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September 06, 2008
Mike Leigh
Mike Leigh (1943 - )
(For regular visitors this a relaunched page as my titling errors had made the original one invisible to search engines which were reading something else. There are a couple of additions on this page such as trailers from YouTube)
Mike Leigh
Introduction
Mike Leigh is one of the UK's most important contemporary directors. Despite his record of success in making lower budget films his working methods preclude him from accessing the higher budgets required to work on a larger canvas as he phrased it recently in a Sight and Sound interview. His first film, Bleak Moments was financed by Albert Finney who also came from Salford . Many of his films such as Meantime (1983) have been made with the backing of TV companies such as Channel Four and the BBC. They can commission work because they know that a Mike Leigh TV film premier will give the required audience however Leigh along with most other British directors lives in the shadow of the Hollywood film marketing and Multiplex exhibition system which is itself in thrall to the marketing power of Hollywood. Below I have included a brief bibliographical sketch of Mike Leigh and highlighted some of his working methods which come to charactersie his films. His films have an authorial content and approach which significantly distinguishes them from other British films.
Biographical Notes
Leigh was born in Salford in 1943 into a medical family - his father was a doctor, his mother a nurse. His grandparents were Jewish immigrants from Eastern Europe. He first realised he wanted to make films while analysing the cinematic potential of his grandfather's funeral one snowy morning at the age of 12. In his teens he devised comic sketches whilst a member of the Jewish secular socialist-Zionist movement Habonim, In 1960 he left home for London and Rada (which he found "repressive and uncreative"). He followed this by studying at the Camberwell School of Art, and then enrolled at the London Film School. Leigh has since returned to be the Chairman of the Governors at the London Film School since 2000.
Whilst still a student Leigh began to write plays which were largely improvised. This activity eventually spawned Bleak Moments. (1971) and then Hard Labour in 1973 and Permissive Society 1975. Much of the next two decades was spent working mainly in TV. Leigh became recognised for writing powerful TV films such as Nuts in May (1976), and Abigail’s Party (1977). Meantime (1983) was a powerful film about a dysfunctional family and disaffected youth under the growing Thatcher regime at the time of the Falklands crisis which had a limited release in cinemas. It was five years before his next cinematic release High Hopes (1988). It was a film that combined realism with satire of a Swiftian nature. 1990 saw Life is Sweet the dark Naked (1993), Secrets and Lies (1996) which gained both British and American Academy ward nominations and won the Palme d’Or at Cannes). Career Girls (1997) is a form of chamber work. In 2002 the release of the biopic of Gilbert and Sullivan Topsy Turvey (2001) was a very different style to his previous work. 2004 saw the release of Vera Drake (2004) a realist representation of post-war Britain which highlighted the hypocrisy of the society in relation to the position of women of all classes. It became a prize-winner in Venice. In the recent book Mike Leigh on Mike Leigh he cites as his inspirations the British social realists Karel Reisz, Tony Richardson and Lindsay Anderson as well as American director John Cassavetes. He also says that directors and playwrights such as Renoir, Pinter and Beckett have influenced him.
Leigh’s Directing Methods
Critics often mystify Leigh’s working methods which are broadly improvisational but often carried out with known actors and crew. This is in essence an auteurial and dynamic approach which many directors from Godard to Loach to Fassbinder have used with variations. Of course it is the stuff of jazz performance: “A haze of rumour and mystique has long surrounded Leigh's unique working methods”, which he has developed over five decades in theatre, television and film. It's generally realised, however, that the process involves intense improvisation, research and close collaboration with his actors.
Mike Leigh on Mike Leigh tends to demystify the Leigh methodology. Leigh has established clear codes of practice such as never letting actors discuss their characters in anything but the third person. Any talk about players getting too close to their parts is firmly discounted. "The whole thing about people becoming the characters doesn't happen, and is not on," Leigh told Jonathan Romney in interview. However any great artist creates a certain indefinable charisma around themselves which is in practice inseparable to their working methods it is what makes Leigh Leigh not a metteur en scene. Leigh points out that:” there's stuff that goes on that can only be understood by people taking part in it."
What emerges from the interviews is that each piece derives directly from, and only from, the collaborative work that produces it, work which begins with the casting. "I cast intuitively," Leigh tells Romney. "I get people and I don't know what I'm going to do with them."
Leigh’s working method like Ken Loach involves a ‘need-to-know’ basis. As a result actors know only what their characters do. Famously during the preparations for Vera Drake, the scene culminating in Vera's arrest emerged from a 10-hour improvising session. At the end of this scene the actors playing the Drake family were entirely surprised by the arrival of actors playing police who had come to arrest Vera.
Sheila Johnston on Leigh’s Methods from the Telegraph
- Leigh meets each actor individually, and he or she talks about dozens of people he has known, intimately or fleetingly. Eventually, one is selected as the starting point for the character: it could just be a bloke glimpsed in the pub one night.
- Over the next months, the actor, along with Leigh, builds up an elaborate alter ego, mapping out his life in enormous detail, down to how his parents met, and exploring every cranny of his psyche.
- Once the individual characters are formed, Leigh gradually brings the actors together for a series of loose improvisations to build up their collective world. None of them knows anything about the film other than their own place in it
- After a while, they go out on the streets to interact with other characters and the unsuspecting public, while Leigh looks on from a distance. The late Katrin Cartlidge, who appeared in Naked and Career Girls, once described him to me as "like David Attenborough and his gorillas".
- Leigh writes an outline of scenes for the final film. The actors improvise specifically around these, while an assistant takes notes. The best lines and moments are distilled and scripted, and shooting can at last begin. This whole process takes about six months.
Actors Often USed by Mike Leigh
Alison Steadman
Alison Steadman played the title role in Mike Leigh's Abigail's Party on both stage and screen. She also appeared in Leigh's films Life is Sweet and Secrets and Lies. She was married to Mike Leigh for 20 years.
Timothy Spall
Timothy Spall. In 1982 his acting relationship with Mike Leigh started in 1982 in Leigh’s TV movie Home Sweet Home. The collaboration has lasted over 20 years.
Brenda Blethyn
Brenda Blethyn in Secrets and Lies . She has worked with Mike Leigh in both TV and Films perhaps most famously in Leigh's Secrets & Lies
Jim Broadbent
Jim Broadbent
Liz Smith
Liz Smith made her screen debut in Mike Leigh's first feature film Bleak Moments. She was also in Leigh's TV play Hard Moments.
David Thewlis
David Thewlis worked with Mike Leigh in Life is Sweet and Naked.
Sally Hawkins
Sally Hawkins has worked with Mike Leigh in All or Nothing, Vera Drake and most recently Happy-Go-Lucky
Filmography
Happy-Go-Lucky 2008
Vera Drake 2004
All or Nothing 2002
Topsy Turvy 1999
Career Girls1998 (Requires access to JSTOR)
Trailers From Mike Leigh Films
Secrets & Lies
Taken from YouTube this an extremely powerful extract of Mike Leigh getting the best out of his actors. Make sure you see this film .
Happy-Go-Lucky
Thin Man Films Production company: Mike Leigh & Simon Channing Williams
Mike Leigh and Simon Channing Williams met in 1980. Simon was First Assistant Director on Mike’s BBC film Grown-Ups, starring Brenda Blethyn. They teamed up again when Simon co-produced The Short and Curlies (1987) and High Hopes (1988), both for Portman Productions.
