Some context: Cronin was born in Cardross, Dunbartonshire, Scotland, the only child of a Protestant mother, Jessie Cronin (nee Montgomerie), and a Catholic father, Patrick Cronin. Cronin often wrote of young men from similarly mixed backgrounds. His paternal grandparents had emigrated from County Armagh, Ireland, and become glass and china merchants in Alexandria. Owen Cronin, his grandfather, had had his surname changed from Cronague in 1870.
The Citadel (1937), a tale of a mining company doctor's struggle to balance scientific integrity with social obligations, helped to incite the establishment of the National Health Service (NHS) in the United Kingdom by exposing the inequity and incompetence of medical practice at the time. In the novel Cronin advocated a free public health service in order to defeat the wiles of those doctors who "raised guinea-snatching and the bamboozling of patients to an art form." Dr Cronin and Aneurin Bevan had both worked at the Tredegar Cottage Hospital in Wales, which served as one of the bases for the NHS. The author quickly made enemies in the medical profession, and there was a concerted effort by one group of specialists to get The Citadel banned. Cronin's novel, which was the highest-selling book ever published by Victor Gollancz, informed the public about corruption within the medical system, planting a seed that eventually led to reform. Not only were the author's pioneering ideas instrumental in the creation of the NHS, but the historian Raphael Samuel asserted in 1995 that the popularity of Cronin's novels played a substantial role in the Labour Party's landslide victory in 1945.  By contrast, according to one of Cronin's biographers, Alan Davies, the book's reception was mixed. A few of the more vociferous medical practitioners of the day took exception to one of its many messages: that a few well-heeled doctors in fashionable practices were ripping off their equally well-off patients. Some pointed to the lack of balance between criticism and praise for hard-working doctors. The majority accepted it for what it was, a topical novel. The press attempted to incite passions within the profession in an attempt to sell copy, while Victor Gollancz followed suit in an attempt to promote the book, all overlooking the fact that it was a work of fiction, not a scientific piece of research, and not autobiographical.  In the United States The Citadel won the National Book Award, Favorite Fiction of 1937, voted by members of the American Booksellers Association. According to a Gallup poll conducted in 1939, The Citadel was voted the most interesting book readers had ever read.
Did he contribute to any other major causes?
A: Raphael Samuel asserted in 1995 that the popularity of Cronin's novels played a substantial role in the Labour Party's landslide victory in 1945.
Some context: Lilyan Tashman (October 23, 1896 - March 21, 1934) was an American vaudeville, Broadway, and film actress. Tashman was best known for her supporting roles as tongue-in-cheek villainesses and the vindictive "other woman." She made 66 films over the course of her Hollywood career and although she never obtained superstar status, her cinematic performances are described as "sharp, clever and have aged little over the decades." Tall, blonde, and slender with fox-like features and a throaty voice, Tashman freelanced as a fashion and artist's model in New York City.
Lilyan Tashman's entertainment career began in vaudeville, and by 1914 she was an experienced performer, appearing in Song Revue in Milwaukee, Wisconsin, with rising stars Eddie Cantor and Al Lee. In 1916, she played Viola in a Shakespeare-inspired number for the Ziegfeld Follies and remained with the Follies for the 1917 and 1918 seasons. In 1919, producer David Belasco gave her a supporting role in Avery Hopwood's comedy The Gold Diggers. The show ran two years with Tashman acting as an understudy, and occasionally filling in, for star Ina Claire.  In 1921, Tashman made her film debut playing Pleasure in an allegorical segment of Experience, and when The Gold Diggers closed she appeared in the plays The Garden of Weeds and Madame Pierre. In 1922, she had a small role in the Mabel Normand film Head Over Heels. Her personal and professional lives in 1922 were not entirely satisfactory (best friend Edmund Lowe moved to Hollywood, for example, and she was fired from Madame Pierre) so she relocated to California and quickly found work in films. In 1924, she appeared in five films (including a cinematic adaptation of The Garden of Weeds) and received good reviews for Nellie, the Beautiful Cloak Model and Winner Take All. She freelanced, moving from studio to studio, but signed a long-term contract in 1931 with Paramount. She made nine films for the studio.  In 1925, she appeared in 10 films, including Pretty Ladies with Joan Crawford and Myrna Loy. From 1926 to 1929, she appeared in numerous films, became a valued supporting player, and starred in the independent Rocking Moon (1926) and The Woman Who Did Not Care (1927). She played supporting roles in Ernst Lubitsch's farce So This Is Paris (1926), Camille with Norma Talmadge (1926), A Texas Steer with Will Rogers (1927), director Dorothy Arzner's Manhattan Cocktail (1928), and Hardboiled (1929). Her Variety reviews were good.  She easily managed the transition to sound films, making a total of 28, and appeared in some of the very first, including United Artists's Bulldog Drummond (1929), The Trial of Mary Dugan (1929), the now-lost color musical Gold Diggers of Broadway (1929), and New York Nights (1930) with Norma Talmadge. She starred as a murderess in the melodrama Murder by the Clock, as a self-sacrificing mother in The Road to Reno (1931), and as a chorus girl in Wine, Women and Song (1933). In 1932, her health began to fail but she appeared in The Wiser Sex, Those We Love, the film on the Russian Revolution, Scarlet Dawn, Mama Loves Papa with Charlie Ruggles (1933), and the musical Too Much Harmony (1933). In early 1934, she appeared in Riptide with Norma Shearer. Her last film, Frankie and Johnny, was released posthumously in 1936. Director George Cukor described Tashman as "a very diverting creature [...] outrageous and cheerful and goodhearted."
what was the first film that she worked in?
A:
Tashman made her film debut playing Pleasure in an allegorical segment of Experience,