# Best British Films



## Guest (Jul 18, 2020)

I thought it would be worthwhile to ask people for their favourite British films and why they appreciate these.

I'll start with one I have taught at school, "*Billy Elliot*". Directed by Stephen Daldry, I thought it captured the working class and its depredations very well and Jamie Draven was absolutely wonderful in the part. The juxtaposition of opposites: the world of creativity and the world of hard slog in the coal mines working in tandem with each other. It was very moving to see the relationship between father and son and the conflict in the father about his son's unconventional choice of career. Julie Walters was her usual brilliant self.

One of my most beloved films is "*Room at the Top*" with Laurence Harvey and Simone Signoret. Directed by Jack Clayton, who does a first class job to give the film a claustrophobic and trapped mise-en-scene and his actors Harvey and Signoret the sense of inevitability about the outcome of their romance. Harvey was never better.

Another is "*Hobson's Choice*" - an early film from David Lean. Laughton is just superb as the irascible Hobson who dominates his daughters:


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## erki (Feb 17, 2020)

I like British films over American almost anytime. The pinch of snobbism and intelligent settings are my cup of tea. Specially BBC serials.
One of my favourite film is *The Knack ...and How to Get It*






I saw this in early 70's on TV(I was 13-15) and bought the DVD issue when I suddenly recalled the title much later.


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## elgar's ghost (Aug 8, 2010)

_Hobson's Choice_ is an excellent film - I always chuckle when a drink-befuddled Laughton gets bamboozled by the moon's reflection in the puddle. I must have watched it three times before I found out that Prunella Scales played one of the daughters.

A sign of a good film for me is one in which a lavish re-make comes over as totally redundant in comparison - so I name both _The Italian Job_ and _The Ladykillers_. For me the US remakes were devoid of all the qualities which made the originals so great. It would be like the Brits doing a remake of _The Godfather_ with Ray Winstone or Vinnie Jones as Don Corleone - some things are better just left alone.

I could name other British films which I rate highly but I'd like to see what other posters have to say first.


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## mikeh375 (Sep 7, 2017)

^^^...speaking of Vinnie Jones, I thought 'Lock, Stock and Two Smoking Barrels' was a violent and yet hilarious farcical parody on the Cockney geezer gangster world. I mention it because I watched it the other night and it's still fresh. Admittedly though, this film is not for everyone.

We also watched 'Educating Rita' which has to qualify as possibly having the worst music score and the worst fake Irish accent ever, but the storyline is an enduring one that will always resonate. As in Billy Elliot, Walters is rather good, sensitive to the role and likeable.


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## Rogerx (Apr 27, 2018)

Ladies in Lavender


If



Billy Eliot

In no particular order, each has his own specialty.


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## jegreenwood (Dec 25, 2015)

I recall a double bill I saw many years ago - "Women in Love" and "Tom Jones." A great pairing.

From about the same time, I remember seeing "The Bed-Sitting Room," while under the influence.

And speaking of misguided remakes, what about the original "Bedazzled."


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## elgar's ghost (Aug 8, 2010)

jegreenwood said:


> I recall a double bill I saw many years ago - "Women in Love" and "Tom Jones." A great pairing.
> 
> From about the same time, I remember seeing "The Bed-Sitting Room," while under the influence.
> 
> And speaking of misguided remakes, what about the original "Bedazzled."


I've read the script for _The Bedsitting Room_ - it would have made more sense if I'd have been off my onion as well ha ha. Unfathomable surrealism for the most part but I think its strange post-apocalyptic storyline could be viable for a contemporary opera.

I can't comment on _Bedazzled_ - I haven't seen the remake and I found the original to be a bit of a curate's egg. Great closing song, though - Peter Cook's deadpanning is priceless ('you fill me with inertia...') :lol:


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## jegreenwood (Dec 25, 2015)

elgars ghost said:


> *I've read the script for The Bedsitting Room *- it would have made more sense if I'd have been off my onion as well ha ha. Unfathomable surrealism for the most part but I think its strange post-apocalyptic storyline could be viable for a contemporary opera.
> 
> I can't comment on _Bedazzled_ - I haven't seen the remake and I found the original to be a bit of a curate's egg. Great closing song, though - Peter Cook's deadpanning is priceless ('you fill me with inertia...') :lol:


Well, it's Spike Milligan (with direction by Richard Lester) - what would you expect? Are/were you a Goon Show fan? There are few things I laughed harder at than the person taking one of those endless Tube escalators and then the cut to ground level when we see it leads nowhere. Although Cook ripping the last pages out of Agatha Christie novels in "Bedazzled" comes close. And, my God, it had Raquel Welch as lust!


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## elgar's ghost (Aug 8, 2010)

jegreenwood said:


> Well, it's Spike Milligan (with direction by Richard Lester) - what would you expect? Are/were you a Goon Show fan? There are few things I laughed harder at than the person taking one of those endless Tube escalators and then the cut to ground level when we see it leads nowhere. Although Cook ripping the last pages out of Agatha Christie novels in "Bedazzled" comes close. And, my God, it had Raquel Welch as lust!


I was expecting the _Bed Sitting Room_ to be a little less zany because he wrote it in conjunction with someone else (John Antrobus). I like some of Milligan's own stuff but The Goons have always left me cold.


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## Guest (Jul 18, 2020)

elgars ghost said:


> _Hobson's Choice_ is an excellent film - I always chuckle when a drink-befuddled Laughton gets bamboozled by the moon's reflection in the puddle. I must have watched it three times before I found out that Prunella Scales played one of the daughters.
> 
> A sign of a good film for me is one in which a lavish re-make comes over as totally redundant in comparison - so I name both _The Italian Job_ and _The Ladykillers_. For me the US remakes were devoid of all the qualities which made the originals so great. It would be like the Brits doing a remake of _The Godfather_ with Ray Winstone or Vinnie Jones as Don Corleone - some things are better just left alone.
> 
> I could name other British films which I rate highly but I'd like to see what other posters have to say first.


I absolutely relate to those comments (though I do like Ray Winstone a lot). So many dreadful remakes, mostly because the younger generations require colour film - whereas I love monochrome myself. ("True Grit" remake unforgivable, Coen Brothers!!!)


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## Guest (Jul 18, 2020)

"*This Happy Breed*", 1944 David Lean. Made during the war and written by Noel Coward (whom I normally dislike).










