ABSTRACT
The introductory blurb in the Radio Times plainly stated that "after Sir Cyril Burt's death in 1971 much of his work was shown to be fraudulent." The real Burt was a wonderfully engaging person, rather than the stiff, cold and calculating prig people saw on the British Broadcasting Corporation show. The film itself, however, was even worse than the preliminary forebodings. The film was scattered with extreme and damning judgments from other authorities. Two examples will suffice—one from Professor Eysenck, one from Professor Kamin—and in both cases we will examine their testimony in more detail. Such judgments—presented as plain matters of fact, and in a slighting superior, derogatory manner—were an outrageous traducing of Burt's character and the nature and objectives of his work. Interspersed with the interview-type pronouncements were over 35 dramatized scenes all of which were such as to exemplify and buttress the charges made against Burt.
