graduate, but he is working in a manual occupation. It dealt with social alienation, the claustrophobia and frustrations of a provincial life on low incomes.Template:Citation needed

The impact of this work inspired Arnold Wesker, Shelagh Delaney, and numerous others, to write plays of their own.Template:Citation needed The English Stage Company at the Royal Court Theatre, headed by George Devine and Theatre Workshop organised by Joan Littlewood were particularly prominent in bringing these plays to public attention. Critic John Heilpern wrote that Look Back in Anger expressed such "immensity of feeling and class hatred" that it altered the course of English theatre.<ref name=heilpern>Heilpern, John. John Osborne: The Many Lives of the Angry Young Man, New York: Knopf, 2007.</ref> The term "Angry theatre" was coined by critic John Russell Taylor.<ref>John Russell Taylor. Anger and After, 1962, London: Methuen.</ref>

This was all part of the British New Wave—a transposition of the concurrent nouvelle vague film movement in France, some of whose works, such as The 400 Blows of 1959, also emphasised the lives of the urban proletariat. British filmmakers such as Tony Richardson and Lindsay Anderson (see also Free Cinema) channelled their vitriolic anger into film making. Confrontational films such as Saturday Night and Sunday Morning (1960) and A Taste of Honey (1961) were noteworthy movies in the genre. Saturday Night and Sunday Morning is about a young machinist who spends his wages at weekends on drinking and having a good time, until his affair with a married woman leads to her getting pregnant and him being beaten by her husband's cousins to the point of hospitalisation. A Taste of Honey is about a 16-year old schoolgirl with an abusive, alcoholic mother. The schoolgirl starts a relationship with a black sailor and gets pregnant. After the sailor leaves on his ship, Jo moves in with a homosexual acquaintance who assumes the role of surrogate father. A Taste of Honey raises the issues of class, race, gender and sexual orientation.Template:Citation needed

Later, as many of these writers and directors diversified, kitchen sink realism was taken up by television directors who produced television plays. The single play was then a staple of the medium, and Armchair Theatre (1956–68), produced by the ITV contractor ABC, The Wednesday Play (1964–70) and Play for Today (1970–84), both BBC series, contained many works of this kind. Jeremy Sandford's television play Cathy Come Home (1966, directed by Ken Loach for The Wednesday Play slot) for instance, addressed the issue of homelessness.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Kitchen sink realism was used in the novels of Stan Barstow, John Braine, Alan Sillitoe and others.<ref>Template:Cite news</ref>

Since the 1960s

Internationally, the style of kitchen sink realism has been utilized in various films from different cultures. For example, in the United States, such films as Nothing but a Man (1964, directed by Michael Roemer);<ref name="nothingbutaman1">Template:Cite magazine</ref><ref name="nothingbutaman2">Template:Cite news</ref> One Potato, Two Potato (1964, directed by Larry Peerce);<ref name="1potato2potato">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A Patch of Blue (1965, directed by Guy Green);<ref name="apatchofblue">Template:Cite magazine</ref> and The Subject Was Roses (1968, directed by Ulu Grosbard),<ref name="subjectroses">Template:Cite magazine</ref> among others, have been specifically identified with the terminology.

The influence of kitchen sink realism has continued in the work of other more recent British directors such as Ken Loach (whose first directorial roles were in late 1960s kitchen sink dramas) and Mike Leigh. Subsequent re-emergence in the 1980s produced such female-centric contemporary kitchen sink-influenced films as Wish You Were Here (1987); Educating Rita (1983) and Shirley Valentine (1989)—both directed by AlfieTemplate:'s Lewis Gilbert; the titular twins' biopic, The Krays (1990); Rita, Sue and Bob Too (1987); and others.<ref name="80skitchensink">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Other present-day directors who have continued working within the spirit of kitchen sink realism include Andrea Arnold, Shane Meadows, Lynne Ramsay, Clio Barnard, and Andrew Haigh.<ref name="kitchensinkrevolution">Template:Cite news</ref> The term "neo kitchen sink" has been used for films such as Leigh's Vera Drake (2004), Loach's I, Daniel Blake (2016), Arnold's Fish Tank (2009), Ramsay's Ratcatcher (1999), Meadows's This Is England (2006), Haigh's Weekend (2011), and Barnard's The Selfish Giant (2013). This also includes directorial debuts from actors Gary Oldman, Nil by Mouth (1997);<ref name="nilbymouth">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Tim Roth, The War Zone (1999);<ref name="thewarzone">Template:Cite magazine</ref> Peter Mullan, My Name Is Joe (1998); Richard Ayoade, Submarine (2010); and Paddy Considine, Tyrannosaur (2011); among others.<ref>Template:Cite journal</ref>