There's an incredible, long tracking shot in that film, which was inspired earlier by Rouben Mamoulian and later also copied by Alfred Hitchcock.

I'd have to say I'm partial to the films of David Lean, thinking they represent the very best of British films and international cinema itself. (Not so fond of "Ryan's Daughter", though). Kevin Brownlow has written an execellent tome about David Lean, which I thoroughly recommend.

And, of course, some films are Anglo-American co-productions; we should include them in our list too.


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## Guest (Jul 18, 2020)

A British film about WW2, made in 1958 and directed by American J. Lee Thompson ("Cape Fear" fame): John Mills, Sylvia Sims, Anthony Quayle. A great yarn!


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## senza sordino (Oct 20, 2013)

I particularly like watching British films.

I have recently watched The Ipcress File (1965), Brighton Rock (1947), The Prime of Miss Jean Brodie (1969), Black Narcissus (1947), The Third Man (1949), The Day of the Jackel (1973), The Long Good Friday (1980), Time Bandits (1981). All of these are excellent, for different reasons.

In this list of BFI Top 100 British films there are some films that I would classify as more to do with Hollywood. Bridge on the River Kwai, Lawrence of Arabia and Doctor Zhivago are in this list. It seems that since David Lean is British, so these movies must be British.

While on holiday in Vienna in 2009, I went on a walking tour called The Third Man Walking Tour. We visited many of the sets used in the film, including the sewers. On our last stretch as we turned a corner, we were met by a zither player performing the theme song. Sixty years after this film was made it still has a tremendous influence. Recommended, if this tour still exists.

I guess some of what draws me to British film and British television is nostalgia, I was there at some point in my distant carefree youthful days. It all looks like how I remember it. Some of what draws me to British film and British television is the lack of glamour, actors and actresses look like real people, they look like my relatives and me in those old photos. No one I know looks like a Hollywood movie star. Some of what draws me to British film and British television are the accents, they sound so normal.


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## Guest (Jul 19, 2020)

senza sordino said:


> I particularly like watching British films.
> 
> I have recently watched The Ipcress File (1965), Brighton Rock (1947), The Prime of Miss Jean Brodie (1969), Black Narcissus (1947), The Third Man (1949), The Day of the Jackel (1973), The Long Good Friday (1980), Time Bandits (1981). All of these are excellent, for different reasons.
> 
> ...


Your sentiments about the appeal of British films and television rings very true for me too!! Nobody is needing plastic surgery to be marketable, nor anything else fake. It has to be said, though, that Doris Day always looked natural and girl-next-door as also did Dorothy McGuire and Kate Hepburn; nothing false about them, or others like them. British film had its glamour girls too, but much British cinema that doesn't appeal to me is based on class - and this was sadly a feature of those Anna Neagle/Michael Wilding films - just to name only two. Even "*The Red Shoes*" had its sniffy class elements. Rex Harrison made some funny comedies in the late 40s/early 50s, a couple with the wonderful Kay Kendall (she was a glamour girl who had such a short life, dying at 32 years of age of a condition now curable!), but they were often based on class jokes as well.

British film came of age in the 1950s with 'kitchen sink dramas" often using screenplays from Osborne and Pinter. Actors like Richard Harris and Robert Shaw started their careers in such films. "This Sporting Life" was one of these outstanding films:


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## Guest (Jul 19, 2020)

"*The Dam Busters*" (1955) is a special film for me, recounting real events. I note it has been restored and colorized, as evidenced in this opening title sequence. Directed by the fine Michael Anderson. This dangerous and now-controversial sortie over Germany was conducted the day my husband was born. I just love this terribly moving march from the film; it speaks so much of the tremendous bravery of* the greatest generation*. And Dr. Barnes Wallace was deeply affected by the human consequences - the loss of so many lives on that fateful day, not just 55 air crew but the civilian population of Germany.






A friend was here yesterday and we discussed WW2; his uncle had been a bomber pilot and bailed out over Germany, spending the remainder of the war in Stalag Luft 3 (the site of 'the trojan horse').


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## Guest (Jul 19, 2020)

Christabel said:


> A British film about WW2, made in 1958 and directed by American J. Lee Thompson ("Cape Fear" fame): John Mills, Sylvia Sims, Anthony Quayle. A great yarn!


One of my favourites, watched it last night. Couldn't help noticing how we stick with the German's pov at the end, not the Brits'.


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## mikeh375 (Sep 7, 2017)

Christabel said:


> "*The Dam Busters*" (1955) is a special film for me, recounting real events. I note it has been restored and colorized, as evidenced in this opening title sequence. Directed by the fine Michael Anderson. This dangerous and now-controversial sortie over Germany was conducted the day my husband was born. I just love this terribly moving march from the film; it speaks so much of the tremendous bravery of* the greatest generation*. And Dr. Barnes Wallace was deeply affected by the human consequences - the loss of so many lives on that fateful day, not just 55 air crew but the civilian population of Germany.
> 
> 
> 
> ...


Christabel, you might be interested to know that I worked for an afternoon with Anderson on his '20,000 Leagues under the Sea', at Pinewood iirc.
My hands ghost for Nemo's as he plays Bach's Dmin Toccata - complete with victorian sleeves and make-up.
I asked him in a break about the DamBusters music and he said that when he heard it on piano, he wasn't particularly overcome until he attended the orchestral session.
There was some clever filmic artifice to get my hands in shot to replace the actors hands as the camera panned along the organ stops, me jumping in for the actor whilst out of shot. It looked completely natural on film, which I remarked on and Anderson said, "the camera never lies"....it's a good job they didn't include the first take that showed me knocking over a 6 foot candelabra as I squeezed past the actor, trying to get out of shot before the panning returned to its starting point.

Speaking of war, another fave of mine is the epic 'Battle of Britain'.


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## Caryatid (Mar 28, 2020)

I watched David Lean's _Great Expectations_ the other day, which is very good.

Best? _The Third Man _ come to mind. I also think highly of Terry Gilliam's _Brazil_.


