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British films in the 1950s and 60 to the forefront in suggesting that the boys in blue are less trustworthy
In these difficult times, when phone-hacking scandal broke in disgrace to the police, it is interesting to note that British cinema has led the way in which he suggests that boys in blue are less trustworthy. Indeed, so complete was the turnaround in the two decades between the blue light in 1950, and the crime of 1972, which is almost a social history of its own.
made in part to appease a recruitment crisis, and secondly to recognize a juvenile crime wave, just after the war, the blue light is the first British film made with the full cooperation of Metropolitan Police. The Met paid those who are responsible for their stations, patrols, and even its own officials to play small roles. The plot - a neurotic young spiv, played by Dirk Bogarde, draws a veteran PC and save it to the local community, police and the underworld meet to catch it - would be an example of the heroic nature in silence fate of the police
In mid 1960, the authority figure disappeared from the benign British film, along with the drama of crime B-movie, the last starring role was in 1962 in Warner Jigsaw, as a Detective elderly openly dismayed by the permissive society emerging. If Challenor 1964, in which a detective sergeant Met was on trial for perverting the course of justice, further eroded once-automatic respect for the police. In 1968, The strange case was fresh-faced Michael York, the rookie who comes under the influence of DS Kemp Jeremy Pierce, a figure inspired by Challenor teetering on the brink of total collapse. Here, the image of the back and short sides Wolseleys policemen in their black, the visual embodiment of the benevolent authority of the tragedies of war, a number of offenses, masks a disturbing world corrupt and amoral.
When Get Carter in 1971, police have virtually disappeared as agents of moral retribution, but in 1972 the masterpiece by Sidney Lumet crime that really stuck in the myth of the blue light. As with the previous film, centers on a cop veteran offenses, but in this case, Detective Sergeant Sean Connery is visibly crumbling under the weight of Johnson maintained his stoic mask. The original poster said: "After 20 years, Sergeant Johnson has seen and done destroyed" - and when suspected pederast Ian Bannen encourages the police, the criminal response to Johnson broke a taboo of British film. Blue light said that the police were at the same time and above the community. Crime emphasized that human beings - with all the weaknesses that this implies
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