By this time a good worlking relationship was established a close personal and working relationship so they formed Thin Man Films. Since then Thin Man has made eight successful feature films, Life is Sweet (1990), Naked (1993), Secrets & Lies (1996), Career Girls (1997), Topsy-Turvy (1999), All Or Nothing (2002), Vera Drake (2004) and Happy-Go-Lucky (2008).
Awards to Mike Leigh Films
Secrets & Lies and Topsy-Turvy had nine Oscar nominations between them, Topsy-Turvy winning two.
1996 Secrets & Lies won the Palme d’Or and Best Actress at Cannes. It also won The Golden Lion and the Best Actress at Venice in 2004, as well as six BIFA’s, 3 BAFTA’s including Best Director, and three Oscar nominations
In 1994, Naked won Best Director and Best Actor at Cannes .
Awards Won by Mike Leigh
- Fiaf Awards 2005: Premio Fiaf – Mike Leigh
- Gotham Awards 2004: Lifetime Achievement Award – Mike Leigh
- Taormina International Film Festival 2002: Taormina Arte Award – Mike Leigh
- London Critics Circle Film Awards 2000: Dilys Powell Award – Mike Leigh
- Camerimage 1999: Special Award Best Duo: Director – Cinematographer Mike Leigh / Dick Pope
- BAFTA 1996: Michael Balcon Award – Mike Leigh
- Empire Awards 1996: Lifetime Achievement Award – Mike Leigh
Title |
Year |
Box Office Gross |
Opening Screens |
Debut Weekend Gross |
Vera Drake | 2005 |
£2,377,598 |
65 |
£266,000 |
Secrets and Lies |
1996 |
£1,969,910 |
||
Happy-Go-Lucky |
2008 |
£1,453,681* |
77 |
£385,000 |
Topsy-Turvey |
2000 |
£1,177,542 |
||
All or Nothing |
2002 |
£712,165 |
55 |
£164,000 |
Life is Sweet |
1991 |
£530,000 |
||
Career Girls |
1997 |
£492,772 |
||
Naked |
1993 |
£456,280 |
||
High Hopes |
1989 |
£245,549 |
||
*Still on release |
Gross until May 26 2008 |
Webliography
Thin Man Films (Mike Leigh's Official Site)
Screenonline biographical notes on Mike Leigh
Mike Leigh interview with Salon
BBC4 Interview with Mike Leigh interviewed by Isobel Hilton (There are several short downloadable audio interviews available here)
Leigh hits out at UK film industry
Mike Leigh live on Film Unlimited
BBC interview with Leigh on All or Nothing
Guardian interview with Mike Leigh on winning the Palme d'or with Secrets and Lies (1996)
Mike Leigh could be only holder of awards at Venice, Berlin and Cannes. Guardian Feb 2008
New Statesman on Leigh's Happy-go-Lucky
Guardian Review of Mike Leigh on Mike Leigh
Mike Leigh on Humphrey Jennings
Telegraph on Mike Leigh's Happy-go-Lucky
Independent: How Meeting Mike Leigh Raised Sally Hawkins' Game
Euroscreenwriters Interview with Mike Leigh
Screenonline: Mike Leigh on TV
Screening the Past : Review of The Films of Mike Leigh: embracing the World
Mike Leigh awarded a Doctorate by Essex University. (Full list of awards available here)
Johnathan Romney Independent 2008: Leigh Interview
Bibliography
Clements, Paul. 1983. The Improvised Play. London: Methuen
Coveney, Michael.1996. The World According to Mike Leigh. London: HarperCollins
Movshovitz, Howie (ed.)2000. Mike Leigh Interviews. Mississippi: University Press of Mississippi,
Quant & Carney. 2000. The Films of Mike Leigh. Cambridge: Cambridge University Press,
Raphael, Amy.ed. 2008. Mike Leigh on Mike Leigh. London: Faber and Faber
Watson Gary: The Cinema of Mike Leigh: A Sense of the Real
RETURN TO BRITISH DIRECTORS HUB PAGE
August 31, 2008
Happy–Go–Lucky(2008): Mike Leigh
Happy-Go-Lucky(2008): Mike Leigh
Return to Mike Leigh Page
Return to Contemporary British Cinema Hub
Trailer for Happy-Go-Lucky from YouTube
Introduction
I have just got the DVD of this film and sadly I wasn't too impressed despite generally liking the films of Mike Leigh. I have included a short synopsis of the reviews of other critics reactions to the film's theatrical release and have saved my own brief review until the end.
Synopis and Comment
Mike Leigh's latest film Happy-Go-Lucky is now on general release. It has proved successful in the recent Berlin film festival with Sally Hawkins who plays the lead role of Poppy picking up a Silver Bear. The film is promoted as a comedy drama which focuses upon the character of Poppy a London based 30 year old single primary school teacher. Poppy is a a cosmopolitan urbanite who takes life lightly but seriously. In fact she is "absurdly cheery" (McNab) in the face of life's minor set-backs such as getting her bicycle stolen. (Surely not a reference to Bicycle Thieves.)
Despite this 'comic' (idiotic?) side to her and the ability to be comic in the face of adversity is balanced with her commitment to good teaching and a stated concern about issues such as children 'playing too much on video-games' (Hopefully Leigh isn't contributing to moral panics about children's media consumption here).
Dave Calhoun in a Sight and Sound feature (May 08) has commented that Poppy, the central character of the film, needs to be analysed in relation to the Zeitgeist when as viewers we consider her actions and behaviour. He quotes an interview with Mike Leigh:
I don't think Happy-Go-Lucky is any less political than my other films... its as much about dealing with life and coping with issues as anything I've made.
If it is a Zeitgeist film Leigh would argue it represents a humanistic solidarity with fellow beings at a time when in a post-political (in a party sense) world there is little else one can do. After all it's hard to rise above the cynicism and disappointment displayed by an older man of late sixties in the bank in front of me expressing his horror at how the banks had been bailed out by a Labour government of all things. Well Poppy is clearly a survivor in a topsy turvy world. Calhoun describes Poppy as:
...a modern, urban woman, as comfortable with her friends as with her family, able to balance pleasure with work, and confidant in being single while retaining romantic ideals.
Importantly Calhoun is pointing out that underneath Poppy's extremely lively 'in yer face' character there is an issue of whether she is repressing something or trying to compensate for a fundamental insecurity. Many critics have described this as a comedy and then argued that this is a change of heart from Leigh who is often held up as a "miserablist".
Leigh comments that the structure is different to his other films in that there is really no parallel narrative unfolding:
The only thing that makes this film unique apart from two tiny scenes, there's no parallel action. The entire action focuses on what's happening to Poppy, whereas even in Naked there's a lot going on with other characters.
This change in narrative structuring is a significant break from Leigh's normal working practices where he tends to work in a semi-improvised way with the actors who are often only introduced to the turns in events in the story as they would happen to the character in real life. It is an important break for as Leigh points out:
Rather than a causal narrative, here I'm more concerned with a cumulative narrative that evokes an atmosphere and evokes Poppy's spirit.
The review in Sight and Sound by Geoffrey McNab makes the important comparison between the picture postcard London promoted by Working Title produced films such as Four Weddings and a Funeral or Notting Hill. Unlike these films Leigh notes the racism and also the racial and ethnic complexity of London. This makes a film which is giving a more honest representation of Britain rather than being a film which is a cultured British pearl for the American market, this is 'True Grit' one might say.
