Dewsbury College
Dewsbury, United Kingdom
Graduated: 1984
Student status: Alumni
Degree: Professional
Major: Communication/Graphic Design
Clubs: It was called Dewsbury and Batley Technical and Art College in my day. Art College at Batley
I am an obviously wonderful human being with no apparent defects or disorders. Very well adjusted and welcome at all the very best social occasions. My natural charisma coupled with an easy and disarming honesty is hard to resist.
Attractive to all sexes and genders, 'though I myself have a preference for rugged good looks and large meaty thighs.
I am in a long term relationship with my ideal man, have no children, but do have a dog named Freya.
KISS, Art, Comic-Books, Magic, Literature and Esoteric and Erotic glyphs are my main passions.
If you would like to hear more about me...you're not the only one!
DISCLAIMER
The above description should be taken with a generous pinch of salt. Support Psychodialetical! Click Here!
My Favourite Things
BOOKS The classics, Holy Bible, Strandloper, Thursbitch, Iris Murdoch's early stuff and loads more...
My favourite author is Alan Garner. He was originally known as a writer of childrens fiction, but has long since confounded such labels, here is a link to the unofficial, but very good website:
FILMS Great acting, direction and cinematography in this one (click logo for link).
Again, great acting from all. The story of an ex army man who never quite fits in (click logo for link).
Rebecca, (click picture for interesting site about the film) Star Wars, (for Star Wars web site, click picture) Hard Candy, anything featuring Bette Davis, Jack Nicholson, Bruce Willis, Brendan Fraser or Christian Bale. Pan's Labyrinth A wonderful film!
My Friends,Family,Where I Live & Me
Kate Bush Official Site: Official STEVIE NICKS web site: LINDSEY BUCKINGHAM Official Site:
COMICS I'm a huge fan of comic-books, funny thing is I never grew out of them, they seemed to mature right along with me. I have made one myself, a work in progress, which can be accessed by clicking picture: Obviously, like in any other media there's a lot of exploitative rubbish, but amongst the dross there are some real gems. Here are just a few of my favourite creators, click on the names for more. P. Craig Russell , Barry Windsor Smith, Gene Colan, Paul Gulacy, and perhaps the greatest of all John Buscema. I hope you find these links at least interesting.
Official title for
Marvel Super Hero’s Animated Series from Culver Entertainment is announced (No U.K. screening details given yet).
..
BURBANK, CA (JUNE 18, 2007) “The Spectacular Spider-Man” is the official title of the super hero’s new animated series coming to the Kids’ WB! on The CW, it was announced today by Kids’ WB! Senior Vice President and General Manager Betsy McGowen.
“The use of the “Spectacular” title is an homage to Marvel’s wildly popular series of Spider-Man comics, and is very reflective of the enthusiasm and high regard we have for the production,” McGowen said. “This promises to be a stand-out animated series that will perfectly complement both Sony Entertainment's box office-shattering films and the amped-up action on Kids’WB! every Saturday.
Riding the crest of Sony’s blockbuster “Spider-Man 3,” the new animated series -- slated to premiere on Kids’ WB! in early 2008 -- picks up the world-renowned web-slinger’s mythology at the beginning of his hero’s journey as a not-so-typical 16-year-old with new-found powers engaging the multi-leveled pressures of teenage life while combating bigger, badder super-villains in the real world.
Greg Weisman (“Gargoyles,” “The Batman) is supervising producer on “The Spectacular Spider-Man.” Victor Cook (“Hellboy: Blood and Iron”) is producer/supervising director. The series is produced by Culver Entertainment.
N.B. Kiss did not in fact play, Watching You, Firehouse or Rock Bottom, despite these being listed in the article.
Who I'd like to meet: I'd like to meet...someone just like me, naturally! Hunters and fans of cruel sports need not apply!
In my late teenage years and early twenties I was involved in commercial design. I still have friends who work within the industry, Rob Chappell is one of them. I'm very proud of him so I present a selection of recent work. This is all commercial work, he's too modest to allow his private/fine art work to be shown. Maybe one day...
Conceptual Design, Storyboards (Television etc), Architectural Visualisation, Interior Design, Exhibition Design, Corporate Presentations, Educational Aids/Presentations, Print Design & Artwork.
To discuss your requirements e-mail: chappell.rob@googlemail.com
Please type "design details query/MySpace" in e-mail subject header.
