SUMARIO. 1 Differences between British and American films: a historical perspective / 2 Formulae in the classical Hollywood score / 3 A comparison between British and American composers in their approach to film scoring / 4 British composers’ use of themes for narrative development / 5 Arnold Bax’s musico-dramatic treatment of Oliver Twist / 6 Three other first attempts at feature film scoring: The 49th Parallel, The Halfway House and Blue Scar / 7 Dialogue scoring in British films of the 1930s / 8 The impact of the Second World War on British films, and developments in dialogue scoring in the 1940s / 9 A look at some British films scored by foreign composers / 10 The decline of British cinema in the 1950s, and the consequences for British film scores // 11 Appendix A: The author in conversation with Roy Douglas, 4.8.1993 // 12 Appendix B: ‘The True Story of The Warsaw Concerto’, by Roy Douglas // 13 Appendix C: Interview with Doreen Carwithen, 2.7.1997