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## Guest (Jul 19, 2020)

mikeh375 said:


> Christabel, you might be interested to know that I worked for an afternoon with Anderson on his '20,000 Leagues under the Sea', at Pinewood iirc.
> My hands ghost for Nemo's as he plays Bach's Dmin Toccata - complete with victorian sleeves and make-up.
> I asked him in a break about the DamBusters music and he said that when he heard it on piano, he wasn't particularly overcome until he attended the orchestral session.
> There was some clever filmic artifice to get my hands in shot to replace the actors hands as the camera panned along the organ stops, me jumping in for the actor whilst out of shot. It looked completely natural on film, which I remarked on and Anderson said, "the camera never lies"....it's a good job they didn't include the first take that showed me knocking over a 6 foot candelabra as I squeezed past the actor, trying to get out of shot before the panning returned to its starting point.
> ...


What an interesting story!! I always thought editing would be used to cover ghosting of keyboard players; you don't see the actor's actual hands on the keyboard then you _cutaway_ to the substitute pianist which you can do because you never saw the actors' hands in the first place anyway. In short, _you'd use the music track of the original musician over images of the actor playing_. I found Anderson's method, therefore, strange.

I only saw "*Battle of Britain*" again this weekend and I contacted my Polish physician and friend about it and he told me he'd recently read a Polish book on the subject since, as you remember, there were lots of Polish airmen in that conflict. The aerial photography was stunning verisimilitude. Again, the greatest generation on display. Guy Hamilton was another excellent English director.

I commented to spouse during the watching of the film about how differently the English are portrayed as opposed to the Germans, Japanese and Americans in war films. The Germans snap sentences, remain humorless, fixated on uniforms and protocols; the Japanese cruel and po-faced, the Americans swaggering, confident, daring and friendly - the English; avuncular officers, tea-drinking sentries and nonplussed officers and government officials ("now look here Dowding...."). Whether these remain based on fact seems highly doubtful to me, but each country has its stereotypes - whether for propaganda or otherwise.

Two more very good English films are both directed by Fred Zinnemann: "*A Man for All Seasons*" and his other excellent piece of narrative legerdemain, "*The Day of the Jackal*". The former film would have been a US/English co-production but the incredible Robert Bolt's screenplays were always, always phenomenal (in this case his actual play): the soundtrack is part of my youth and when I hear it I feel melancholic.


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## cheregi (Jul 16, 2020)

I can't say I've seen a ton of British film, but Derek Jarman is one of my favorite directors for his idiosyncratic stylization of visual elements and dialogue.


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## Guest (Jul 19, 2020)

I don't know that Derek Jarman film; it looks interesting.

Here's another excellent British film, "*A Kind of Loving*" starring Alan Bates and directed by John Schlesinger (1962). A "kitchen sink drama" and a very good one. Bates was such a stunning actor!!


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## Guest (Jul 20, 2020)

Christabel said:


> And, of course, some films are Anglo-American co-productions; we should include them in our list too.


This could be problematic. According to IMDb, _On Golden Pond _is an Anglo-American co-production!


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## Guest (Jul 20, 2020)

MacLeod said:


> This could be problematic. According to IMDb, _On Golden Pond _is an Anglo-American co-production!


It's very hard because some of them are not explicitly so described. Some British films have American directors but they've been hired by those companies and they're still regarded as British or English. Some American actors have appeared in films which are still financed by the Brits and would be regarded as NOT AMERICAN.

Let's see where the dice fall.


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## erki (Feb 17, 2020)

Caryatid said:


> I also think highly of Terry Gilliam's _Brazil_.


*Brazil*
Yes, it is my other favourite.


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## mikeh375 (Sep 7, 2017)

Christabel said:


> What an interesting story!! I always thought editing would be used to cover ghosting of keyboard players; you don't see the actor's actual hands on the keyboard then you _cutaway_ to the substitute pianist which you can do because you never saw the actors' hands in the first place anyway. In short, _you'd use the music track of the original musician over images of the actor playing_. I found Anderson's method, therefore, strange.


...just to clarify Christabel.

You do not see the actor's hands, here's how it worked.

Longshot of actor playing from the side, no hands visible.
The camera then does a slow pan up the organ pipes whilst at the same time, zooming in.
When the camera is at its apex, the keyboard is not visible and at that point, I swap places with the actor.
The camera, now close in and still zooming, pans back down the pipes to the keyboard and is now in close on my beautifully made up hands in their fine Victorian sleeves.
I was miming to a recorded version of the Bach as the organ on set was a mock-up. I had a little while to listen to the performance and it was easy enough to sync my fingers to it.

It wasn't meant to be this way as I was there to just coach the actor (who had no piano skills), into ghosting the first few bars himself. After 5 minutes of tuition, he looked at me, giggled and said "Mike, this isn't going to work is it"? Anderson devised the shooting for the scene there and then.

If we are also mentioning Anglo/US productions I'll put in a shout for *'Out of Africa'*. I think Barry excelled with his haunting themes for that score. We always need the handkerchiefs nearby though.


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## Guest (Jul 20, 2020)

mikeh375 said:


> ...just to clarify Christabel.
> 
> You do not see the actor's hands, here's how it worked.
> 
> ...


Yes, I understand what you were driving at (I used to work in film for television - documentary - doing Continuity). It just seems a harder way to do it than the way I imagined. Anyway, it's all history.

I love "*Out of Africa*", but I think it's an American-financed film ostensibly. International cast, but American Director and English composer. I loved Karen's servant and especially when she says to him "I want to hear you say my name".

Finch-Hatten was a rake and I don't know why Karen tolerated his philandering; it was the one thing which detracted from the film for me - this self-indulgence of Finch-Hatten and his self-absorbed comments when Karen wants to pin him down. Anyway, she retained her dignity and let him go. Streep was just superb in the role, but by the time Dennis had died I long since lost interest in him as a character. In many ways her first husband, Baron Bror von Blixen, was the more honest man. Michael Kitchen was just superb as Berkeley, who succumbs to 'the fever'.

Wiki says the film is American. Make of that what you will.


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## Guest (Jul 20, 2020)

Two more excellent English films; the first "Saturday Night and Sunday Morning" directed by Karel Reisz and starring Albert Finney (who was just an extraordinary actor). Another of those 'kitchen sink dramas' and made in 1960.










The second is one of my very favorite films of all times because it starred Tom Courtenay - also starring Albert Finney: "*The Dresser*". It's been remade!! Why??? The 1983 version is perfection, directed by Peter Yates and written by Ronald Harwood.










And it's bloody funny:


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## mikeh375 (Sep 7, 2017)

Christabel said:


> Yes, I understand what you were driving at (I used to work in film for television - documentary - doing Continuity). It just seems a harder way to do it than the way I imagined. Anyway, it's all history.
> 
> I love "*Out of Africa*", but I think it's an American-financed film ostensibly. International cast, but American Director and English composer. I loved Karen's servant and especially when she says to him "I want to hear you say my name".
> 
> ...