Location: U.K. (Yorkshire)
Best U.K. Films Ever Made:
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 true collaboration between director Carol Reed and screenwriter Graham Greene, it is the story of a simple American (Cotten) who arrives in post-war Vienna to meet his old friend Harry Lime (Welles, evil and extraordinary), only to learn that Lime has been killed in an accident. But, as he unravels the truth, he is also drawn into the decadent and corrupt world in which Lime existed. 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. David Lean directed this expansion of Noel Coward's one-act play Still Life; Celia Johnson and Trevor Howard are the respectable middle-class couple who fall deeply in love but ultimately agree not to meet again and to return to their real lives. They do so with such dignity and restraint that it makes their ultimate parting all the more moving. The atmospheric music is Rachmaninov's Piano Concerto No. 2.
Lawrence of Arabia (1962), directed by David Lean
A truly epic film which won the Best Picture Oscar and BAFTA awards. Staggering in its scope, execution and impact, it remains a moving and memorable film-going experience. Director David Lean and screenwriters Robert Bolt and (originally uncredited) Michael Wilson combined to craft a story that seems to have two central characters - Lawrence himself (played with charismatic brilliance by 30 year-old Peter O'Toole) and the shifting desert so superbly photographed in glorious 70mm by Freddie Young. British eccentric T.E. Lawrence set about inspiring the Arabs to fight alongside the British against the Turks in the 1914-17 campaign. The film is full of scenes and performances to treasure, though perhaps the best remembered is the arrival at the isolated well of Sherif Ali (Omar Sharif) and the long shot of his ride across the shimmering sand.
The 39 Steps (1935), directed by Alfred Hitchcock
One of the greatest Hitchcock films and by far the best of the three big-screen versions of John Buchan's romping adventure novel, written in 1915. The excellent Robert Donat is the innocent engineer caught up in a web of intrigue when a female spy is killed in his apartment. A wanted man, he escapes by train and eventually on foot into the Scottish Highlands, before returning to London to solve the mystery. Heightened sexual chemistry comes from the scenes of Donat handcuffed to the heroine (played with icy charm by Madeleine Carroll) and having to spend the night with her. Hitchcock directs with a sure sense of pace and wit, and is always ready to add that extra jolt to surprise audiences of the day. At the time he said: "I am out to give the public good, healthy, mental shake-ups". He succeeded.
Great Expectations (1946), directed by David Lean
A masterly adaptation of Dickens' much-loved story, which fluently blends excitement, suspense and emotion. The memorable opening sequence of young Pip meeting Magwitch in the graveyard brilliantly sets the film in motion, and director David Lean handles the transitions from fear to drama and on to comedy with extraordinary ease. The cast is superb - John Mills as the older Pip and Jean Simmons as the young Estella are both excellent, as are Martita Hunt as the crumbling Miss Havisham and Francis L. Sullivan (who played the same role in the 1934 Hollywood version) as the lawyer Jaggers. A deserved Oscar for the stunning camera-work of Guy Green and another for John Bryan and Wilfred Shingleton for Art Direction and Set Decoration.
Kind Hearts and Coronets (1949), directed by Robert Hamer
A deliciously dark Ealing comedy that elegantly allows the audience to side with the killer as he sets about his task. 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. Also cast is the wonderful Joan Greenwood as the charmingly evil Sybilla. Robert Hamer directed, based on the book Israel Rank by Roy Horniman.
Kes (1969), directed by Ken Loach
Ken Loach's engagingly unsentimental story of a working-class boy who manages to find a rare release from his drab life training and caring for a kestrel. 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. 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. The film was shot on location in and around Barnsley.
Don't Look Now (1973), directed by Nic Roeg
Stunningly assembled by Nic Roeg, this remains one of the most disturbing of films, with the hint of terror lurking in almost every scene. 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 Daphne du Maurier story may be the root of Don't Look Now, but the heart is the extraordinary ability of Roeg to create splintered visions, subliminal imagery and a pervasive sense of horror. It is still a film not for the faint-hearted.
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. At its heart is a 14-minute ballet - also called The Red Shoes - based on a Hans Christian Andersen story of a wicked shoe-maker who makes slippers for a young woman who finds they won't let her stop dancing until she dies, exhausted. 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. Brilliantly marketed and with a pulsating soundtrack, it put Scottish and British talent in the spotlight, and showed that the awful truth of drug-taking could be handled in a clever, witty but still disturbing way. The story concerns a loose band of young Scottish junkies who do their worst before heading down to London with a bag of money. The film is famous also for helping to launch the careers of Ewan McGregor, Robert Carlyle, Jonny Lee Miller and others. Writer John Hodge won an Oscar for his adaptation of Irvine Welsh's novel.