McNab makes a comparison between the permanently ebullient Poppy and Vera Drake in Leigh's film Vera Drake. For him there is a certain näivety yet ability to empathise with people common to both characters. At the same time Poppy appears to want to avoid responsibility. This is sharply pointed up when her pregnant sister Helen who is less than satisfied with her lot pressurises Poppy about marriage and a family: Poppy though, is having none of it. This would appear to be the Zeitgeist, if you can't change much better to think about the present than the future. Is this a Leigh critique of the postmodern condition?
Not everybody agrees with David Calhoun's interpretations of Mike Leigh and his approaches to this film and others in his oeuvre. The 'Letter of the Month' in the July issue of Sight and Sound is scathingly critical of Leigh:
Happy Go Lucky is about as accurate a study of British society as Four Weddings and a Funeral (David Secombe Sight & Sound July 2008 p 96)
Secombe continues arguing that Leigh is a middle class film maker making films for the middle classes. He bases the argument on the notions that Poppy is nothing like any primary school teacher despite the fact that:
...her overall presentation is intrinsically immature and occasionally suggests that she may be in need of remedial attention herself.
After spending some time commenting on what a change this makes for Mike Leigh the "miserabilist" the Channel Four reviewer sees the film in a rather less misanthropic light:
Poppy is the perfect primary school teacher. Her character's realism is found in memories of that supply teacher everyone once had, when their regular and boring teacher got pregnant or went to Pompeii, the one who let you do projects on space aliens and collect woodlice. Yet somehow you remember every word she said while the rest of those years are a Tudors-and-fractions blur.
The Telegraph reviewer argues that:
Leigh [admits that he] set himself a challenge: to make Poppy initially irritating, and then to allow her goodness to win audiences round. He embarks on this task subtly.
The divergence of opinions can perhaps be put down to everybody's memories of primary school teachers. Remember to bring yur memories with you when you get to the the film. I can't say I've really considere Leigh as a miserabilist anyway rather more an astutue observer who works in a sort of 'tragicomedy of the quotidian'.
Afterword
When it come to thinking about the state of British cinema in general the interview with Calhoun ends with some thoughts about what Leigh would like to make in the future. He expresses frustration with the fact that he can only access budgets of 5-6 million. Talking about a desire to use a larger canvas his metaphor becomes very obvious when he talks about wishing to make a film about Turner, nobody, he says is interested. He admits that his ways of working haven't proved attractive to financiers and here one is remonded of Godard's Le Mepris with its ironic critique of an American producer trying to work in sex at the right point to make the film sell. Godard's film of course ended up a long way from what was being expected by his producers.
Strange that in these days when appaerently the notion of 'cultural industries' is accompanied by notions of getting British identity up and running again that it appears to be impossible for a well respected film maker to be able to make a film about an iconic and extremly important painter. Turner certainly preceded the French Impressionists when is came to being modern as he applied some of Goethe's theories of colour into his work amongst other things but then of course the Olympics in already into its expected tripled cost overrun, which will doubtless keep the consultants happy if not the taxpayer. As for Mike Leigh making a film on Turner.....
Special Preview Performance Q & A with Mike Leigh on Happy-go-Lucky
DVD Review
Having summarised some of the issues around Happy-go-Lucky identified by other reviewers when the film had a thaetrical release I have now had a chance to view the recently released DVD. I must say I found the film extremely disappointing. Admittedly I have high expectations for mike Leigh films and Abigail's Party (TV Play), Meantime, Secrets and Lies & Vera Drake are outstanding examples of his oeuvre over the years. This film bored and irritated me in roughly equal amounts.
There were some splendid examples of Leigh at his best when he brings a sense of shock to the actors which tranmits itself onto the screen because of the way he works. The Flamenco teacher was splendid, the scene at the house of Poppy's sister Helen worked brilliantly and the Eddie Marsden driving instructor was generally excellent.
By comparison the character of Poppy quite simply didn't add up. There is a difference between being 'happy-go-lucky' and a complete airhead. For most of the film Poppy was a complete immature airhead. There was a clear disjunction between Poppy as represented in her professional life as a primary school teacher and her life outside. There has been much made of Poppy's warmth, empathy etc by Leigh & Hawkins in interviews on the DVD as well as by some of the reviewers above. I totally don't buy into this idea at all.
Poppy is intensely irritating, unserious in terms of her own future and unserious when she takes the role of a student. She is a total clown in both the Flamenco class and in the driving lessons. Far from being warm and empathetic she is totally self-obsessed and I find it hard to disagree with the comments from the letter of the month in Sight and Sound
...her overall presentation is intrinsically immature and occasionally suggests that she may be in need of remedial attention herself.
Whilst Leigh makes a virtue of there being non-parallel actions within the narrative and a lack of causality this would be fine if the scenes such as the one with the tramp actually advanced some depth of character. The scene with the tramp is totally artificial. Poppy is going down a rough looking street at night and then hears some drunken singing offscreen. she follows this sound into a derelict factory which is apparently open to all the world and finds a tramp behind a pillar. no-one in thier right mind would have domne this in the first place as it wouldn't have been possible to see properly. Later in the scene after the tramp has changed positions there appear to security lights blasting out in the same derelict factory. OK so McNab's point that this isn't the tourist gaze of London is correct but this representation of the seamy side doesn't really come across well.
From the outset Poppy is the sort of person you want to shake some sense into. Her visit to the bookshop in the opening scenes represents her as a complete idiot. She displayed no interest in any books whatsoever and seemed intent on trying out some light flirting with the bloke running the shop who was entirely bored by her. Poppy's playing with chicken fillets as breast enhancers with her mates after the night club when they carried on drinking to the point of stupefaction is clearly what we expect from 30 year old professionals. What was more astounding if not surrealistic was the ability of her and her friends to make miraculous recoveries after a heavy night. Poppy was a complete idiot when she got into the car for the first time with the driving instructor and carried on being an idiot. Poppy was also a complete clown when she turned up at the Flamenco sessions. This kind of a approach is unlikely to say the least from someone who is a practitioner in the educational system. She was behaving throughout like an immature office worker with no education at all and flirting with all and sundry. Had she not been a primary school teacher then the character added up, but Leigh by wanting to have it both ways and giving Poppy hidden depths in her professional life ends with a character that makes it impossible to suspend disbelief. Meet her in a pub and you'd probably be bored out of your head in two minutes. No she wasn't a malicious character but so what?
Even when there is a danger of Poppy entering serious discussions, such as when discussing the issue of children and video games or issues of parental responsibility for their children after a hard day at work, she skims the surface. The scene in Helen's house was sterotypical in terms of its content, with the sort of sharp binary positions being displayed which might have shocked in a 1960s play but just seem old hat nowadays. Poppy defends her freedoms from being tied down with a house and children against her sister who seems to be stuck out in an amorphous suburbia and is nearly 9 months pregnant. Helen is even made to act like a 70 something year old as is made up and dressed in an appropriate manner which again just didn't gel. Poppy even scorns a pension, except that as a teacher she would get a pension deducted from her salary anyway. Inexact detail lke this irritated.
In the past Leigh has been a master at creating quirky characters but believable ones not -as a correspondent in the September letters column of Sight and Sound suggests - surreal characters. People do not behave like automatons and Leigh has brought out this aspect of life significantly in the past. Leigh is associated with realism rather than naturalism but it has been a realism at the micro level which has focused upon the the dynamics of relationships between people and their individual choices rather than a realism such as Loach's which is always trying to strip bare the surface of the social world and identify and challenge what the structuring agencies within society are.
