by Rachel Cooke
The introduction, meanwhile, would not have been possible without the help of the remarkable and inspiring women who talked to me with some honesty about their lives in the Fifties: Wendy Bray, the textile designer; Grace Robertson, the photographer; and Sylvia Syms, the actor. Thank you to them. As I write, all three are still doing the work they love.
Thank you to Gail and Mike Werkmeister for inviting me to East Lambrook Manor, and to Derek Sugden for giving me lunch and letting me snoop around his enviable home.
I am grateful to Gavin Green for explaining to me the ins and outs of rally-car driving, and to Giles Smith for putting me in touch with him.
Thank you also to the estimable Brenda Hale, the new deputy president of the supreme court, for legal advice – and to Nicola Lacey for putting in a good word for me with her.
Ben Dossett kindly provided me with many excellent photographs of Muriel Box.
Thank you to Jonny Davis at the BFI Special Collections for helping me during the long days and weeks that I spent reading Muriel Box’s vast diaries; to Lucy Waitt at the RHS Lindley Library; to the staff of the Fashion Museum, Bath, for enabling me to examine close up Alison Smithson’s fabulous clothes; to (the marvellously enthusiastic) Alison Cullingford and John Brooker at the J. B. Priestley Library, University of Bradford; to all at the library at RIBA; to the staff of the sound collections at the British Library where I listened, rapt, to the voices of, among many others, Jacquetta Hawkes and Peter Smithson; and to the Women’s Library, home of the papers of Helena Normanton, QC. I would also like to acknowledge the important work of the Twentieth Century Society, of which I am an enthusiastic member.
It was David Kynaston’s marvellous Austerity Britain which first put me on the trail of some of the women in this book, a debt I am pleased to acknowledge. I was inspired in terms of my approach, if not my subject matter, by Phyllis Rose’s peerlessly good Parallel Lives, Katie Roiphe’s superb Uncommon Arrangements and Alexandra Harris’s thoughtful Romantic Moderns. From them, I learned the value of the group, and was happily released from beginning at the beginning and ending at the end. During the writing of Her Brilliant Career I read several new books about certain aspects of the post-war years, and while I might not have made mention of them in my final text, they certainly influenced my thinking. In particular, I admired Handsome Brute, Sean O’Connor’s powerful and sensitive account of the horrifying career of Neville Heath, and A Fine Day for a Hanging by Carol Ann Lee, a fine book about the life and sad death of Ruth Ellis. Discovering Rona Jaffe’s 1958 novel The Best of Everything – a tale of young women looking for love and rewarding work in New York – convinced me that my search for her characters’ real-life British equivalents would not be in vain. Like many readers, I am indebted to Nicola Beauman, the founder of Persephone Books, for bringing so many fine novels to my attention.
For keeping me in work and editing me brilliantly down the years, I would like to thank my dear friends Jeremy Langmead, Nicola Jeal and Harriet Green. It goes without saying that I am greatly in the debt of John Mulholland and many other colleagues at the Observer, but without Jane Ferguson, patient and loyal to a fault, this book simply could not have been written. Thank you to Jason Cowley and all at the New Statesman. For conversations down the years about work and life, and for encouragement all round, I would like to thank Carmen Callil, Rachel Kitt, Claerwen James, Anna Murphy, Juliet Soskice and, especially, my agent Peter Straus. India Knight read an early chapter, and her enthusiasm for it kept me going through some gloomy moments. I am, of course, hugely grateful to Lennie Goodings and to everyone at Virago for believing in this book right from the off. The indefatigable, beady-eyed and endlessly patient Zoe Gullen deserves particular thanks for going way beyond the course of duty in helping me with the editing of this book. Zoe Hood is more pal than publicist, and I have loved working with her. Thank you to my extraordinary family, and sorry to you all for having been so absent. The biggest debt of all, however, is owed to Anthony Quinn, who fired the starting gun on this book and on the best years of my life; thank you to him, from the bottom of my heart, for everything.
