1 The novel and 1947 film versions of Brighton Rock pose an intermedial challenge to the very classical cinematic soundscapes they invoke. Produced and directed by John and Roy Boulting from Greene’s and Terence Rafferty’s script, the 1947 film adaptation of Brighton Rock draws from this rich novelistic soundscape to render the gendered positions of its central characters even more ambiguous. These voices and the technologies that disseminate them elide with the gendered tropes of classical cinema, though the sexual anxiety of Pinkie, the adolescent anti-hero at the heart of the novel, troubles familiar representations. The devastating revelation promised by this gramophone aptly ends a novel in which microphones, loudspeakers, and radios detach voices from their sources to construct a multilayered soundscape. Graham Greene’s 1938 novel Brighton Rock famously concludes before the “worst horror of all” as the teenage Rose prepares to put a gramophone needle to a vulcanite disc that contains her dead husband’s last words. × Current About Archive Submit Editorial Board Salisbury University From “The Worst Horror of All” to “I Love You”: Gender and Voice in the Cinematic Soundscapes of Brighton Rock Laurel Harris
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