By Dave Rolinson
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Extra info for Alan Clarke
Ultimately, John betrays this trust by stealing and selling a raffle prize. Like Trevor in Made in Britain, his story is outranked by those of the police and magistrate, and his identity is finally removed through a spell in prison. Echoing the opening sequence, a shot of him washing in prison is overlaid with the soundtrack of the Reverend Whitehead’s congregation, a goodbye handshake as the community washes its hands of him. If Henry/John/David’s identity is ‘in limbo’, this limbo is the space between the stories he and other people tell to construct that identity.
H. Allen had resisted a similar complaint against the original book (BBC WAC file T47/220/1). The play’s documentary material does not restrict its dramatic impact. It is a gripping and powerful courtroom drama, a form whose strengths and weaknesses were described by Steve Greenfield and Guy Osborn (1996: 1181): The process of ‘the trial’ has itself been seen as an arena with dramaturgical potential, and law, being predicated on a number of binary themes provides great scope for screenwriters and directors.
As John Parris, Craig’s defence counsel, told Yallop (1971: 13), ‘Bentley was a vicarious sacrifice, the innocent scapegoat released Rolinson_AC_02_Chap 1 40 17/5/05, 9:05 am The director in television’s ‘studio system’ 41 into the desert to die and thus bear away into oblivion the guilt of a whole people’.
Alan Clarke by Dave Rolinson