If... (1968), directed by Lindsay Anderson
Lindsay Anderson's much acclaimed film marked the beginning of an extended partnership with actor Malcolm McDowell and writer David Sherwin (they made two more films together, further tracing McDowell's character) and confused the establishment with its complex and often cruel expose of an English private school. Eventually a group of three students (led by McDowell) 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. A bunch of hardened criminals hide out in a house near to London's St. Pancras station owned by a cheerful little old lady. Led by Alec Guinness (whose fiendish false teeth smack of master-criminal status), the gang's evil plans are constantly foiled by the old lady (played superbly by Katie Johnson) who is just too sweet to be true. Their bickering leads to violence and eventually wonderfully extravagant deaths. Peter Sellers is excellent as the chubby Teddy Boy, here in an early teaming with the equally nasty Herbert Lom (later Chief Inspector Dreyfuss to Sellers' Inspector Clouseau).
Saturday Night and Sunday Morning (1960), directed by Karel Reisz
Much acclaimed by critics at the time, this early 'angry young man' drama was set in Nottingham and its hero is a factory worker, wonderfully played by Albert Finney. Adapted by Alan Sillitoe from his novel, the film looks uncompromisingly at the life and frustrations of a working class man and the impact he has on the women in his life, played by Shirley Anne Field and Rachel Roberts. It may be grim stuff at times, but under Karel Reisz's direction it is refreshingly honest and at times moving. Music is provided by the jazz musician Johnny Dankworth.
Brighton Rock (1947), directed by John Boulting
Fresh-faced young Richard Attenborough took a stark acting change of pace, here playing with chilling presence Pinkie Brown, the vicious teenage leader of a gang of slashers. Based on Graham Greene's 1938 novel (adapted by Greene and Terence Rattigan), this is an impressively made thriller from the Boulting brothers (Roy and John also co-produced the film), with fine performances too by Hermione Baddeley as the singer and Harcourt Williams as the lawyer.
The Lavender Hill Mob (1951), directed by Charles Crichton
Superb Ealing comedy, with Alec Guinness in great form as the innocuous civil servant who manages the impossible and steals three million in gold bullion from the Bank of England. That Guinness is perfect as the modest Everyman is what makes this film such a classic, but there are marvellous supporting performances too from Stanley Holloway, Sid James and Alfie Bass as his accomplices. Watch for a young Audrey Hepburn as Chiquita in the opening sequences. T.E.B. Clarke's wonderful script won the Oscar for Best Story and Screenplay.
Henry V (1944), directed by Laurence Olivier
Filmed during World War II and clearly aimed at boosting the confidence of the British, this is a remarkable film version of Shakespeare's play. It was Olivier's debut as a director and he brought passion, spectacle, humour and real poetry to the film, but is also outstanding as the passionate Plantagenet Henry who, at 27, defeated the armies of France at Agincourt. Among the impressive cast are Robert Newton as Ancient Pistol, George Robey as Falstaff and Harcourt Williams as Charles VI. Olivier received a Special Academy Award in 1946 for bringing this film to the screen.
A Matter of Life and Death (1946), directed by Michael Powell, Emeric Pressburger
A quite perfect romantic fantasy from the team of Powell and Pressburger, which also gave David Niven one of the best roles of his career. He plays Peter, a World War II pilot who falls for an American radio operator (Hunter) as his plane is about to crash. But heaven makes a mistake and he survives, only to meet the girl in person and fall deeply in love. Now he must plead for his life at a celestial court. Handled with great compassion and intelligence by all involved.
The Long Good Friday (1980), directed by John Mackenzie
A violent crime thriller, featuring a stunning performance by the then little-known Bob Hoskins as the brutal Harold Shand. Vigorously directed by John Mackenzie from a screenplay by Barry Keeffe, the film follows Shand's attempts to woo a band of American entrepreneurs to London at the same time as gangland rivalry seems to be destroying his empire. Helen Mirren shines as Victoria, his sophisticated girlfriend, and look out for film debutant Pierce Brosnan as '1st Irishman'. This remains one of the very best British gangland movies.
The Servant (1963), directed by Joseph Losey
Powerful drama from Joseph Losey, from a screenplay by Harold Pinter. Edward Fox is the rich but useless young man whose life is gradually taken over by his sinister manservant (Bogarde, in superb form) and his sexy sister (Miles). Often quite nasty, but glossily compulsive and fascinating to watch the transition of the two principal characters.