Index
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Aalto, Alvar, 96
Aberconway, Lord, 156*
abortion, xiv, xxvii, xxvii†, xxviii, xxviii*, 56*, 64*, 297
Abortion Act, 294‡
Abortion Law Reform Association, xxvii†
Acrylic, 303
adoption, 19
Air Transport Auxiliary (ATA), 75*, 76
Albany Trust, 252
Alfie (Lewis Gilbert film), 174†
Allen, Marjory, 157*
Allen, Ray, 81
Allingham, Margery, 56, 88–9
Alpine Rally, 78, 79
Amateur Gardening, 155
Amies, Hardy, 302
ammonites, 222
amphetamines, 77
Andrews, Reverend Basil, 288–9, 289*
Angus, Peggy, 35–6, 37
Antiquity (journal), 230*
Apulia, 39–44
archaeology, New Nature Writing, 256; Origins of the People at Festival of Britain, 243*; post-war popularity of, 219–23; scientism in Sixties and Seventies, 256; sites revealed by Blitz, 219–20, 220; see also Hawkes, Jacquetta
Architects’ Department, London County Council, 100
Architects’ Journal, 105*
Architectural Design, 97, 100*, 107
Architectural Review, 105*, 106, 107
architecture, xxxiv–xxxv, 100*; baroque, 16; Bauhaus, 96*; Congrès International d’Architecture Moderne (CIAM), 106, 108; Festival of Britain and, 106, 106*, 109*; high-rise housing blocks, 112–13, 126–8, 128*; landscape, 156–62; Le Corbusier, 96‡, 99, 106, 107, 108*, 126, 127*, 158; listed buildings designed by women, 93*; Mies van der Rohe, 95–6, 96*, 105–6, 105*, 148; modernist, 32, 96, 99, 99*, 102–8, 112–21, 113*, 123–8, 158–9; New Brutalism, 106–8, 128; Parallel of Life and Art (ICA exhibition, 1953), 108; the Smithsons’ House of the Future, 113–16, 114, 301; Twentieth Century Society, 102*; see also Smithson, Alison; Smithson, Peter
Armstrong, Louis, 69
Arnold Arboretum, Harvard, 150†
Artemisia absinthium ‘Lambrook Silver’, 165
artists, xxxv, xxxvi, 32, 36, 37; ‘Kitchen Sink School’, 32*; This Is Tomorrow exhibition, 116–18, 117
Ashcroft, Peggy, 252
Asquith, Anthony ‘Puffin’, 183, 183*
Asquith, Margot, 268*
Astor, David, 29, 31, 35, 161
Attenborough, Richard, 197
Austerity Britain, xv, xviii, 27, 154
Australia, 208, 215, 264, 265, 298
Auxiliary Territorial Service (ATS), 54, 157
Aycliff, H.K., 229
Bacall, Lauren, 302
Bacon, Francis, xxxvi†
Bad Karlshafen, Germany, 127
Bagnold, Enid, 156*
Bailey, Paul, Three Queer Lives, 52*
Baines, Margery, xxi
Baker, Caroline, 176–7, 179, 181
Baker, Vera, 177
Baker, Vivian, 177
Balcon, Michael, xxii, xxii †, 175, 197
Balenciaga, Cristóbal, 302
Ballard, J.G., 117
Balmain (fashion house), 60*, 67, 68–9
Banham, Reyner, 107, 107*
Banks, Lynne Reid, The L-Shaped Room, 311
Bardot, Brigitte, 304–5
baroque architecture, 16
Barrault, Jean-Louis, 31
Barrington Court, Somerset, 148
barristers and judges, female, 268, 269, 271–2, 275, 276, 279–80, 291, 291–2, 294–5, 294†, 297–8; see also Heilbron, Rose
Barthes, Roland, Mythologies, 111*
Bath University, 127
Bauhaus, 96*
Bawden, Edward, 36
Baxter, Beverley, 237*
&
nbsp; The Beachcomber (Muriel Box film), 174, 200