What I find helps to get across the central theme in this film of loss - not only for Karen, but Africa too - is the melancholy generated by the score, especially the music over the ariel shots. There is also the main musical theme which engenders in me a deep emotional response to nature and at what we now stand to lose if we are not careful. It starts in this clip at 2'.26".
I would also like highlight the utter simplicity in the theme and its presentation, the power of harmony and melody at their most homophonic.


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## perempe (Feb 27, 2014)

Enjoyed Hobson's Choice. It had ok specials effects.


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## Jacck (Dec 24, 2017)

https://en.wikipedia.org/wiki/BFI_Top_100_British_films

personal favorites? Maybe Trainspotting, Monthy Python and A Clockwork Orange (is it Brittish or American?)


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## elgar's ghost (Aug 8, 2010)

Jacck said:


> _A Clockwork Orange (is it Brittish or American?)_


Original story set in the UK and written by a British author and the film adaptation made in the UK by an exiled American and featuring British actors - yep, I think we can claim that one. :lol:


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## Guest (Jul 20, 2020)

Isn't the definition by Production Company?

According to IMDb, _A Clockwork Orange_ was a US/UK production. So was _Out of Africa_.


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## elgar's ghost (Aug 8, 2010)

^
^

You have me there - so in effect it's all down to who puts up the money?


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## Guest (Jul 20, 2020)

Jacck said:


> https://en.wikipedia.org/wiki/BFI_Top_100_British_films
> 
> personal favorites? Maybe Trainspotting, Monthy Python and A Clockwork Orange (is it Brittish or American?)


To my knowledge the latter was a British film directed by an American.


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## Guest (Jul 20, 2020)

MacLeod said:


> Isn't the definition by Production Company?
> 
> According to IMDb, _A Clockwork Orange_ was a US/UK production. So was _Out of Africa_.


This is where it becomes problematic, of course. Co-productions of this kind were quite common.


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## Guest (Jul 20, 2020)

mikeh375 said:


> What I find helps to get across the central theme in this film of loss - not only for Karen, but Africa too - is the melancholy generated by the score, especially the music over the ariel shots. There is also the main musical theme which engenders in me a deep emotional response to nature and at what we now stand to lose if we are not careful. It starts in this clip at 2'.26".
> I would also like highlight the utter simplicity in the theme and its presentation, the power of harmony and melody at their most homophonic.


I hear what you're saying. Completely. In fact, I showed the very scene you've posted to high school students when teaching them about film. Most of them hadn't seen films older than those made during their own lifetimes so it came as something of a surprise to them to find such powerful cinema. They loved, as I do, that aerial sequence with the glorious score by John Barry. It is ineffable and I regard it as one of the iconic scenes in cinema, but I did worry at the time about the low altitude over the flock of birds and the danger of bird strike. When I saw it my mother had died just months earlier (aged 58) and my sister and myself were easily moved to tears during that film, but that aerial sequence was actually life-affirming.

I've actually had a similar experience on the ground with my husband; we touched hands like this one day on a train, just after arriving in Austria, and passing the most stunning alpine scenery. I was in tears, nodding towards the mountains at my husband and another Austrian passenger smiled at me.


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## mikeh375 (Sep 7, 2017)

Christabel said:


> I hear what you're saying. Completely. In fact, I showed the very scene you've posted to high school students when teaching them about film. Most of them hadn't seen films older than those made during their own lifetimes so it came as something of a surprise to them to find such powerful cinema. They loved, as I do, that aerial sequence with the glorious score by John Barry. It is ineffable and I regard it as one of the iconic scenes in cinema, but I did worry at the time about the low altitude over the flock of birds and the danger of bird strike. When I saw it my mother had died just months earlier (aged 58) and my sister and myself were easily moved to tears during that film, but that aerial sequence was actually life-affirming.
> 
> I've actually had a similar experience on the ground with my husband; we touched hands like this one day on a train, just after arriving in Austria, and passing the most stunning alpine scenery. I was in tears, nodding towards the mountains at my husband and another Austrian passenger smiled at me.


Me and my wife flew into Salzburg Airport a few years back. The airfield is flanked by mountains on both sides in the distance, I know exactly what you (and Karen) felt.

Nobody has mentioned the Bond films yet. I'm particularly impressed with Daniel Craig's offerings. The production value in his set is of the highest quality I feel and easily rivals and even outdoes Hollywood equivalents imv. Some of the stunts and chase scenes are spectacular, one thinks of the opening parkour scene in Casino Royale played out mainly in a building site, or the machinations and plot twists in Skyfall (and a great opening song too).

The scores too are in the tradition of being lush, romantic and exciting, with Thomas Newman proving that he still has a magic touch in Skyfall. I knew some musicians who played on some of those scores and they all absolutely loved performing the main theme of course. Speaking of which and I guess you'll know this, the main theme was written by Monty norman and not John Barry as is assumed by a lot of people. Legend has it that it was written on the back of a beer mat (coaster) in a pub in London where the two of them were drinking. It got a little messy later on as Barry tried to claim it as his own when in fact he'd only arranged it, but Norman won out in the end after a libel trial.


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## Guest (Jul 21, 2020)

I know Salzburg well, having made many trips there by RailJet when we lived in Vienna, including from Salzburg Hbf by bus to Bad Ischl!! You should see Wolfgangsee and St. Gilgen!! OMG.

Those Bond films: I don't know any of them. We did see a film crew in Vienna when we were living there, at Westbahnhof and the next day on Opernring. My husband thought it was either Daniel Craig or Jude Law, but we aren't sure.


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## Guest (Jul 21, 2020)

Another very good British film, "*Nothing but the Best*" (Clive Donner, 1964) starring Alan Bates and (another hero) Denholm Elliot. A social satire:






And a rather sad little film I saw on the weekend, "*The Magic Box*", starring Robert Donat (1951) and Directed by the Boulting Brothers. Based on the story of William Friese-Green who was a pioneer of motion pictures. Here's a small cameo with Laurence Olivier, who suddenly makes an appearance in the film: listen to the remarkable control of his voice!!!


