This article explores the discursive intersections of masculinity, class and heterosexual desire in the still undervalued British police procedural film, Jigsaw. It considers the film both as an example of a new style of cinematic crime narrative and as a significant conjectural text in which ‘compulsory heterosexuality’ and marriage, especially in their post-war and mid-century forms, are re-articulated, here as compulsive heterosexuality: a masculine drive that can ultimately lead to sexual murder. The film's low-key naturalistic style owes much to the newly realist television drama of the period, while its identification of middle-class masculinity as the locus of transgression carries cultural resonances well beyond the ostensible project of the film's narrative. Released in 1962, Jigsaw was in effect squeezed between, on the one hand, the British New Wave and, on the other, the pop musicals and London-focused films that dominated cinema in the UK in the mid-1960s. However, the casting of dependable Jack Warner as the investigating detective and its Brighton setting mark it out as an important text situated on the cusp between older versions of the crime film and the new permissiveness. Jigsaw's interrogation of the problematic sexual behaviour of two ostensibly middle-class, middle-aged men is therefore particularly interesting, especially when placed within the context of the cultural anxieties about marriage, the increasingly fluid class system of the early 1960s and an emergent youth culture.
Finnish Baby Boomers and the Emergence of the Third Age