For me Poppy just didn't add up as a character. Her liberal ideas seemed to be without foundation and it is hard to believe that a person who had worked her way around the World as a teacher with sessions in Vietnam and sometimes classes of 60 wouldn't by the age of 30 have some deeper things to say. At times too there was a sort of faux-naivety in her dealings with other people. Far form being warm and empathetic she totally fails to understand the driving instructor, and the scene with the physiotherapist was ridiculous. Her flirty innuendos are fine coming from an 18 year old but they just made Poppy look stupid. Does the argument that Leigh is a surrealist save this film by giving it a different reading? I don't think so. Certainly Leigh is able to appreciate the surreality of the quotidian but the defense that Leigh and Hawkins put up in defence of Poppy's character scupper this idea from the outset.
In the end this film was disappointing and frequently bordered on the vacuous despite being interspersed with some good sections. The films of Leigh's that I'm familair with and mentioned above are far more worthwhile and it is worth adding High Hopes to the list as well. I'm a little surprised that the reviewers have been as soft on the film as they have. Maybe I'm turning into a complete misanthrope but I can't remember anything in it which struck me as funny. This isn't to say that there wasn't an enormous amount of skill and effort involved. Hawkins was great at making you sqirm, its just that the character as originally conceived didn't gel leaving an impossible task for the actor. There is nothing very satisfactory in this film in terms of the relationships. The central interaction between Poppy and the driving instructor was also difficult to buy into, if you have ever actually taught anybody to drive. The best one can say of this was that it was a representation of post-modern pap skimming the surface and skittering onto the next thing, certainly it lacked depth despite sympathetic reviewers trying to root it out. There are quite literally hundreds of good films to see and spend time and money on, sadly this wasn't one of them.
Webliography
Independent review Johnathan Romney
Independent Sarah Sands on Happy-Go-Lucky
Sally Hawkins on meeting with Mike Leigh
BBC on Happy-Go-Lucky with video interview available.
Return to Mike Leigh Page
April 10, 2008
Listen to Britain (1942): Dir Humphrey Jennings
Listen to Britain (1942): Dir. Humphrey Jennings
A Scots regiment singing 'Home on the Range' in Listen to Britain
Return to Humphrey Jennings main page
Introduction
For formal perfection, for essence of Jennings - albeit extracted by McAllister - probably 'Listen to Britain' would be the one to put in the time capsule. It never palls I must have seen it hundreds of times, but still every time I notice something I hadn't seen before. Somehow it has captured life's rhythm and texture. To watch it is to experience life afresh with an awareness that usually eludes us. The tiniest things...There's the pleasure of recognition, but also I think a revelation of the poetry in the everyday. (Drazin, 2007 pp 155-156)
The Importance of Naturalness
Jennings seemed to be better than most at capturing people being very natural 'capturing it how it was'. Jennings didn't work to much of a preconceived script which was to be disadvantageous when it came to trying to raise money for a feature film, but it worked brilliantly in documentary. Listen to Britain has certainly proved to be a very influential film for Britian's documentary and realist film makers as Mike Leigh notes:
I also admire Jennings's Listen to Britain. It is a fantastic piece of film-making for all of us (and this includes me) who in our films have tried to build film stories in an atmospheric way, using all kinds of elements, including sound and music. Listen to Britain does this extraordinarily well, and with an incredible ease of editing. Although it is not a narrative film, it is an exemplary piece of film storytelling and it raises the hairs on the back of your neck every time. (Mike Leigh Channel Four Website)
Probably to be great at documentary you have to be opportunistic and take advantage of moments of serendipity. Drazin discusses how in the shooting of Listen to Britain at a primary school it was impossible to shoot inside because of the lighting conditions so the children were asked to do a dance in the playground. One of the girls had made a mistake and the cameraman wanted to do a re-shoot Jennings wanted the naturalness of a child making a slip:'... the child's half-stumble, with its quality of truth made the scene.' (Drazin, 2007 p 157). However the Film Maker Mike Leigh makes an interesting point about the way many people are scratching on Jennings films:
If you look very closely at Jennings's work, you start to see some very interesting behavioural detail. For example, he often gets people to scratch - all over the place, across all of his films. You can see that he told them to do it when the camera gets to a certain moment. On your first viewing, you just accept it as part of the texture but it actually does look very self-conscious. The reason he's doing it is to introduce some kind of realistic movement into the very static style of documentary at that time. Don't forget that it wasn't until after the war that BBC radio realised that you could interview a working-class person spontaneously. Before that, they used to go out and talk to ordinary people, then write a script, and then get them to read the script. (Leigh ibid)
Despite his powerful intellectual capacity Jennings and his own taste for so-called 'high culture' he was concerned to capture tastes and cultural practices across the board. The filming of Flanagan & Alan doing a show in a factory canteen has a well timed cut to Dame Myra Hess playing Mozart in the National Gallery to the Queen amongst others. There was nothing judgemental there, all were enjoying themselves and the music they loved providing a unity in difference. Jackson points out in his introduction to the Humphrey Jennings Reader that Jennings:
...would not turn people into allegories or types, no matter how benign the typing might be, and the outcome was that he was able to show the British at war as nobody else could. Those singing factory girls are neither dupes of capitalism nor Stakhanovite heroines: they are the women Jennings chanced to meet when he took his cameras down to the shop floor, and thier faces are vivid and unforgettable after half a century. (Jackson, 1993 p XV).
In the Editing Room
Jointly on the credits with Humphrey Jennings is Stewart McAllister an editor with whom Jennigs worked a lot. Joe Mendoza who was a young assisstant in the GPO film Unit at the time was asked to work with Jennings because he was the only person who could read a musical score in the unit. This was a prospect he found intimidating as Jennings had a reputation for shouting at people according to Drazin. Mendoza thought that Jennings had the visual brilliance whilst McAllister worked more on the issue of the music and creating a progression thorugh the film giving it some structure even though it isn't a narrative documentary.
In Listen to Britain McAllister has been credited with several important sections such as the build up of aircraft sound over the cornfield and the crucial cut from the Flanagan and Allen factory floor show to Myra Hess in the National Portrait gallery. Creative editing was especially important in teis film as around 25% was taken from existing sources note Aldrich and Richards.
Despite the importance of McAllister's contributions and his ability to work well with Jennings Aldrich and Richards comment:
Nevetheless it is hard to to accept that the overall conception, the continuing preoccupations, the structure even of the films are not ultimately those of Jennings. (Aldrich and Richards p 224)
They point out that Jennings always did the scripting and of course all the shooting of the footage and even where some of this was spontaneous it was also done in the framework of the masterplan in Jennings' mind. It is they note Jennings belief in a pattern but one in which:
...artistic form was a wider reflection of British history and of English life and culture. It is this consistent and coherent world view which ultimately marks Jennings out as the directing intelligence of the films... (Aldrich and Richards 2007 p 225)
Critical Reception of Listen to Britain
In many quarters a jingoistic 'up and at them' form of propaganda was the only thing worth having, Aldgate and Richards cite Edward Anstey of the Spectator who was a s scornful of the film as were the documentary purists writing in Documentary News Letter who were scathing about Words for Battle:
By the time Humphrey Jenings has done with it, it has become the rarest bit of fiddling since the days of Nero. It will be a disaster if this film is sent overseas. One shudders to imagine the effect upon our allies should they learn that an official British film-making unit can find the time these days to contemplate the current sights and sounds of Britain... (Cited Aldgate and Richards 2007, pp 222-223)
However, in reality it went down well with audiences in fact the description below sounds closer to a rock group reception than a 'documentary' screening. The deputy head of non-theatrical distribution for the Ministry of Information (MoI) reported that:
All sorts of audiences felt it to be a distillation and also a magnification of their own experiences on the home front. This was especially true of factory audiences. I remember one show in a factory in the Midlands where about 800 workers clapped and stamped approval. (Aldgate and Richards 2007 p223)
Roger Manvell then working as the Films Officer in the South West and later North-West of the country reported that he always showed a Jennings film because of the :
...poetic and emotional life they gave the programmes as a whole. I do not exaggerate when I say that members of audiences under the emotional strains of war ... frequently wept as a result of Jennings' direct appeal to the rich cultural heritage of Britain.... (Manvell cited Aldgate & Richards 2007, 223 )
Overall Listen to Britain is a powerful film which through a very creative notion of documentarism manages to not only capture fragments of everyday life but unify them in a way which is at the highest level of myth-making thus comfortably achieving the aims of the MoI. The Spectator commentator was proved spectacularly wrong. This geninely was propaganda as art an extraordianry feat and one which Triumph of the Will doesn't come near thankfully.
