Andrew Moor, Powell & Pressburger: a Cinema of Magic Spaces (London: I.B Tauris, 2005), p.75
A 'Map of Lower Egypt and the Fayum' is the background to a scene from the time of Clive's 'masculine epic heroism':
‘The evasion of reality is marked by Clive's two- dimensionalisation, as his substantial form is replaced on the screen by an ephemera, a walking shadow, an apposite nod to Macbeth, perhaps, for consequent upon the loss of his love, Clive's hunting life is a sound and a fury, a rampaging safari, signifying nothing. A similar montage immediately after the death of Clive's wife Barbara reinforces the point. Its status as a denial of historical progress is made clear as this second speeded journey through the inter-war period culminates in 1938 with a map of Munich and strains of the German national anthem. Clive later hangs Barbara's portrait in the 'den' along with his other trophies, emphasising what is now clear. It replaces, rather than proves, virility, and undoes Clive's self-appointed status as masculine epic hero.’ Andrew Moor, Powell & Pressburger: a Cinema of Magic Spaces (London: I.B Tauris, 2005), p.75 A 'Map of Lower Egypt and the Fayum' is the background to a scene from the time of Clive's 'masculine epic heroism': Maps of London are in the foreground of the events that will lead to his final emasculation:
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