Whisky Galore! (1949), directed by Alexander Mackendrick
Wonderful whimsy, charmingly directed by Mackendrick. On the fictional Scottish island of Todday, the wartime whisky ration has run out and the islanders are devastated. But when an American ship carrying 50,000 cases of Scotch is wrecked off-shore, they take it upon themselves to salvage and hide the booze. Thoroughly enjoyable film, with terrific performances from the likes of Joan Greenwood, Basil Radford and Gordon Jackson. Compton Mackenzie, author of the novel on which the film is based, also has a small role as Captain Buncher. It was shot on location on the Hebridean island of Barra.
The Full Monty (1997), directed by Peter Cattaneo
Hilarious contemporary comedy that managed that rare thing of being able to make you laugh while it also looked seriously at social issues. A group of out-of-work Sheffield steelworkers decide to become male strippers to try to make some much-needed money. The amusing dynamics of the group of men is perfect and the scenes of them rehearsing, or queuing in the DHSS office, remain fresh and funny. With a splendid script by Simon Beaufoy, the film established Robert Carlyle as a leading man and was a massive hit in the US as well as the UK, receiving four Oscar nominations and critical acclaim along the way.
The Crying Game (1992), directed by Neil Jordan
An impressively original film from writer-director Neil Jordan, produced by Stephen Woolley and Nik Powell, that proved to be a significant critical success and intrigued audiences with its clever plot twists. Stephen Rea is an IRA man who befriends a captured British soldier (played by American actor Forest Whitaker) and eventually heads to London where he gets involved with the soldier's lover Dil (extremely well portrayed by Jaye Davidson). Jordan shows great command of his material and justly won an Academy Award for his screenplay.
Doctor Zhivago (1965), directed by David Lean
A sprawling, visually stunning epic from David Lean, based on Boris Pasternak's massive novel. Sharif is the Russian doctor-cum-poet who marries Geraldine Chaplin, but later falls for the beautiful Lara (Julie Christie). The film takes in World War I and the Bolshevik Revolution, and its stunning set-pieces include the huge crowd scenes in Moscow, the train sequences and the beautiful snowy vistas. Oscars were given to Robert Bolt's screenplay, Freddie Young's cinematography, Phyllis Dalton's costume design, the art direction / set decoration by John Box and Terry Marsh, and Maurice Jarre's sweeping music score.
Withnail and I (1987), directed by Bruce Robinson
Dark, dyspeptic humour from writer-director Bruce Robinson that has achieved cult status. At the end of the swinging '60s, two wannabe actors in a dismal and dreary London are suffering from cold and lack of alcohol and money. They head for the countryside, only to be followed by Withnail's amorous Uncle Monty (the wonderful Richard Griffiths) who is keen to romance Marwood (the 'I' of the title, played by Paul McGann). This is grim humour, splendidly played and a great antidote to the sweetness of so many other comedies.
Gregory's Girl (1980), directed by Bill Forsyth
In this funny, moving and totally charming piece, Scottish writer-director Bill Forsyth explores the innocence of adolescence - how teenage boys know nothing, how girls are so much shrewder, and how young love never seems to work out quite right. Gregory (John Gordon Sinclair) is the gangling teenager who loses his place in the school football team to the lovely Dorothy (Dee Hepburn). He falls for her but finds nowhere to turn for advice - his mates know as little as he, and his younger sister is just interested in ice cream. Almost twenty years later, director and star reunited for a sequel.
Room at the Top (1958), directed by Jack Clayton
A remarkable screen adaptation of John Braine's novel, with Laurence Harvey perfectly cast as the young man determined to break social barriers and get ahead by marrying the factory boss's daughter. Jack Clayton did a marvellous job of pulling the film together, though Oscars went to Simone Signoret, for her performance as the older woman thrown aside as Harvey plots to move onwards, and screenwriter Neil Paterson.
Alfie (1966), directed by Lewis Gilbert
A tour-de-force performance by Michael Caine, who brilliantly brings to life Alfie, the swaggering Cockney romeo out to charm as many 'birds' as possible. Caine narrates directly to camera as he sets about his cold-hearted romancing of a marvellous cast of actresses. Adapted from his own material by Bill Naughton and well directed by Lewis Gilbert in his first collaboration with Caine, Alfie boasts a terrific score by Sonny Rollins.