Webliography
Screenonline: Listen to Britain
Screenonline: John Krish. Editing asisstant on Listen to Britain
Pembroke College International Programme: Theory and Practice of Documentary Film
Victor Burgin Exhibition inspired by Listen to Britain
Corner, John. Sounds Real. Cambridge Journal of Popular Music. (Reality Check: You'll Need to Pay for this one)
Guardian on a documenting Britain exhibition in Liverpool 2006
DUFAYCOLOR - THE SPECTACLE OF REALITY AND BRITISH NATIONAL CINEMA
British Cinema and The Ideology of Realism Chapter 1. (Somebody's interesting looking thesis)
Bibliography
Please follow link to the British Cinema Bibliography
October 19, 2007
Chronology of Important European Films
A Chronology of Important European Films 1918 - 2003
Introduction
This page is work in progress. Many links have been made to in site or external reviews or places where the film can be purchased; films post 2003 are now being added. Gradually in site 'hubs' are being developed for specific national directors so that clicking on an entry will allow the visitor to access the hub where links to more specialist information on the directors will become available. This is currently a long process and will take many months. The development plan for this aspect of the site work is to open up director based pages which will provide links to the currently best available relevant web sites based upon a Google search of normally up to page 20.
Objective
The primary purpose of this entry is to allow visitors to start to make comparisons across national boundaries by gaining a more synoptic view of cinematic developments in parallel countries. This accords with the main cinematic purpose of the blog which is to contribute towards an understanding of European film history in the five major industrial countries of Europe since the end of the First World War.
Many directors worked in a number of countries and, as in any other cultural industry, there are plenty of crossovers becuase cultural workers such as directors and cinematographers are often chosen for specific skills or want to work in a different country to gain a more cosmopolitan experience. Visconti, for example started working with Renoir in France before the Second World War, Emeric Pressburger worked in Berlin before choosing to escape Nazism and coming to Britain. Cavalcanti worked in France and then Britain was brought up in Switzerland and was of Brazilian origin. Truffaut worked with Rossellini briefly. This is of course the tip of the iceberg and signifies the importance of cross-cultural influences within the growth of European cinema. A tradition that carries on to this day.
Uses For This Page
This page should help a wide range of people who have an individual, academic or film programming interest in European cinema. First of all, my apologies to visitors who are disappointed because their country is not included in the list. I have chosen to focus on the five major industrial countries of Europe as my main area of research and development. All five are currently members of G8 the World's largest GDPs. Compared to the United States all these countries struggle to get a thriving independent film which has a large audience in its own country. This basic fact about issues of the cultural representation of a range of cultures is an important aspect of what can be termed cultural citizenship.
The definition of cultural citizenship is one which argues that people from different places are able to represent themselves to the rest of world. Out of the Western European countries studied here only France has managed to maintain a very powerful indigenous film culture largely because of its film policies which necessarily extend into the sphere of exhibition and distribution.
To develop more work on more European countries is beyond the scope of an individual blogger. This huge absence points the way to thinking about how to develop a much more powerful pan-European film culture which takes on board the need to develop audiences as well as exhibition, distribution and production systems. For those interested in current institutional initiatives please link here to the European Film Institutions page
Hopefully this blog and page will contribute to this greater idea. For any interested visitors the page should contribute to gaining an overview of European cinema as it has developed since World War I. This date has been chosen as it was a turning point in World history marking the transition of global power from European Empires to the United States although of course it took many decades to complete the transfer.
The page should help those running film clubs and societies who are trying to work out their programming, it should also help students and those independently interested in European cinema to quickly develop ideas and themes which can then be followed up.
Underwritten Films and Directors
One reason for doing this undertaking was to discover which films / directors were underwritten on the web. Whilst most searches will turn up highly specialist articles in small academic journals which require users to be members of a subscribing university there are sometimes very few well informed and well written in depth articles about certain films and / or directors. As I gradually make my trawl I will note here where there seem to be weak spots in web coverage. This might stimulate interest in the films and ensure that they still remain available.
Taviani Brothers: For most of the films I have been searching so far there is relatively little quality in depth material to recommend. They have made a lot of powerful films in Italy and deserve more serious web recognition.
Francesco Rosi: This is another director who remains underwritten on the web. Again he has made a lot of important films about Italy frequently with a strong humanitarian / political edge.
Luchino Visconti: Regarding his 1976 film L'Innocente there is little of any use on a Google search at present. The link I have goes to a Google sample of Henry Bacon's book - this is highly recommnded by the way. The English entries via Google on Senso are generally weak despite the importance of the film as recognised by Nowell-Smith and Dyer.
Rene Clair: Le Silence est d’or there is very little available in English on a Google search.
Guiseppe de Santis: One important point to note is the fact that Bitter Rice has not been available in the UK for a considerable period of time. This is surprising to say the least because not only is it seen as an important film in the canon of Italian neorealism but it was also one of the most commercially successful of the neorealist canon.