Beaton, Cecil, 202, 303
Beaverbrook, Lord, 47, 48*, 62, 68, 84†
Beckett, Samuel, Waiting for Godot, 112
Beeton, Isabella, 50, 56
Behan, Brendan, 113*
The Belles of St Trinian’s (Frank Launder film), 174
Benn, Tony, 20
Bentley, Derek, 284*
Bernstein, Sidney, 72
Betjeman, John, 113*
Bevan, Nye, xiii
Beyfus, Drusilla, 286*
the bikini, 304–5
Black, Misha, 24*
Blagdon Estate, Cramlington, 257
Bloomberg HQ, London, 219*
Blow-Up (Michelangelo Antonioni film), xxii*
The Blue Lamp (Basil Dearden film), 199
Bluebell, Moisha, 289, 289*
Bogarde, Dirk, 174–5, 207, 208, 209*, 210, 211, 212
Bonn, Germany, 15–16, 16
Books of Today (magazine), 57–8, 60*
Bootle Bath Murder case, 282
Bowen, Elizabeth, 18, 56, 56†; The Hotel, xvi; A World of Love, 310
Bowling, Winifred, 265
Bown, Jane, 30
Box, Betty, 169, 205, 211; awarded OBE, 211; character of, 175, 210–12; death of (1999), 215; equal pay issues and, 212; evacuated to Dumfries, 189; at Gainsborough Studios, 193–5, 195, 210; James Bond films and, 209–10; lifestyle of, 210–12; marriage to Peter Rogers, 196, 205–6, 212; offers from American studios, 210, 210†; at Pinewood Studios, 197, 204, 210; relationship with Ralph Thomas, 204–6; retirement, 213; use of maiden name, 196†; works at Verity Films, 189, 190, 193–4; Lifting the Lid (memoir), 194, 206–7; Campbell’s Kingdom, 210; The Clouded Yellow , 204; Conspiracy of Hearts, 208; Doctor at Sea, 208; Doctor in the House, 174–5, 206–8; Don’t Ever Leave Me, 210; How to Use Dried Egg Powder for a Tasty Meal, 194; The Iron Petticoat, 209, 209–10; Miranda, 195, 204; No Love for Johnnie, 208; Percy’s Progress, 213; A Tale of Two Cities, 208–9, 209, 209*; Venetian Bird, 206; The Wind Cannot Read, 210–11
Box, Leonora, 187, 188, 189
Box, Muriel, 169; background of, 176–9; Betty’s career and, 195–6, 204; character and temperament of, 175, 177, 184–5, 186, 203–4, 213–15; death of (1991), 215; divorce, 215; on doodlebugs, 191; early experience of cinema, 178–80; evacuated to Dumfries, 188–9; founds Femina, 215; at Gainsborough Studios, 196; as hard worker, 203, 203*; joins Michael Powell’s company, 184; leaves home for good, 181–2; marries Gerald Gardiner, 215; marries Sydney, 187; Oscar for screenplay of The Seventh Veil, 176, 193; at Pinewood Studios, 197–8; RADA audition, 184–5; relationship with Sydney, 185–7; Sydney’s infidelity and, 213–15; typing job at corset factory, 176; wealth of, 196–7; works at British Instructional Pictures, 176, 182–3; works at British International Pictures, 183–4; works at Gaumont-British, 185; works at Verity Films, 189–90; writes plays with Sydney, 187; Better Halves (play), 185; The Big Switch (novel), 212; Ladies Only (play written with Sydney), 187; Not This Man (play written with Sydney), 187; Odd Woman Out (autobiography), 176, 177, 193; Petticoat Plays (play written with Sydney), 187; The Trial of Marie Stopes (book, editor), 215; The Beachcomber (film), 174, 200; The English Inn (film), 189–90; Eyewitness (film), 200; The Happy Family (film), 198–9, 199; The Lost People (film), 176, 197–8; The Passionate Stranger (film), 200; The Piper’s Tune (film), 212; A Prince for Cynthia (film), 200; Rattle of a Simple Man (film), 212–13; The Seventh Veil (film), 176, 191–3, 192, 192*, 193*; Simon and Laura (film), 174, 175–6, 200, 201, 202; The Soldier’s Food (film), 189; Street Corner (film), 199–201; Subway in the Sky (film), 200; This Other Eden (film), 200; To Dorothy a Son (film), 171–4, 173, 175, 176, 200, 215; Too Young to Love (film), 203; The Truth about Women (film), 200, 201–3; 29 Acacia Avenue (film), 190, 191; The Years Between (film), 192
Box, Sydney, 174, 176, 197; background of, 185, 185*; belief in Muriel, 190, 196, 198, 200; death of (1983), 215; establishes London Independent Producers, 198; establishes Verity Films, 188; at Gainsborough Studios, 193, 196; gives Muriel first directing job, 189–90; as hard worker, 186, 196, 203†; ill health of, 212, 214; infidelity of, 213–15; marries Muriel, 187; mother of, 189; at Pinewood Studios, 197; plays written with Muriel, 187; as producer at Varity Films, 189–90; relationship with Muriel, 185–7; wealth of, 196–7; writes plays with Muriel, 187; The Black-Out Book (book), 188; Cockpit (film), 197; The Seventh Veil (film), 176, 191–3, 192, 192*, 193*; The Soldier’s Food (film), 189; 29 Acacia Avenue (film), 190, 191; The Years Between (film), 192
Boyd, Primrose, 21–2, 24–5, 27
Boyd-Carpenter, Henry, 166
Braddock, Bessie, xix†
Bradford University, 239, 245
Brando, Marlon, 303
Brasilia, 126
Bratby, John, 32
Brausen, Erica, xxxvi
Bray, Wendy, xix–xx, xxiv, xxvii, xxxvii
Bremner, Vivyen, 59–60
Brinkley, John, 24
Britain Can Make It exhibition (1946), 18*
British Broadcasting Corporation (BBC), xxxv, 47, 53*, 60*, 62, 64, 65, 66, 70, 220–1, 237*
British Council, 190
British Film Institute, 171, 175, 243
British Instructional Pictures, 176, 182–3
British International Pictures, 183–4
British Lion films, 202–3, 212
British Museum, 231, 233, 234
Brittany, 23, 293
Britten, Benjamin, xiii
Broadmoor Hospital, 284
Brome, Vincent, 238
Brooke Hill, Isle of Wight, 249–50, 252
Brooklyn Botanical Garden, New York, 150†
Browne, Gwen, 157
The Browning Version (Anthony Asquith film), 183*
Brympton d’Evercy estate, 148
Buchra houseboat fire, 261, 263, 265
Burnley, 271, 291–2
Burslem School of Art, xxxiv
Burstein, Nathaniel (Nat), 277–8, 293, 293, 297
Buruchhäuser, Axel, 127
Buttfield, Bruce, 148
Buttfield, Florence, 136–7, 137
Buttfield, Marsom, 152
Cadbury-Brown, H.T., 159
Cadec’s emporium, Greek Street, 25–6
Caerleon, Wales, 221*
Café de Paris, Piccadilly, 66–7
Caine, Michael, 174†
Callas, Maria, 31
Cambridge, 224–6, 235
Cambridge Museum of Archaeology and Anthropology, 226
Cambridge University, 221, 226–7, 227*, 228*, 229*, 232
Cameo Murders case, 280–2