Notable figures of the movement

Actors

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List of films

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1947–1958

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  • Pool of London (1951)<ref name="pooloflondon">{{#invoke:citation/CS1|citation

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  • Hunted (1952)<ref name="strangerinbtwn">{{#invoke:citation/CS1|citation

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  • Street Corner (1953)<ref name="streetcorner">{{#invoke:citation/CS1|citation

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  • Hobson's Choice (1954)<ref name="morrissey">{{#invoke:citation/CS1|citation

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  • Together (1956)<ref name="shorttogether">{{#invoke:citation/CS1|citation

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  • Nowhere to Go (1958)<ref name="nowheretogo">{{#invoke:citation/CS1|citation

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1959–1963

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  • Blind Date (1959)<ref name="blinddate">{{#invoke:citation/CS1|citation

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  • Sapphire (1959)<ref name="blackbritish">{{#invoke:citation/CS1|citation

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  • The Entertainer (1960)<ref name="theentertainer">{{#invoke:citation/CS1|citation

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  • Hell Is a City (1960)<ref name="hellisacity">{{#invoke:citation/CS1|citation

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  • Peeping Tom (1960)<ref name="peepingtom">{{#invoke:citation/CS1|citation

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  • The Innocents (1961)<ref name="theinnocents">{{#invoke:citation/CS1|citation

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  • The Kitchen (1961)<ref name="chrishawtree">{{#invoke:citation/CS1|citation

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  • The Mark (1961)<ref name="themark">{{#invoke:citation/CS1|citation

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  • Rag Doll (1961)<ref name="ragdoll">{{#invoke:citation/CS1|citation

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  • Victim (1961)<ref name="blackmailer">{{#invoke:citation/CS1|citation

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  • All Night Long (1962)<ref name="basilunderground">{{#invoke:citation/CS1|citation

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  • The Boys (1962)<ref name="theboysmovie">{{#invoke:citation/CS1|citation

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  • A Kind of Loving (1962)<ref name="akindofloving">{{#invoke:citation/CS1|citation

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  • Life for Ruth (1962)<ref name="lifeforruth">{{#invoke:citation/CS1|citation

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  • Lunch Hour (1962)<ref name="lunchhour">{{#invoke:citation/CS1|citation

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  • Term of Trial (1962)<ref name="magnificent60s">{{#invoke:citation/CS1|citation

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  • Billy Liar (1963)<ref name="billyliar">{{#invoke:citation/CS1|citation

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  • Bitter Harvest (1963)<ref name="bitterharvest">{{#invoke:citation/CS1|citation

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  • The Caretaker (1963)<ref name="thecaretaker">{{#invoke:citation/CS1|citation

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  • The Mind Benders (1963)<ref name="themindbenders">{{#invoke:citation/CS1|citation

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  • A Place to Go (1963)<ref name="aplacetogo">{{#invoke:citation/CS1|citation

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  • The Servant (1963)<ref name="theservant">{{#invoke:citation/CS1|citation

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  • Two Left Feet (1963)<ref name="twoleftfeet">{{#invoke:citation/CS1|citation

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  • West 11 (1963)<ref name="west11">{{#invoke:citation/CS1|citation

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1964–1969

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  • The Comedy Man (1964)<ref name="thecomedyman">{{#invoke:citation/CS1|citation

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  • It Happened Here (1964)<ref name="ithappenedhere">{{#invoke:citation/CS1|citation