The Chronology
Year |
France |
Germany |
Italy |
Soviet Union / Russia |
United Kigndom |
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1918 |
Gance: Ecce homo Gance: J’accuse L’Herbier: Phantasmes |
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1919 |
Dulac: La Cigarette |
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1920 |
Dulac: La Belle dame sans merci Dulac: Malencontre Gance (-1922) La Roue |
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1921 |
Dulac: La Morte du soleil |
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1922 |
Dulac: Werther (Unfinished) L’Herbier; Don Juan et Faust |
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1923 |
Clair: Paris qui dort Dulac: Gossette Dulac: La Souriante Mme Beudet Gance: Au secours |
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1924 |
Dulac: La Diable dans la ville Renoir: La fille de l’eau |
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Protazanov: Aelita |
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1925 |
Clair: Le Fantome de Moulin Rouge Dulac: Ame d’artiste Dulac: La Folie des vaillants Gance (-1927): Napoleon vu par Abel Gance Gance(-1927) Autor de Napoleon Gance (-1928) Marine |
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1926 |
Clair: Le Voyage imaginaire Dulac: Antoinette Sabrier Gance (-1928) Danses |
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1927 Arrival of sound In USA |
Dulac: Le Cinema au service de l’histoire (Compilation)
(Online screening available) Renoir: Charleston |
Ruttman: Berlin Symphony of a City |
Pudovkin: The end of St. Petersburg |
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1928 |
Dulac: Germination d’un haricot Dulac: Le Coquille et le Clergyman (See under Invitation etc for online screening) Dulac: La Princesses Mandane Gance: Cristallisation L’Herbier: Un Chapeau de paille d’Italie Renpoir: Marquetta Renoir: La petite marchande d’allumettes |
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1929 |
Bunuel: Un Chien d'Andalou & L'Age d'or Dulac: Etude cinegraphique sur une Aaabesgue Dulac: Disque 927 Dulac: Themes et variations Renoir: Tire-au-flanc Renoir: Le bled |
|
Eisenstein: Old and New or The General Line Kovinstev and Trauberg: The New Babylon Protazanov: Ranks and People Turin: Turksib |
Asquith: A Cottage on Dartmoor Hitchcock: The Manxman (His last silent film) |
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1930 |
Cocteau: Le sang d’unpoete Gance: La Fin du Monde Gance: Autour de La Fin du Monde |
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1931 |
Clair: Sous les toits de Paris Clair: Le Million L’Herbier: Le Parfum de la dame en noir Pagnol: Marius (Technically directed by Korda) Renoir : On purge bebe Renoir: La chienne Vigo: Taris |
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1932 |
Clair: Le Quatorze juillet Gance: Mater dolorosa Pagnol: Fanny (Technically directed by Allegret) Renoir : La nuit du carrefour |
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1933 |
Pagnol: Le Gendre de Monsieur Poirier Pagnol: Jofroi Renoir: Chotard et cie |
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1934 |
Gance: Poliche Gance (-1935) Napoleon Bonaparte L’Herbier : Le Scandale Pagnol: L’Article 330 Pagnol: Angele Vigo: L'Atalante |
Trencker: The Prodigal Son (1933-34)
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1935 |
Gance: Le Roman d’un jeune homme pauvre Gance: Jerome Perreaux, heroes de barricades Gance: Lucrece Borgia Pagnol: Merlusse Pagnol: Cigalon |
Blasetti: Old Guard |
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1936 |
Carne: Jenny Gance: Un Grand amour de Beethoven Renoir: Partie de Campagne |
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Dzigan: We From Kronstadt |
Hitchcock: Sabotage |
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1937 |
Carne: Drole de drames Gance: Le Voleur de femme Pagnol: Regain |
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Gallone: Scipio the African |
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1938 |
Gance: Louise Pagnol: La Femme du boulanger Renoir: La Marseillaise. |
Alessandrini: Luciano Serra Pilota |
|
Saville: South Riding |
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1939 |
Carne: Le Jour se leve Gance: Le Paradis perdu L’Herbier: La Brigade sauvage L’Herbier: Entente cordiale |
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For contextual links and more films see: British Cinema and Society: Chronology 1939–1951
British Cinema of the Second World War
|
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1940 |
(French Cinema in the Second World War) Gance (-41): La Venus aveugle Pagnol: La Fille du puisatier |
Harlan: Jew Suss Hippler: The Wandering Jew
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1941 |
L’Herbier: Histoire de rire |
Liebeneiner: I Accuse Ruhman: Quax the Crash Pilot |
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1942 |
Carne: Les visiteurs du soir Becker: Dernier atout Gance (-1943): Le Capitaine Fracasse L’Herbier: La Comedie du bonheur L’Herbier: La Nuits fantastique |
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De Sica: The Children are Watching Us Rossellini: L’uomo dalla Croce |
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1943 |
Becker: Goupi main-rouges Bresson: Les anges du peche |
Rossellini (43-44) : Desiderio |
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Powell and Pressburger: The Life & Death of Colonel Blimp
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1944 |
|
|
Eisenstein: Ivan the Terrible Part 1 |
Batty: The Battle for Warsaw (UK / Poland) Clayton: Naples is a Battlefield (Documentary) Powell and Pressburger ; A Canterbury Tale Gilliat: Waterloo Road (Spiv) |
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1945 |
(French Cultural Policy After WWII) Becker: Falbalas |
Harlan: Kolberg (1943-45) |
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1946 |
Carne: Les Portes de la nuit L’Herbier: Au petit bonhuer |
|
Crichton: Hue and Cry (Ealing Comedy) |
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1947 |
Boulting Bros: Brighton Rock (Spiv) Cavalcanti: They Made Me a Fugitive (Spiv) Hamer: It always Rains on a Sunday (Melodrama / Social Real) |
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1948 |
Cocteau: L’Aigle a deux tetes Cocteau: Les Parentes terribles Renais: Van Gogh (Short) |
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1949 |
Becker: Rendez-vous de juillet |
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Cornelius: Passport to Pimlico Hamer: Kind Hearts and Coronets
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1950 |
Carne: La Marie du port Clair: La Beute du diable Cocteau: Corolian (Short) Resnais: Gaugin (Short) Resnais: Guernica (Short)
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Lee: The Wooden Horse Deardon: The Blue Lamp (Social Problem Films) Odette (Biopic / War) |
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1951 |
Bresson: Le Journal d’un cure de campagne Cocteau: La Villa Santo-sospir |
Staudte: The Subject (GDR banned FDR) |
Fellini: The White Sheik |
|
For contextual links and more films see: British Cinema and Society: Chronology 1951–1964
Boulting: High Treason (Anti-Communist) |
|
1952 |
Becker: Casque d’or Pagnol: Manon des sources |
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Rosi:Camicie rosse (Red Shirts)
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Asquith: The Importance of Being Earnest Frend: The Cruel Sea (War) |
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1953 |
Carne: Therese Raquin Gance: La 14 juillet 1953 L’Herbier: Le Pere de madamoiselle |
L. Anderson: O Dreamland (Social Real) Crichton: The Titfield Thunderbolt (Comedy) Gilbert: The Cosh Boy (first Brit X Rated Film)
Reed: The Man Between (Anti-Communist) |
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1954 |
Becker: Touchez pas au grisbi Carne: L’Air de Paris Gance: La Tour du Nesle |
Kautner: Ludwig II Kautner: The Last Bridge |
Hamilton: The Colditz Story (War) Asquith: The Young Lovers |
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1955 |
Clair: Les Grands Manoeuvres |
De Sica: Two Women |
Anderson: The Dambusters (War) Mackendrick: The Ladykillers (Comedy) |
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1956 |
Bresson: Un Condamne a mort s’est echappe Gance: Magirama |
Fellini: Le notti di Cabiria Risi: Poor but Beautiful |