Campaign for Nuclear Disarmement (CND), Women Ask Why (pamphlet), 251, 251–2
Campbell’s Kingdom (Betty Box/Ralph Thomas film), 210
Campbell-Walter, Fiona, 303
Camulodunum (Colchester), 227
Canvey Island, Essex, 261–4, 298
Carden & Godfrey, xxiv
Cardew, Michael, 37†
Carmichael, Ian, 201
Carry On films, 171, 205, 206
Carter, Angela, 42
Carter, Howard, 220
Carter, Pip Youngman, 88
Casson, Ann, 183
Cato Lodge, Kensington, 95
Catterall, John, 280
Caxton Hall, Westminster, 248, 248*
celebrity memoirs, 47
Chamberlain, Neville, 53–4
Chanel, Coco, 302
Chapple, Iris, 74*
Charles, Prince, 148
Chelsea Flower Show, 156, 156*
Chelsea School of Art, 37
childcare, xvi, xxiii, 84*, 290; Patience Gray and, 34–5; Alison Smithson and, 94, 95, 109; Nancy Spain and, 66; Sheila van Damm and, 84*
Children’s Film Foundation, 212
Chisholm, Anne, 48*
Christian Herald, 185
Christie, Julie, 201
Churchill, Winston, 219*, 237, 237*
Churchill College, Cambridge, 123
Cilento, Diane, 202
cinema, xiv, xxii, xxvii, xxix–xxx, xxxi–xxxii, xxxiii, xxxvii, 71–2; audiences during war, 190–1; fashion and, 213, 303; Ministry of Information films, 190; move to talkies, 182–3; Muriel Box’s early experience of, 178–80; New Wave, xxviii, 213; ‘quota quickies’, 184, 184*; during Second World War, 188–92; women directors, 171–4, 175–6 see also Box, Muriel; women film critics, 65, 175; women producers, 174–5 see also Box, Betty
Cinematograph Film Act (1927), 184*
Citroën DS, 110–11, 111*
Clapham, south London, 84–5
Clark, Colin and Reggie, death of, 261–8, 290, 291
Clark, Petula, 210
Clark, Violet ‘Vicky’, 261–8, 290, 291, 298
Clark’s college, Chancery Lane, 137
Clean Air Act, 112
Clements, Julia, 154
Clive, Violet, 148–9
The Clouded Yellow (Betty Box/Ralph Thomas film), 204
Coates, Alice, Flowers and Their Histories, 155–6
Cocker, Mark, 256
Colbert, Claudette, 69
Colchester (Camulodunum), 227
Cole, George, 198
Colette, 60*
Collins, Diana, 233, 253
Collis, Rose, 51, 60*, 84
Colvin, Brenda, 156, 156†, 157–8, 159, 160; at Drakelow C Power Station, 161*; work at Sutton Courtenay, 160–2
Comer, Jack (Jack Spot), 287–90, 289
Compton, Fay, 183
Comyns, Barbara, The Vet’s Daughter, 311
Connaught Rangers, 142
Connell, Thelma, 174, 174†, 175
Connolly, Charles, 280, 281, 281*
Connolly, Cyril, 223
Conspiracy of Hearts (Betty Box/Ralph Thomas film), 208
contraception, xiv
Cook, Norman, 279
Cooke, Jean, 32*
cookery books, 5–6, 7–8, 22, 83*; austerity, 3–4, 27; Patience Gray writes Honey from a Weed, 40–2; Patience Gray writes Plats du Jour, 24–7; wartime mock foods, 3–4; see also Gray, Patience
cooking: Irving Davis and, 32–4; as fashionable, 6, 27; foraging and, 22–3, 23, 40–2; Patience Gray at Spigolizzi, 40–2; Patience Gray at the Logs, 23–7; ingredients, 3–5, 6, 25–6, 27–9, 42, 111; Ministry of Food wartime posters, 3; recipes, 4, 7, 23*, 24, 27, 41; television cooks, 34*; wartime mock foods, 3–4; see also Gray, Patience