Gandhi (1982), directed by Richard Attenborough
Richard Attenborough's epic film traces 56 of the 79 years of Gandhi's life, showing his transformation from the passionate young lawyer Mohandas K. Gandhi into the spiritual and political leader of India, who became a symbol for peace around the world. Ben Kinglsey, in his first leading film role, gives a remarkable performance as The Mahatma, and Attenborough handles the scale of his long-cherished project with skill, especially perhaps the vast funeral sequence. The film won eight Oscars, including Best Picture, Director, Actor and Screenplay (by John Briley). Low down the cast is a young Daniel Day-Lewis, playing 'Colin', one of three youths who grab Gandhi in the street.
The Lady Vanishes (1938), directed by Alfred Hitchcock
Another terrific Hitchcock, this time also blessed with a deliciously witty script by Frank Launder and Sidney Gilliat. Shot entirely at Gainsborough, this is a perfect comedy-mystery, taken from Ethel Lina White's novel The Wheel Spins. Dame May Whitty is Miss Froy, the elderly woman who disappears, Lockwood and a young Redgrave the couple who team up to find her, and the fabulous Basil Radford and Naunton Wayne are the cricket-mad eccentrics Charters and Caldicott who help in their own sweet way. A dizzying and thoroughly enjoyable experience.
The Italian Job (1969), directed by Peter Collinson
A highly entertaining caper movie, recently re-released on its 30th anniversary, which reached cult status thanks to Michael Caine, a trio of Mini Coopers and a sense of '60s fun that is back in fashion. Caine plays Charlie, a petty criminal who inherits the plans to a $4 million gold bullion robbery in Turin. Masterminded by the patriotic Mr Bridger (Coward) from his prison cell, Charlie's men create the biggest traffic jam ever seen. Their getaway across the piazzas and rooftops involves wild car chases (stunt driving was supervised by Remy Julienne, who later worked on several Bonds), followed by a much-imitated cliff-hanger ending.
Local Hero (1983), directed by Bill Forsyth
Magical, moving comedy-drama from writer-director Bill Forsyth, working again in his native Scotland. An ambitious young executive (Riegert) from Texas-based Knox Oil & Gas is despatched to a small Scottish village to negotiate the purchase of the whole place as the location for a new refinery. But the residents are wily Scots, who resolve to hold out for a high price. Unfortunately for all, the beach is owned and inhabited by old Ben (Mackay), so the Knox chairman (a lively, if eccentric, Lancaster) flies in to take over negotiations himself. This is a gem of a film, full of gentle humour, perfect performances and thoughtful insights, with an atmospheric music score by Mark Knopfler.
The Commitments (1991), directed by Alan Parker
Alan Parker's funny and extremely satisfying story of a group of young Dubliners who form a band determined to sing '60s soul music. They are gathered together from all walks of life by the ambitious Jimmy Rabitte (Atkins): perhaps the finest scene is the procession of wannabes who come to his front door for interviews. The real discovery, though, is the amazing vocal talent of Andrew Strong, who plays the heavyweight singer Decco Cuffe. With a script by Dick Clement and Ian La Frenais, based closely on Roddy Doyle's novel, the film is full of great music and great characters.
A Fish Called Wanda (1988), directed by Charles Crichton
Inspired farce from John Cleese (who stars and wrote the script) which combines moments of Python-style outrageousness with the structure of a classic Ealing comedy. Veteran director Charles Crichton (who made The Lavender Hill Mob and The Titfield Thunderbolt) also deserves credit for this story of a British barrister (Cleese) who gets involved with a sexy con artist (Curtis) and her mindless roughneck boyfriend (Kline) and their robbery plans. Full of wonderful moments, with Kline earning his Oscar for an hysterical, over-the-top performance.
Secrets & Lies (1995), directed by Mike Leigh
The film that finally secured recognition for Mike Leigh in the international market place. It gained Oscar nominations and acclaim around the world as once again Leigh used his considerable talents to marshal a fine cast of actors to tell what is on one level a simple story, but on another an honest look at the complexity of human relationships. Brenda Blethyn and Marianne Jean-Baptiste received much of the acclaim, but topcast Timothy Spall's performance also deserves attention. Moving and funny in equal measure, Secrets & Lies remains a remarkable film.
The Madness of King George (1994), directed by Nicholas Hytner
Impressive screen version of Alan Bennett's clever play, with Nigel Hawthorne reprising his stunning performance as England's eccentrically benevolent late 18th century King. When George becomes ill and shows signs of mental instability, Parliament and the Court start intriguing, whilst his son (a fine Rupert Everett) makes plans to usurp the throne. Bennett himself can be glimpsed in a brief cameo as a member of Parliament near the end of the film.