Chukrai: The 41st Romm, Mikhail: Murder on Dante Street Romm, Mikhail: Ordinary Facism |
Gilbert: Reach for the Sky (War) Together (1956) Lorenza Mazzetti (Free Cinema) Momma don't Allow Karel Reisz and Tony Richardson (Free Cinema) |
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1957 |
Clair: Porte des lilas Resnais: Le Mystere de l’atelier (Short) |
Reitz & Dorries: Schicksal einer Oper . (57-58) |
Kalatozov: Cranes are Flying |
L. Anderson: Everyday Except Christmas (Free Cinema) |
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1958 |
Becker: Montparnasse 19 Chabrol: Le Beau Serge Resnais: Le Chant du styrene (Short) |
|
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Abuladze: Someone Else’s Chidren Gerasimov: And quiet lows the Don |
|
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1959 |
Bresson: Pickpocket Cocteau: Le Testament d’ Orphee Gance (-1960): Austerlitz |
Reitz: Baumwolle (Doc) |
Rosi: I magliari (The Weavers)
Rossellini: Generale Della Rovere |
Boulting: Carlton-Browne of the FO
Richardson: Look Back in Anger (Social Real) Reisz: We are the Lambeth Boys (Free Cinema) |
||
1960 |
Becker: Le Trou Carne: Terrain vague Godard: Le Petit soldat (released 1963) |
Lang: The Thousand Eyes of Dr. Mabuse Reitz: Krebsforschung I & ii. (doc short) |
Dearden: The League of Gentlemen
Powell: Peeping Tom (Thriller/Horror) Reisz: Saturday Night and Sunday Morning (Social Real) Gilbert Sink the Bismark (War)
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1961 |
Clair: Tout l’or du monde Godard: Une Femme est une femme |
Kluge: Rennen (Short) Reitz: Yucatan (Short) |
Fellini: Boccaccio ’70 (episode) |
Chukrai: Clear Skies |
Dearden: Victim (Social Real) Richardson: A Taste of Honey Social Real)
|
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1962 |
Bresson: Le Proces de Jeanne D’arc |
Oberhausen Manifesto: New German Cinema directors
Kluge: Leher im Wandel (62-63) (short) |
Bertolucci: La commare secca Taviani Bros: A Man for Burning Visconti: The Leopard |
Lean: Lawrence of Arabia (War) Schlesinger:A Kind of Loving (Social Real) Dr. No (Spy) Forbes: The L-Shaped Room (Social Real) |
||
1963 |
L’Herbier: Hommage a Debussy Resnais: Muriel |
|
Taviani Bros: Outlaw of Matrimiony Rosi:Le mani sulla città (Hands Over the City) |
|
Brooks: Lord of the Flies From Russia with Love (Spy) Schlesinger: Billy Liar (Social Real +) Richardson: Tom Jones (Literary Adaptation) |
|
1964 |
Gance: Cyrano et d’Artagnan Rouch / Godard / Rohmer et al.: Paris vu par |
|
Bertolucci: Before the Revolution Pasolini: The Gospel According to St. Matthew Rosi:Il momento della verità (The Moment of Truth) Visconti: Sandra |
Kosinstev: Hamlet |
|
|
1965 |
Carne: Trois chambres a Manhattan Clair: Les Fetes galantes Gance (-1966): Marie Tudor |
Kluge: Yesterday Girl (65-66 Schlondorff: Der junge Torless (65-66) |
Bellocchio: Fists in the Pocket Fellini: Juliet of the Spirits Pontecorvo: The Battle For Algiers
|
|
Boorman: Catch Us if you can (Swinging Sixties) Furie Sidney J: Ipcress File (Spy) Lester: The Knack (Swinging Sixties) Polanski: Repulsion (Horror) Ritt: The Spy Who Came in From the Cold (Spy) Scheslinger: Darling (Swinging 60s)
|
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1966 |
Bresson: Au hazard Balthazar Godard: Deux ou trois choses que je sais d’elle Resnais: La Guerre est finie |
Reitz: Mahlzeiten (Mealtimes). (66-67) |
Pasolini: The Hawks and the Sparrows |
Anderson (Michael): The Quiller Memorandum Antonioni: Blow Up (Swinging Sixties)
Reisz: Morgan: a Suitable Case for Treatment |
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1967 |
Bresson: Mouchette Gance: Valmy Godard: La Chinoise Pagnol: Le Cure de Cucugnan Resnais: Loin du Vietnam (Part of a collective work) |
Herzog: Signs of Life Kluge: Artists at the Top of the Big Top: Disoriented |
Pasolini: Oedipus Rex Taviani Bros: The Subversives Rosi: C'era una volta(Once Upon a Time) Visconti: The Outsider |
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1968 |
Carne: Les Jeunes Loups Renais: Je t’aime, je t’aime Rohmer: Ma nuit chez Maude |
Herzog: Fata Morgana (68-70) Syberberg: Scarabea |
Bertolucci: Partner Fellini: Histoires extraordinaires (Episode) Taviani Bros: The Magic Bird Taviani Bros: Under the Sign of Scorpio |
Lester: Petulia Reed: Oliver Richardson:Charge of the Light Brigade (Swinging Sixties) Donner: Here We go Round the Mulberry Bush
|
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1969 |
Bresson: Une Femme douce
Gance (-1971): Bonaparte et la Revolution |
Fassbinder: Love is Colder Than Death Herzog: Even Dwarfs Start Small (69-70) Kluge: The Big Mess (69-70) Sanders-Brahm: Angelika Urban, Verkauferin, verlobt (Doc) |
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Attenborough: Oh what a Lovely War
The Prime of Miss Jean Brodie |
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1970 |
Carne: La Force et la droit
Rohmer: Le Genou de Claire |
Fassbinder: The American Soldier |
Motyl: White Sun oft he Desert (Red Western) |
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1971 |
Bresson: Quatre nuits d’un reveur |
Losey: The Go-Between | ||||
1972 |
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Fassbinder: The Bitter Tears of Petra von Kant Herzog: Aguirre: Wrath of God Sander: Does the Pill Liberate Women? (Doc). Syberberg: Ludwig: Requiem for a Virgin King Wenders: The Goalkeeper’s Fear of the Penalty Wenders: The Scarlet Letter |
Rosi: Il caso MatteiThe Mattei Affair) (
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Tarkovsky: Solaris |
Kubrick: A Clockwork Orange |
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1973 |
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Fassbinder: Fear Eats the Soul Sander: Male Bonding Wenders: Alice in the Cities |
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Roeg: Don’t Look Now |
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1974 |
Bresson: Lancelot du lac Renais: Stavisky |
Fassbinder: Fox and His Friends Herzog: The Enigma of Kaspar Hauser Syberberg: Karl May |
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Mikhalkov: At Home Among Strangers, A Stranger at Home |
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1975 |
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Schlondorff & von Trotta: The Lost Honour of Katerina Blum Wenders: False Movement Wenders: Kings of hte Road |
Mikhalkov: A Slave of Love Tarkovsky: Mirror |
Monty Python and the Holy Grail |
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1976 |
Carne: La Bible Renais: Providence |
Fassbinder: Chinese Roulette Fassbinder: Satan’s Brew Herzog: Heart of Glass Herzog: Stroszek ((76-77) Reitz: Stunde Null (Zero Hour) Sanders-Brahm: Shirin’s Wedding Syberberg: Our Hitler (76-77) |
Fellini: Il Casanova di Frederico Fellini
Moretti: Io sono un autarchico |
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1977 |
Bresson: Le Diable probablement |
Kluge: The Patriot (77-79) Schlondorff / Fassbinder / Kluge/ Reitz et al : Germany in Autumn Schlondorff: The Tin Drum. (1997098) Von Trotta: The Second Awakening of Christa Klages Wenders: The American Friend |
Mikhalkov: Unfinished Piece for a Mechanical Piano |
Jarman: Jubilee Winstanley |
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1978 |
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Fassbinder: The Marriage of Maria Braun Herzog: Nosferatu |
Mikhakov: Five Evenings |
Harvey: Eagle’s Wing Parker: Midnight Express |
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1979 |
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Schlondorff: The Tin Drum Schlondorff / Kluge / Aust von Eschwege : The Candidate. (79-80) Von Trotta: Sisters or the Balance of Happiness |
Konchalovsky: Sibiriade Menshov: Moscow Does not Believe in Tears Mikhalkov: Several Days in the Life of I.I. Oblamov Tarkovsky: Stalker |
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1980 |
Renais: Mon oncle d’Amerique |
Fassbinder: Lilli Marleen Herzog: Woyzeck Reitz: Heimat (80-84) Sander: The subjective Factor (80-81) Sanders-Brahm: Germany Pale Mother |
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1981 |
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Syberberg: Parsifal (81-82) |
Bertolucci: Tragedy of a Ridiculous Man
Rosi: Tre fratelliThree Brothers) (
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Mikhalkov: Kinsfolk |
Reisz: The French Lieutenant’s Woman Gregory’s Girl |