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## senza sordino (Oct 20, 2013)

The other night I watched The End of the Affair (1955), with Deborah Kerr and Van Johnson, with John Mills and Peter Cushing. Based on the novel by Graham Greene. I didn't know what to expect before I started watching this, and you can't go wrong with Graham Greene stories. The affair ends early in the story, so the story is about the end of the affair. Some of the story is from his perspective, some of it from hers. Fantastic movie, I really enjoyed it. Recommended.

I know there has been a remake, and I have no intention of watching this. Unlike some, I have no problem watching old movies.


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## Guest (Jul 21, 2020)

senza sordino said:


> The other night I watched The End of the Affair (1955), with Deborah Kerr and Van Johnson, with John Mills and Peter Cushing. Based on the novel by Graham Greene. I didn't know what to expect before I started watching this, and you can't go wrong with Graham Greene stories. The affair ends early in the story, so the story is about the end of the affair. Some of the story is from his perspective, some of it from hers. Fantastic movie, I really enjoyed it. Recommended.
> 
> I know there has been a remake, and I have no intention of watching this. Unlike some, I have no problem watching old movies.


I haven't seen it but I must admit I feel antipathy towards Deborah Kerr. Will have to track this one down and see if I can find it on Dailymotion or similar. You've probably realized by now that my specialization and interest is films from the 20th century, mostly.


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## senza sordino (Oct 20, 2013)

Christabel said:


> I haven't seen it but I must admit I feel antipathy towards Deborah Kerr. Will have to track this one down and see if I can find it on Dailymotion or similar. You've probably realized by now that my specialization and interest is films from the 20th century, mostly.


I don't know enough about Deborah Kerr to form a strong opinion. She was good in The End of the Affair and Black Narcissus (I saw recently)

Here in the Great White North, we have something called Hollywood Suite, a set of four channels that only play movies from each decade. One channel for movies from the 70s (and often play movies from earlier), another for the 80s, another for the 90s and the fourth for the 00s (and often play movies later than 2010). Most of what I record and watch is from the 1970s channel.

I also subscribe to TCM, Turner Classic Movies.

My television and internet package also comes with Netflix, I hardly ever watch Netflix.


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## JAS (Mar 6, 2013)

I like Kerr in both The King and I (where she sings just like Marnie Nixon), and The Innocents.


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## Ekim the Insubordinate (May 24, 2015)

I much prefer British TV to British movies. 

That being said, some of my favorites would have to be Chariots of Fire, Bridge on the River Kwai, Dr. No, and Monty Python and the Holy Grail.


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## Guest (Jul 22, 2020)

senza sordino said:


> I don't know enough about Deborah Kerr to form a strong opinion. She was good in The End of the Affair and Black Narcissus (I saw recently)
> 
> Here in the Great White North, we have something called Hollywood Suite, a set of four channels that only play movies from each decade. One channel for movies from the 70s (and often play movies from earlier), another for the 80s, another for the 90s and the fourth for the 00s (and often play movies later than 2010). Most of what I record and watch is from the 1970s channel.
> 
> ...


You are really spoilt for choice, lucky you!! We have next to zero here and TCM was taken away from our Fox package. I was angry so now I chromecast from the net if a film has been put on U-Tube or Dailymotion etc. And I have my own library, the earliest films going back to Chaplin silents. "Black Narcissus" is an interesting film. Sister Ruth was barking mad and she always made me laugh with her antics!! Fancy falling for that bloodless male in the shorts, David Farrar. He didn't display the slightest bit of interest in any of them!! I found that part such a stretch as to be risible. It's a strange film and not nearly as good as P&P's "The Red Shoes".


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## Guest (Jul 22, 2020)

Ekim the Insubordinate said:


> I much prefer British TV to British movies.
> 
> That being said, some of my favorites would have to be Chariots of Fire, Bridge on the River Kwai, Dr. No, and Monty Python and the Holy Grail.


Many of those British TV series and one-off programs are first class. The first and most memorable was Andrew Davies' "A Very Peculiar Practice" and another called "Capital City".

One of the very greatest series was "*Cracker*", starring Robbie Coltrane. Incredible. I just love that actor. Writer Jimmy McGovern - a genius!!


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## erki (Feb 17, 2020)

Talking about TV series:
*Misfits* is the strangest one I have seen. I don't remember how I came to watch it but I got hooked totally. Great language and characters.

https://en.wikipedia.org/wiki/Misfits_(TV_series)#Series_5_(2013)


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## Guest (Jul 23, 2020)

Another very good British film: "Darling", 1965, directed by John Schlesinger and starring Julie Christie, Dirk Bogarde and Laurence Harvey.






Another excellent Schlesinger film: "*Sunday, Bloody Sunday*". 1971, starring Peter Finch and Glenda Jackson (even though I cannot stand her!!). A film carried by Finch and terribly moving:










And, finally, Schlesinger's best film: "*Far From the Madding Crowd*" (Christie, Stamp, Finch, Bates). Wonderful film from 1967; cinematography by Nicolas Roeg (who was later a director) and with an excellent score by Richard Rodney Bennett:










Here's some of the music which is _very_ eclectic!: I can hear Vaughn Williams, Richard Rodgers and Bernard Herrmann:


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## Rogerx (Apr 27, 2018)

Is The Full Monty mentioned already?

If not, it belongs in the list "best"


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## Jacck (Dec 24, 2017)

mikeh375 said:


> Nobody has mentioned the Bond films yet. I'm particularly impressed with Daniel Craig's offerings. The production value in his set is of the highest quality I feel and easily rivals and even outdoes Hollywood equivalents imv. Some of the stunts and chase scenes are spectacular, one thinks of the opening parkour scene in Casino Royale played out mainly in a building site, or the machinations and plot twists in Skyfall (and a great opening song too).


the Bond movies are typical Hollywood style blockbusters. While entertaining, they don't have much value beyond that, and they are not going to age well. Movies that have actual artistic value (for example Citizen Kane etc) can survive decades and still have something meaningful to tell. The Bond movies try to impress you with action scenes and novel technological gadgets (which are going to look laughable 30 years from now)


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## Jacck (Dec 24, 2017)

Christabel said:


> Many of those British TV series and one-off programs are first class. The first and most memorable was Andrew Davies' "A Very Peculiar Practice" and another called "Capital City".
> 
> One of the very greatest series was "*Cracker*", starring Robbie Coltrane. Incredible. I just love that actor. Writer Jimmy McGovern - a genius!!


yes, I remember the Cracker. I watched in on TV in the 1990's and it was great. Other great Brittish TV series were the Black Adder and the Red Dwarf

btw, here you have Robbie Coltrane playing in Black Adder


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## Guest (Jul 23, 2020)

Jacck said:


> the Bond movies are typical Hollywood style blockbusters. While entertaining, they don't have much value beyond that, and they are not going to age well. Movies that have actual artistic value (for example Citizen Kane etc) can survive decades and still have something meaningful to tell. The Bond movies try to impress you with action scenes and novel technological gadgets (which are going to look laughable 30 years from now)


Not going to age well? They've already been going 60-odd years, age perfectly fine, and remain very popular. They have been and continue to be an extraordinarily successful franchise.

