actual family home. The houses on the east side are flat-fronted and therefore rarely shown in the film sequences. However, a house on the eastern side of the street is used in the final scene where the group leave Tony's wedding celebration and walk into the darkness. The Futurist, Lime Street, Liverpool The Futurist was the location which inspired the film's (arguably) most artistic sequence in which the two sisters, Eileen and Maisie, attend a screening of Love is a Many Splendored Thing whilst unknown to them, their brother and Maisie's husband, George, have a serious accident. The Futurist was Liverpool's first purpose-built and longest-surviving cinema, opening in 1912. It was an ornate city centre cinema with a tiled Edwardian facade and 1,029 seats in the stalls and circle auditorium - the latter richly decorated with plasterwork in the French Renaissance style. The cinema lasted nearly 70 years and closed its doors for the final time in 1982, before being demolished in 2016. Jubilee Drive, Liverpool, L7 8SL This Victorian street in the Kensington Fields area of east Liverpool was the street where Monica (Micky) lived and begged Eileen to come and visit. "So don't be a stranger – otherwise we'll not see you till next Preston Guild. We're only in Jubilee Drive." Formby Sands Monica, Jingles and Eileen pitch their tent at Formby sands – a scene which is used to remind Eileen of the free and happy life she lived before her marriage to Dave. Pwllheli Although more famous in later years for the Butlins holiday parks, in the 1940s this Welsh seaside town was an upmarket location with high-quality hotels. Teenagers from Liverpool and Manchester would work in these hotels in the summer season. In the film, Eileen, Monica and Jingles are seen working as waitresses in the breakfast hall of an (unnamed) large hotel. Autobiographical references In his British Film Institute Modern Classics book, Paul Farley describes the inspiration that Terence Davies used for the biographical backbone of the film: Davies was the youngest of ten children, the baby boomer, born into a working-class Catholic household in post-war Liverpool. His father died when he was six-and-a-half, though memories of him as a powerful, domineering, violent man are vivid and, together with the love and support of his mother, form a huge tension in Distant Voices, Still Lives Terence Davies's real-life father can be seen in a