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  • King & Country (1964)<ref name="kingandcountry">{{#invoke:citation/CS1|citation

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  • The Leather Boys (1964)<ref name="theleatherboys">{{#invoke:citation/CS1|citation

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  • Night Must Fall (1964)<ref name="nightmustfall">{{#invoke:citation/CS1|citation

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  • The System (1964)<ref name="girlgetters">{{#invoke:citation/CS1|citation

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  • Darling (1965)<ref name="freedonia">{{#invoke:citation/CS1|citation

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  • Life at the Top (1965)<ref name="lifeatthetop">{{#invoke:citation/CS1|citation

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  • Alfie (1966)<ref name="alfiefilm">{{#invoke:citation/CS1|citation

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  • Blowup (1966)<ref name="10classics" />
  • Cathy Come Home (1966)<ref name="cathycomehome">{{#invoke:citation/CS1|citation

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  • The Penthouse (1967)<ref name="thepenthouse">{{#invoke:citation/CS1|citation

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  • Poor Cow (1967)<ref name="poorcow">{{#invoke:citation/CS1|citation

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  • Robbery (1967)<ref name="robberymovie">{{#invoke:citation/CS1|citation

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  • Charlie Bubbles (1968)<ref name="charliebubbles">{{#invoke:citation/CS1|citation

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  • Deadfall (1968)<ref name="deadfall">{{#invoke:citation/CS1|citation

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  • If.... (1968)<ref name="ifcinemawaves">{{#invoke:citation/CS1|citation

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  • Secret Ceremony (1968)<ref name="unkindcuts">{{#invoke:citation/CS1|citation

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  • Kes (1969)<ref name="kesref">{{#invoke:citation/CS1|citation

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  • Where's Jack? (1969)<ref name="wheresjack">{{#invoke:citation/CS1|citation

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1970–1980

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  • Bronco Bullfrog (1970)<ref name="broncobullfrog">{{#invoke:citation/CS1|citation

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  • Bleak Moments (1971)<ref name="bleakmoments">{{#invoke:citation/CS1|citation

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  • Family Life (1971)<ref name="familylife">{{#invoke:citation/CS1|citation

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  • The Go-Between (1971)<ref name="josephloseyfilms">{{#invoke:citation/CS1|citation

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  • Straw Dogs (1971)<ref name="strawdogs">{{#invoke:citation/CS1|citation

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  • The 14 (1973)<ref name="wildlittlebunch">{{#invoke:citation/CS1|citation

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  • The Hireling (1973)<ref name="2weeks">{{#invoke:citation/CS1|citation

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  • The Homecoming (1973)<ref name="thehomecoming">{{#invoke:citation/CS1|citation

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  • Butley (1974)<ref name="butley">{{#invoke:citation/CS1|citation

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  • Stardust (1974)<ref name="stardustfilm">{{#invoke:citation/CS1|citation

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  • Quadrophenia (1979)<ref name="quadrophenia">{{#invoke:citation/CS1|citation

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  • Scum (1979)<ref name="mostdisturbing">{{#invoke:citation/CS1|citation

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  • Gregory's Girl (1981)<ref name="gregorysgirl">{{#invoke:citation/CS1|citation

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1981–1991

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  • Educating Rita (1983)<ref name="80skitchensink" />
  • Local Hero (1983)<ref name="localhero">{{#invoke:citation/CS1|citation

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  • Made in Britain (1983)<ref name="madeinbritain">{{#invoke:citation/CS1|citation

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  • Meantime (1983)<ref name="meantimemovie">{{#invoke:citation/CS1|citation

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  • Sid & Nancy (1986)<ref name="sidandnancy">{{#invoke:citation/CS1|citation

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  • Withnail and I (1987)<ref name="withnail">{{#invoke:citation/CS1|citation

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  • The Krays (1990)<ref name="thekraysfilm">{{#invoke:citation/CS1|citation

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  • Let Him Have It (1991)<ref name="lethimhaveit">{{#invoke:citation/CS1|citation

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List of plays

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See also

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References

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