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1982 |
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Fassbinder: Querelle Schlondorff / Kluge / Engstfeld: War and Peace (82-83) Von Trotta: Friends and Husbands Wenders: The State of Things |
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Anderson (Lindsay): Britannia Hospital
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1983 |
Bresson: L’Argent Renais: La Vie est un roman |
Herzog: Fitzcarraldo Reitz & Kluge: Biermann -Film (short). Schlondorff: Swann in Love Von Trotta: Rosa Luxemburg |
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Mikhalkov: A Private Conversation Tarkovsky: Nostalgia |
MacKenzie: The Honorary Consul Local Hero |
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1984 |
Renais: L’amour a mort |
Syberberg: die Nacht (84-85) |
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1985 |
Varda: Sans toi ni loi |
Kluge: The Blind Director Sanders-Brahm: Old Love (Doc) Schlondorff: Death of a Salesman |
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Frears: My Beautiful Laundrette Lean: A Passage to India |
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1986 |
Barri: Jean de Florette Berri: Manon des sources Resnais: Melo |
Sanders-Brahm: Laputa |
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Ivory: Room With a View Jordan: Mona Lisa |
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1987 |
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Herzog: Cobra Verde Kluge: Odds and Ends Wenders: Wings of Desire |
Olmi: Long Life to the Lady! Rosi: Cronaca di una morte annumciata (Chronicle of a Death Foretold)
Taviani Bros: Good Morning Babilonia |
Mikhalkov: Dark Eyes |
Little Dorrit Wish You Were Here |
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1988 |
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Von Trotta: Three Sisters |
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1989 |
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Wenders: Notebook on Clothes and Cities |
Fellini: Intervista |
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1990 |
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Von Trotta: Return |
Fellini: La voce della luna Rosi: Dimenticare Palermo (To Forget Palermo) Taviani Bros: The Sun also Shines at Night |
Mikhalkov: Autostop |
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1991 |
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1992 |
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Ivory:Room With a View Ivory: Howard’s End |
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1993 |
Kassovitz: Cafe au Lait / Blended
Kieslowski:Three Colours: Blue Kieslowski: Three Colours White (Co-pro)
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Muller: The Wonderful Horrible life of Leni Riefenstahl
Von Trotta: Il Lungo Silenzio |
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Mikhalkov: Anna 6-18 |
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1994 |
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Von Trotta:die Frauen in der Rosenstrasse Von Trotta: The Promise Wenders: Arisha, the Bear and the Stone Ring |
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1995 |
Wenders: Lisbon Story |
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1996 |
Wenders: Lumiere de Berlin |
Moretti: Opening day of 'Close-Up' Rosi: La tregua (The Truce) Taviani Bros: Chosen Affinities |
Minghella: The English Patient |
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1997 |
Kassovitz: Assassin (s) |
Wenders:Alfama Wenders: The End of Violence |
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For contextual links and more films see: British Cinema and Society: Chronology 1997–2010
Prasad: My Son The Fanatic Winterbottom: Welcome to Sarajevo |
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1998 |
Von Trotta: Mit 50 Kussen Manner Anders |
Taviani Bros: You Laugh |
Kapur: Elizabeth Ritchie: Lock, Stock and Two Smoking Barrels Sofley: Wings of a Dove |
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1999 |
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2000 |
Chabrol:Merci pour le Chocolat. Godard: Histoire (s) du cinema Haneke: Code Unknown(French co-pro)
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ContemporaryBritish Directors Hub Page
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2001 |
Denis: Trouble Every Day |
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2002 |
Dilthey: Das Verlangen (The Longing) |
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Loach: Sweet Sixteen |
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2003 |
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2004 |
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2005 |
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Mireilles: The Constant Gardner |
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2006 | von Donnersmarck:The Lives of Others |
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2007 |
Kapur: Elizabeth the Golden Age
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2008 | Assayas: Summer Hours |
Herman: The Boy in Striped Pajamas
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June 16, 2007
Directors for Contemporary British Cinema
British Directors in Contemporary British Cinema
Return to Contemporary British Cinema Hub
All active links lead to in house pages on the specific director. Some are still under construction and may not be currently accessible. Please try again soon.
Each page will have a specific webliography and will also have both internal and external links to a range of their films. Obviously this is a major development undertaking and there are currently 30 directors listed below with some more who need to be added.
Apologies for any shortcomings. British contemporary cinema is going to be a key development area in the coming weeks as many visitors are likely to be having an exam on it in the summer. It is recommended that you vist the relevant pages reasonably frequently as there will be quite a lot of change. Pages will be opened as soon as possible and the priority will be to provide a range of the best possible current web links which are considered as good quality.
I hope you will find the system useful.
Introduction
This posting is aimed at the interested general viewer in keeping up to date with British Films and film makers. It also functions as a core resource for the current OCR A2 Unit on Contemporary British Cinema.
Please note the term British Cinema is not the same as British Films. Cinema refers to the industrial systems of production, distribution, and exhibition as a whole. It can also refer to the criticics and reviewers who are employed at any given moment. Directors and the films they make here are only a small part of the industry as a whole.
The list below is primarily taken from the BFI Screenonline Directors on British and Irish Cinema. There are a couple of inclusions of directors who don't really make films in the UK or about the UK. Sir Ridley Scott being one of these and Sir Alan Parker being another. They tend to prove the rule that Hollywood is the global centre of filmmaking which is both American and yet has an extra dimension to it which proves highly attractive to the most successful filmmakers in the world in terms of gaining audiences at least. There are some surprising omissions from the Screenonline listings such as Paul Greengrass. Here I have linked to Wikipedia in the first instance.
List of Contemporary British Directors
Arnold Andrea (1961 -).
Attenborough, Richard (Lord) (1923 - )
Bird, Antonia (1959 - )
Boyle, Danny (1956-)
Branagh Kenneth (1960 -)
Broomfield, Nick (1948 -)
Chadha, Gurinder (1960 - )
Dibb Saul (?)
Daldry, Stephen (1961 - )
Davies, Terence (1945 - )
Forsyth, Bill (1946 -)
Gavron, Sarah ( )
Gilliam, Terry (1940 - )
Greenaway, Peter (1942 -)
Herman, Mark (1954-)
Joffe Roland (1945 - )
Jordan, Neill (1950 -)
Julien, Isaac (1960 - )
Kapur, Shekah ( )
Leigh, Mike (1943 - )
Loach, Ken (1936 - )
Madden, John (1949- )
Meadows, Shane (1973 -)
Minghella, Anthony (1954-2008)
Parker, Alan (Sir) (1944-)
Poliakoff Stephen (1952-)
Potter, Sally (1949 -)
Ramsay Lynne (1969 -)
Ritchie Guy (1968 - )
Scott, Ridley (Sir) (1939 -)
Williams Paul Andrew (?)
Winterbottom, Michael (1961 - )
Wright Joe (1972- )
TO VIEW OTHER CINEMA DEVELOPMENTS IN BRITAIN AND EUROPE PLEASE GO TO THE CHRONOLGY OF EUROPEAN CINEMA HUB PAGE