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“... is no doubt David Hare would have deputed this to an underling.’ So I was happy to read in Gavin Lambert’s Mainly about Lindsay Anderson* that Lindsay harboured similar thoughts about such self-imposed menialities. On the eve of filming O Lucky Man Lindsay has his ailing mother to stay in his flat in Swiss Cottage. Before she arrives he cleans ...”

“... was the undertow: his resistance to authority, his sense of not belonging, his homosexuality. Gavin Lambert, a longstanding friend of Anderson’s – they were at Cheltenham together – tells the story of Anderson at his preparatory school writing on a classroom noticeboard ‘I REBEL’. Lambert quotes Helen ...”

“... 13 January. Having supper in the National Theatre restaurant are Lindsay Anderson and Gavin Lambert. ‘I suppose you like this place,’ says Lindsay. I do, actually, as the food is now very good. I say so and Lindsay, who judges all restaurants by the standard of the Cosmo in Finchley Road, smiles wearily, pleased to be reassured about one’s moral decline ...”

“... the goal with cool, ferocious ambition. A curiously unlikeable portrait emerges, almost as though Gavin Lambert, face to face with the idol, realises he has shouldered a burden he’d rather have been spared. Her courage at any rate can be admired, much as people, casting about for something agreeable to say about Thatcher, praise her determination. Both ...”

“... of the theorist André Bazin. British film studies were still in utero. Lindsay Anderson and Gavin Lambert didn’t start the student magazine Sequence till a year after Great Expectations appeared. Anderson, it goes without saying, despised David Lean. Another energetic hater, Wyndham Lewis, wrote of London in his novel Rotting Hill (1951): ‘a ...”

“... and a writer for film journals, one of which, Sequence, he co-founded with Lindsay Anderson and Gavin Lambert. Along with Anderson and Tony Richardson, Reisz aimed to bring a version of auteurism to British film, and they did as much with the documentary movement Free Cinema. In 1959, Reisz directed We Are the Lambeth Boys, and he made his first ...”

“... topographical artists appear whose work could equal that of the foreigners: notably, George Lambert, and the delightful Rococco artist who seems to be Mr Harris’s invention – and the subject of an earlier book – Thomas Robbins the Elder. By the end of the 18th century topography is firmly part of English landscape painting in the work of Richard ...”