I don't think the OP asked for 'great art', and if a Bond movie just entertains, it will be doing as well as _Star Wars_.


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## Jacck (Dec 24, 2017)

MacLeod said:


> Not going to age well? They've already been going 60-odd years, age perfectly fine, and remain very popular. They have been and continue to be an extraordinarily successful franchise.
> 
> I don't think the OP asked for 'great art', and if a Bond movie just entertains, it will be doing as well as _Star Wars_.


the very concept of the "best movie" was not defined clearly. Best by what metric? The Bond movies or Star Wars movies are certainly entertaining and great in their own genre. But it is like comparing scifi, fantasy or crime novels to serious literature. The Bond movies are not serious art movies.


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## Guest (Jul 23, 2020)

Jacck said:


> the very concept of the "best movie" was not defined clearly. Best by what metric? The Bond movies or Star Wars movies are certainly entertaining and great in their own genre. But it is like comparing scifi, fantasy or crime novels to serious literature. The Bond movies are not serious art movies.


Yes, it was defined as your favourite British films. Nothing about serious art.


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## Jacck (Dec 24, 2017)

MacLeod said:


> Yes, it was defined as your favourite British films. Nothing about serious art.


to each his own. It is like trying to convince a fan of modern pop music why classical music is superior. There is not a single objective argument you can make why CM is superior, because ultimately it is a matter of personal taste. So while I enjoy the Bond movies as entertainment, I would not label any single of them as a great movie.


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## Guest (Jul 23, 2020)

Jacck said:


> to each his own. It is like trying to convince a fan of modern pop music why classical music is superior. There is not a single objective argument you can make why CM is superior, because ultimately it is a matter of personal taste. So while I enjoy the Bond movies as entertainment, I would not label any single of them as a great movie.


This argument doesn't need to be had in every thread. Stick with suggesting your favourite Brit movies, and leave the usual wrangling about great, best, superior for another day.


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## mikeh375 (Sep 7, 2017)

The Bond movies clearly don't hit the aesthetic heights but whatever they aspire to, they achieve it with excellent standards in production value. Everything from the photography through to the sound is of the highest order in its genre and created by top ranking professionals. Surely the movies I mentioned are a valid consideration for the OP.

Besides, there is art in artifice too.


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## Guest (Jul 24, 2020)

mikeh375 said:


> The Bond movies clearly don't hit the aesthetic heights but whatever they aspire to, they achieve it with excellent standards in production value. Everything from the photography through to the sound is of the highest order in its genre and created by top ranking professionals. Surely the movies I mentioned are a valid consideration for the OP.
> 
> Besides, there is art in artifice too.


Actually, those earlier Bond films were magnificently edited, seamlessly directed and full of death-defying stunts. They are a compendium of how to create a first class action film. By the time the later offerings came around the brand had become somewhat effete.


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## 89Koechel (Nov 25, 2017)

Good God, hasn't anyone ever heard-of Sir Alec Guinness? One could name two, ironic-type of comedies - "The Ladykillers", and "The Lavender Hill Mob". No need to mention his bit-part, in one of the artificial "Star Wars" movies, whichever it was. There are two others, at least, worthy of attention - "Tunes of Glory", and "Damn the Defiant". Lastly, of course, there was his role as the calm, controlled British officer in "Bridge on The River Kwai", in which he out-smarted and defeated "Colonel Saito"/Sessue Hayakawa ... only to wonder "WHAT HAVE I DONE?", at the very end, when his motives and (even) discipline, meet a certain fate.


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## Guest (Jul 25, 2020)

89Koechel said:


> Good God, hasn't anyone ever heard-of Sir Alec Guinness? One could name two, ironic-type of comedies - "The Ladykillers", and "The Lavender Hill Mob". No need to mention his bit-part, in one of the artificial "Star Wars" movies, whichever it was. There are two others, at least, worthy of attention - "Tunes of Glory", and "Damn the Defiant". Lastly, of course, there was his role as the calm, controlled British officer in "Bridge on The River Kwai", in which he out-smarted and defeated "Colonel Saito"/Sessue Hayakawa ... only to wonder "WHAT HAVE I DONE?", at the very end, when his motives and (even) discipline, meet a certain fate.


It was Dustin Hoffman who said Sir Alec was the greatest actor, in his opinion, and the role model for himself as an actor. I thought he was excellent in "Lawrence of Arabia". The gestures, intonation and vocal control..... In fact, that very film is one of the greatest of all time, IMO, with so many phenomenal performances - career-making for two of them. O'Toole and Sharif.
Jack Hawkins, splendid; Claude Rains dependable and en pointe; Anthony Quinn, a perfect foil for the plot ("I am a river for my people"!!); Anthony Quayle; ever-reliable and nuanced; Jose Ferrer - ah, not so much!! For me, this is the most magical moment in a very glorious cinematic achievement: here Lawrence declares "nothing is written" and Sharif, with all his poise and affection offers Lawrence water. This is a turning point in the relationship with Lawrence in the film. The cinematography of Freddie Young is to-die-for, right there in Rum Wadi, Jordan!! That tracking shot up to Lawrence on the camel: glory!! Ali looks UP to Lawrence. David Lean was an editor and this film has the editor's eye all over it!!

The music of Maurice Jarre - perfection. Lean had the unique ability to create intimacy between characters within a huge, sprawling canvas, similar to John Ford but on a bigger scale. Lean truly was the Shakespeare of cinema. I haven't mentioned the film up till now as it really deserves its own thread! And so does David Lean.


