Roger Michell’s comedy-drama about an eccentric working-class hero with a hyperactive social conscience, is only incidentally a crime story. Nevertheless, it tells us something special about the way the public relates to art - or at least the way the British public related to it in 1961.
Almost four years later the thief would return the painting and surrender to the police. Brunton had sent five notes while he held the painting, his chief demand being that the government spend £140,000 on TV licences for old age pensioners as compensation for what he believed to be an unjust tax. In the film, Kempton is obsessed with the TV licence, even going to gaol for 13 days for refusing to pay it. .
, which provided the rocket fuel for a wildly successful career. I could name dozens of equivalent works that never achieved such dazzling publicity.
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