Introduction
Senior leads: meet the chaps
Jack Hawkins: ‘stand by, number one’
John Mills: ‘do push off, there’s a good chap’
Kenneth More: hawling like a brooligan
Younger leading men
Stanley Baker: the British Brando?
Laurence Harvey: the talented Mr. Skikne
Leading ladies
Sylvia Syms: never your typical ‘nice blonde’
Britain’s bad blonde: the one and only Diana Dors
The comics
Norman Wisdom: ‘Mr. Grimsdale!’
Terry-Thomas and Leslie Phillips: a tale of two cads
Ladies and gentlemen of character
Sidney James: Jo’burg’s favourite cockney
James Robertson Justice: ‘what’s the bleeding time?’
Not to be crossed: Margaret Rutherford
Hattie Jacques: matron and mistress of misrule
The art of screen acting
Peter Finch: the ‘actor’s actor?’
Peter Sellers: ‘there used to be a me but I had him surgically removed’
Conclusion
Index

Idols of the Odeons examines British film stardom in the post-war era, a time when Hollywood-backed movies were increasingly supplanting the productions of the Pinewood/Elstree studio system. Through studies of the careers of sixteen actors, it addresses the straitjacket of typecasting, the gender politics of the post-war British film industry and the changing nature of film criticism, all while providing fresh perspectives on a number of familiar faces.

The book is divided into six sections, each of which covers a particular category of actor. ‘Senior leads’ looks at Jack Hawkins, John Mills and Kenneth More, while ‘Younger leading men’ takes on Laurence Harvey and Stanley Baker and ‘Leading ladies’ Sylvia Syms and Diana Dors. ‘The comics’ features Norman Wisdom, Terry-Thomas and Leslie Phillips. ‘Ladies and gentlemen of character’ explores Sidney James, James Robertson Justice, Margaret Rutherford and Hattie Jacques. The final section, ‘The art of screen acting’ provides an analysis of and tribute to the work of Peter Finch and Peter Sellers.

The extremely diverse group of actors assembled here calls into question the meaning of the term ‘star’, which could apply to stalwart leading men, variety comics, self-created ‘vamps’ and character actors. It also provides an opportunity to revisit a number of overlooked films. But above all, the book celebrates, with idiosyncratic humour and warmth, how these actors accomplished much of their best work during the transitional period between the Rank/ABPC roster of stars and the US domination of the British film industry.