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## 89Koechel (Nov 25, 2017)

Thanks, Christabel! ... and, WELL, WELL, there was another great, extraordinary actor (Laurence Olivier) who took-on a parallel role, akin-to Guinness (in "Lawrence ..."), in a film called "Khartoum", with Charlton Heston, etc. Olivier was the antagonist .. the "Mahdi", of the forces who would surround Gen. Gordon/Heston, in the old city, and eventually, overwhelm the latter. Olivier took-on a dark make-up (geez, I hope that doesn't OFFEND anyone, these days - truly!) and was "soulful" in his depiction of a man who KNEW he had the upper-hand, militarily, but would give Gordon almost-any opportunity to leave Khartoum, short-of total annihilation. The dialogue/writing of "Khartoum" is still, I think much the equal of "Lawrence of Arabia", or maybe other American-or-British (in actors and/or directors) films of their time. Maybe am being a bit sentimental, but I don't truly, think so.


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## Prodromides (Mar 18, 2012)

For me, the 'best' of British cinema can be found in a 20-year span from around 1947 through about 1967 (especially those with monochrome cinematography):

Repulsion
Bunny Lake is Missing
The Caretaker (directed by Clive Donner & based on Harold Pinter)
The Servant
Eye of the Devil
Cul-de-Sac
Night of the Eagle
The Third Secret
The Ceremony
Dutchman
Yield to the Night
The Haunting
Psyche 59
Ulysses (Joseph Strick directing James Joyce)
The Innocents
The Pumpkin Eater
The Flesh and the Fiends
Guns at Batasi
The Mark
The End of the Affair
The L-Shaped Room
Victim
Blind Date ('59; Losey)
The Whisperers
The Spy Who Came in from the Cold
Cash on Demand
The Nanny
The Prisoner ('55; Glenville)
Tomorrow at Ten
Seance on a Wet Afternoon
Lolita
This Sporting Life
Invasion
The Angry Silence
Shadow of the Cat
Faces in the Dark
Girl with Green Eyes
King and Country
These Are The Damned
The Bedford Incident
The Abominable Snowman
Man in the Middle
The Long and the Short and the Tall
Chase a Crooked Shadow
The Hill
Sons and Lovers
Odd Man Out
Give Us This Day
City of the Dead
The Snorkel
All Night Long
Cone of Silence
Stranglers of Bombay
Never Take Sweets from a Stranger
The Earth Dies Screaming
Children of the Damned
Night of the Demon
Time Without Pity
The Criminal
The Naked Edge
The Mind Benders
The Devil's Disciple
Taste of Fear
Town on Trial
Tread Softly Stranger
Corridors of Blood
The Sleeping Tiger
Hell Drivers
The Quare Fellow
X The Unknown
The Night My Number Came Up


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## Guest (Jul 25, 2020)

89Koechel said:


> Thanks, Christabel! ... and, WELL, WELL, there was another great, extraordinary actor (Laurence Olivier) who took-on a parallel role, akin-to Guinness (in "Lawrence ..."), in a film called "Khartoum", with Charlton Heston, etc. Olivier was the antagonist .. the "Mahdi", of the forces who would surround Gen. Gordon/Heston, in the old city, and eventually, overwhelm the latter. Olivier took-on a dark make-up (geez, I hope that doesn't OFFEND anyone, these days - truly!) and was "soulful" in his depiction of a man who KNEW he had the upper-hand, militarily, but would give Gordon almost-any opportunity to leave Khartoum, short-of total annihilation. The dialogue/writing of "Khartoum" is still, I think much the equal of "Lawrence of Arabia", or maybe other American-or-British (in actors and/or directors) films of their time. Maybe am being a bit sentimental, but I don't truly, think so.


I didn't so much like that film, to be honest. Robert Ardrey wrote the screenplay; he had another life writing about anthropology and I remember my father discussing his books, "The Social Contract", "The Territorial Imperative" and "The Hunting Hypothesis". Ardrey influenced my father a great deal and these books are where he formed his belief that 'mankind goes either steeply up or steeply down'. Personally, I don't think "Khartoum" was nearly as good as "Lawrence of Arabia" and critics seem to agree with this sentiment.

And I love this scene from "*Lawrence of Arabia*"; the tracking of that camera and the editing was a glorious piece of cinematic choreography!! This stuff makes my heart soar and I've always loved the moving image.


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## Guest (Jul 25, 2020)

So, we're chided for forgetting Alec Guinness, and a declaration that post 1947 movies are the thing...but no mention of either _Great Expectations _or _Oliver Twist_.


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## mikeh375 (Sep 7, 2017)

Prodromides mentions 'Night of the Demon' above, that film terrified me.


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## Phil loves classical (Feb 8, 2017)

My fave Brit film has to be "The Wicker Man". Great atmosphere to the film.
"A Clockwork Orange" had real funny moments. Probably my fave dark comedy.
"Remains of the Day" is probably my fave historical drama.
"Don't Look Now" is a real creepy film, unlike any I've seen.


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## Phil loves classical (Feb 8, 2017)

mikeh375 said:


> Prodromides mentions 'Night of the Demon' above, that film terrified me.


A bit dated, but pretty entertaining.


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## mikeh375 (Sep 7, 2017)

Phil loves classical said:


> A bit dated, but pretty entertaining.


...well there's no need to get personal Phil....
'Don't Look Now' was another creep out. Who _was_ that dwarfish woman in red at the end?


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## Phil loves classical (Feb 8, 2017)

mikeh375 said:


> ...well there's no need to get personal Phil....
> 'Don't Look Now' was another creep out. Who _was_ that dwarfish woman in red at the end?


It was a woman? I just checked Wikipedia, to make sure you're right, which you are. It was the serial killer they were talking about earlier. I'm guessing she was just deformed and mentally ill, no biggie.


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## Chilham (Jun 18, 2020)

View attachment 140465


One of the enduring memories of my early-teens was watching this.


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## 89Koechel (Nov 25, 2017)

Sorry, MacLeod ... I didn't mean to CHIDE (and/or focus on 1947), and NOT mention Great Expectations, nor Oliver Twist. Maybe Dickens isn't my "cup of tea", although one should always RESPECT his writings ... especially as they were transcribed (and brought to LIFE) in cinema!


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## Guest (Aug 5, 2020)

89Koechel said:


> Sorry, MacLeod ... I didn't mean to CHIDE (and/or focus on 1947), and NOT mention Great Expectations, nor Oliver Twist. Maybe Dickens isn't my "cup of tea", although one should always RESPECT his writings ... especially as they were transcribed (and brought to LIFE) in cinema!


