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Title Director Cast Genre Notes 1961: Bomb in the High Street: Peter Bezencenet, Terry Bishop: Ronald Howard, Terry Palmer, Suzanna Leigh, Jack Allen: Drama: The Breaking Point: Lance Comfort
Until 1916 drug use was hardly controlled, and widely available opium and coca preparations commonplace. [1]: 13–14 Between 1916 and 1928 concerns about the use of these drugs by troops on leave from the First World War and then by people associated with the London criminal society gave rise to some controls being implemented. [1]
The Monthly Film Bulletin said "Unexceptional crime-and-vengeance thriller, lumbered with unnecessary plot ramifications and pretensions toward deeper motivation that neither script nor cast are equipped to handle properly. The direction is rough-and-ready, but keeps the action ticking over steadily."
The Big Show (1961 film) The Big Wave (film) Bitter End of a Sweet Night; Black City (film) Black Gravel; The Black Monocle; Black Silk; Black Tights; Blast of Silence; Blind Justice (1961 film) Blood Feud (1961 film) Bloodlust! Blue Hawaii; Blueprint for Robbery; Bomb in the High Street; A Bomb Was Stolen; Bootleggers (1961 film) The Boy and ...
The Lancashire-set film Whistle Down the Wind, starring Hayley Mills and Alan Bates, opens. 3 August – Suicide Act 1961 decriminalises acts of, or attempts at suicide in England and Wales. 10 August – The UK applies for membership of the EEC.
The last image we have of Patrick Cagey is of his first moments as a free man. He has just walked out of a 30-day drug treatment center in Georgetown, Kentucky, dressed in gym clothes and carrying a Nike duffel bag. The moment reminds his father of Patrick’s graduation from college, and he takes a picture of his son with his cell phone.
Drug films are films that depict either illicit drug distribution or drug use, whether as a major theme, such as by centering the film around drug subculture or by depicting it in a few memorable scenes. Drug cinema ranges from gritty social realism depictions to the utterly surreal depictions in art film and experimental film.
The script was reworked by Terry Nation. It was the first full film screenplay by Nation, who had started out writing for Spike Milligan, who has a cameo. According to write Alwyn W. Turner What a Whopper displayed some of the strengths and flaws that would feature in Nation's subsequent television serials.