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Much-loved and well remembered, the film is regarded as a classic of its time, with Loach commenting poignantly on the lack of opportunities for the working classes.
It is based on Barry Hines's novel A Kestrel for a Knave, and features cinematography by Chris Menges.
Beautifully shot by cinematographer Robert Krasker (who won an Oscar for his work), the film is full of sequences that linger in the mind, while the acclaimed zither rendition of 'The Harry Lime Theme' by Anton Karas helps to create a rare, haunting movie atmosphere. Brief Encounter (1946), directed by David Lean A rightly celebrated tear-jerker which movingly recreates a little England on a northern railway platform (location: Carnforth, Lancashire).
It shows that even the repressed British can display emotion (in a very understated manner, of course) when true love comes along.
Dennis Price plays the penniless young hero, ninth in line to inherit the D'Ascoyne dukedom, who systematically sets about murdering the eight in the way to his title.
The brilliant casting twist was that Alec Guinness played all eight - a general, a snob, a photographer, a suffragette, an admiral, a clergyman, a banker and the duke - with enjoyable ease.
Julie Christie and Donald Sutherland are the parents whose drowned daughter may be sending them messages, leading them into the gothic labyrinthine of a deserted Venice. The Red Shoes (1948), directed by Michael Powell, Emeric Pressburger An extraordinarily imaginative film which has quietly established itself as a classic and has the ability to affect some viewers deeply.
The Third Man (1949), directed by Carol Reed After half a century, The Third Man remains a bona fide British classic: rich on atmosphere, strong on suspense and blessed with quite wonderful performances.
A film that plays just as well showing the psychological battle of wills as the more epic scenes of military conflict, it won seven Oscars, including one for screenplay (by Carl Foreman and Michael Wilson, based on Pierre Boulle's novel). (1968), directed by Lindsay Anderson Lindsay Anderson's much acclaimed film marked the beginning of an extended partnership with actor Malcolm Mc Dowell and writer David Sherwin (they made two more films together, further tracing Mc Dowell's character) and confused the establishment with its complex and often cruel expose of an English private school.
These writers, though, were blacklisted, so Boulle, who spoke no English, received the script credit. Eventually a group of three students (led by Mc Dowell) rebel and set about shooting teachers and fellow students from the roof of a school building. The Ladykillers (1955), directed by Alexander Mackendrick Priceless black comedy made at Ealing Studios.
This story is, of course, the basis for the film's larger backstage plot concerning the relationship between a megalomaniac impresario (Walbrook) and his young ballerina (Shearer).
Beautifully presented by the team of Powell and Pressburger, with choreography by Robert Helpmann. Trainspotting (1996), directed by Danny Boyle Dark, ironic and made with such style and power, Trainspotting arrived in cinema's centenary year as a much-needed push for British film.
Though the subject matter is serious, as usual with Loach there is plenty of room for humour and still to be cherished is Brian Glover's exuberant performance as the warped sports teacher.