No need to apologise.  I'm no fan of Dickens' books, but yes, his stories do often make great films, and these two are my favourite cinema adaptations. I won't go so far as to say they are the 'best British films', but they are about as British as they come...

...oh...there's always _Scrooge _(aka _A Christmas Carol_ in US, 1951) with Alistair Sim.


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## En Passant (Aug 1, 2020)

Phil loves classical said:


> My fave Brit film has to be "The Wicker Man". Great atmosphere to the film.
> "A Clockwork Orange" had real funny moments. Probably my fave dark comedy.
> "Remains of the Day" is probably my fave historical drama.
> "Don't Look Now" is a real creepy film, unlike any I've seen.


Great pick I was thinking of suggesting this. The ending has stuck in my mind for over 15 years. It's the only film that has made me feel fear indirectly; The film itself isn't at on scary in my opinion but it makes you think how must the main character have felt in that moment? How would I feel? That's where the horror element comes from.

I haven't seen the remake but by all accounts it's dreadful. Hollywood has certainly lost interest in making art.


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## Guest (Aug 5, 2020)

"The Remains of the Day"; what an interesting and likable film!! Hopkins is superb as the repressed but dutiful butler who has to deal with Emma Thompson (whom I personally cannot stand) and the 'life' she brings into the house. It's a paean to the life of submission and repression of the self which is often integral to servitude.


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## Phil loves classical (Feb 8, 2017)

En Passant said:


> Great pick I was thinking of suggesting this. The ending has stuck in my mind for over 15 years. It's the only film that has made me feel fear indirectly; The film itself isn't at on scary in my opinion but it makes you think how must the main character have felt in that moment? How would I feel? That's where the horror element comes from.
> 
> I haven't seen the remake but by all accounts it's dreadful. Hollywood has certainly lost interest in making art.


Unfortunately I did watch the Nicholas Cage remake of the Wicker Man. The only scene that was more memorable and not in the original:






Ever watch Midsommar? That was also very Wicker-Man-influenced. I found it unnecessarily gory, and too derivative.


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## Phil loves classical (Feb 8, 2017)

Christabel said:


> "The Remains of the Day"; what an interesting and likable film!! Hopkins is superb as the repressed but dutiful butler who has to deal with Emma Thompson (whom I personally cannot stand) and the 'life' she brings into the house. It's a paean to the life of submission and repression of the self which is often integral to servitude.


Yup. Great film. Interesting you don't like Emma T. I thought the most memorable role after that one is in "Love Actually". I thought the part where she discovered her husband cheating kind of moving. Here's a vote to "Love Actually" as a one of the top Brit films ever. The 'porno' scenes were pretty funny.


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## Meyerbeer Smith (Mar 25, 2016)

_Kind Hearts and Coronets_
Something of a tour de force for the chameleon Alec Guinness - he plays the members of a large English family, all murdered by the outsider to secure the title.

*Lawrence of Arabia*
Well, yes.

_Séance on a Wet Afternoon_
(A while since I saw this; rather good, from memory.)

_It Happened Here_
England under Nazi occupation, seen through the eyes of a nurse turned collaborator.

_The War Game_
Controversial documentary about a nuclear strike on Britain; harrowing.

*The Wrong Box*
An adaptation of Stevenson's novel about a tontine will and an inconvenient corpse. Cast includes Michael Caine, Peter Cook and Dudley Moore, and Peter Sellers. Rather delightful. Highlights include the demise of the tontine holders (Queen Victoria: 'Oh. We are frightfully sorry, Sir Robert'); attempted fratricide; a glimpse of ankles; the happy realization that the two cousins are both orphans ("I only knew my father vaguely. He was a missionary. He was eaten by his Bible class"); and a chase at the end (with hearses and a brass band).

*The Lion in Winter*
Magnificent - superb cast sink their teeth into the scenery and each other; score by John Barry.

*The Assassination Bureau
*Something of a spiritual descendant of _The Avengers_, set in pre-WWI Europe. Stars Diana Rigg and Oliver Reed; escapades in French brothels and Venetian palazzi; ends with a swordfight on horseback in a zeppelin. One of those films in which almost everybody appears: some reasonably big-name stars (Telly Savalas and Curt Jurgens, both later Bond villains) and British actors (Warren Mitchell, Vernon Dobtcheff, Roger Delgado, Kevin Stoney).

_The Rise and Rise of Michael Rimmer_
Peter Cook as man with clipboard who rises to become prime minister through unscrupulous spin. Anticipates the BBC documentary _Century of the Self_ by 30 years. Script by Cook, _Python_'s Cleese and Chapman, and David Frost. A failure at the time, but clever and prescient.

*The Ruling Class*
Black comedy starring Peter O'Toole as an unhinged aristocrat who thinks he's Christ. ("How do you know you're God?" "Simple. When I pray to Him, I find I am talking to myself.") He gets 'cured'. Part of the counterculture zeitgeist that produced Patrick McGoohan's _Prisoner_ ('dem bones!').

*Death on the Nile*
Probably the best of the Agatha Christie film adaptations; Peter Ustinov might not physically resemble Poirot, but he's the worldly and wise foreigner Christie invented. Fine cast - including Angela Lansbury as a ghastly dipsomaniac writer - in '30s luxury.
(The Hywel Bennett / Hayley Mills 1972 _Endless Night _is also rather good.)

_The Dresser_
Effectively a two-hander between Albert Finney and Tom Courtenay. Quiet but compelling.

*Whoops Apocalypse
*




*Branagh's Hamlet*

*Topsy-Turvy*
Mike Leigh on G&S.

And Bond, of course - Connery and Moore.

I also remember liking _The Mouse That Roared_, which had Peter Sellers and a pre-_Who _Hartnell; and Emma Thompson was delightful in _The Tall Guy_.


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## MAS (Apr 15, 2015)

I think ALL of the *Merchant/Ivory* films deserve praise. *A Room With A View*, *Maurice*, *Howard's End*, *The Remains of the Day* (already mentioned), *Heat and Dust*, *The White Countess* to mention just a few. Hours of pleasure with beautifully filmed, gorgeously photographed, sumptuously costumed movies.


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## MAS (Apr 15, 2015)

*Chariots of Fire* made a big splash in its day!


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## Guest (Aug 26, 2020)

Very enjoyable film. I really liked it.


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