A Man For All Seasons (1966), directed by Fred Zinnemann
Visually stunning film of Robert Bolt's play, tracing Sir Thomas More's conflict with Henry VIII when the King plans a split from the Pope and the formation of the Church of England. Paul Schofield gives a wonderful (Oscar-winning) performance as More, while Robert Shaw, who developed successful careers as both an actor and an author/playwright, is no less impressive as Henry. In all, this vivid, powerful film won six Oscars (also Best Picture, Director, Screenplay, Costume Design and Cinematography).
Black Narcissus (1947), directed by Michael Powell, Emeric Pressburger
Sumptuous and powerful adaptation of Rumer Godden's novel about a group of nuns who struggle to establish a mission in a remote part of the Himalayas. The film is distinguished by Jack Cardiff's Oscar-winning colour cinematography, which adds visual impact to the drama, although it was shot entirely in the studio. The nuns face emotional and physical challenges, and the final sequences remain stunning, with Deborah Kerr giving a fine performance as the Sister Superior. Art Director Alfred Junge also won an Academy Award.
The Life and Death of Colonel Blimp (1943), directed by Michael Powell, Emeric Pressburger
Sentimental, though exceptionally shrewd, tale of a staunch and often misguided British soldier, tracing his life from the Boer War through to World War II. The character is supposedly based on David Low's caricature buffoon, though Roger Livesey's doddery yet patriotic soldier shows only a loose connection. Best of all is Deborah Kerr's terrific performance as the three different women in Blimp's long and varied life.
Oliver Twist (1948), directed by David Lean
Wonderful version of the Dickens classic, which Lean made shortly after he completed Great Expectations. He again used Alec Guinness, still in the early stages of his acting career, heavily disguised this time as Fagin. In a similar way to Great Expectations, Lean's dramatic scenes are very powerful; especially memorable is the sequence of Sikes (the terrifying Robert Newton) killing Nancy (Kay Walsh) because she had helped Oliver, while Sikes's dog scratches at the door. An outstanding cast includes Diana Dors in an early role, and then child-star Anthony Newley as the Artful Dodger. John Howard Davies, in the title role, later enjoyed a successful career as a television producer.
I'm All Right Jack (1959), directed by John Boulting
Splendidly entertaining and accurate comedy about the relationships in the '50s between businessmen and their workers. Nice-but-dim Ian Carmichael goes to work for his conniving uncle and after causing all sorts of problems with industrial relations, unwittingly upsets a crooked business scheme. Sellers is outstanding as union leader Fred Kite, while Attenborough and Price are excel as the oily businessmen. Scripted by Frank Harvey, John Boulting and Alan Hackney from Hackney's novel Private Life.
Performance (1970), directed by Nicolas Roeg, Donald Cammell
Roeg and Cammell's extraordinary Performance has received cult status for its portrayal of a strange and dark London underworld of gangsters and pop stars. Jagger, of course, is the pop star who has 'retired' to a hedonistic world of sex and drugs, while Fox is the gangster who initially hides out in Jagger's house, but gets drawn into a psychedelic whirlpool. Often disconnected and at times edited in a jagged manner, this remains a fascinating glimpse into a bizarre world.
My Beautiful Laundrette (1985), directed by Stephen Frears
Low-budget film-making from a young Channel Four that helped to inspire the British film industry and show that small pictures could work in a larger market place. Daniel Day-Lewis, then still in his 20s, appears in his first major role as the punk Johnny who eventually falls for Omar (Warnecke). An entertaining and shrewd look at both race relations and the economy of Britain in the mid-1980s from the young playwright Hanif Kureishi.
Tom Jones (1963), directed by Tony Richardson
Joyous and well-received adaptation of Henry Fielding's tale of a young man's bawdy adventures in 18th century England. Albert Finney romps through proceedings as the high-spirited Tom who eventually marries the squire's daughter, while Lynne Redgrave makes her film debut way down the cast. Richardson's completely disarming direction won an Oscar; it also won for Best Picture, John Osborne's screenplay and composer John Addison.
This Sporting Life (1967), directed by Lindsay Anderson
A brutal film, starring Irish-born Richard Harris as a miner who becomes an aggressive rugby player, and Welsh-born Rachel Roberts who impresses (and won a BAFTA award) as the woman suffering from his inarticulate passions. Hailed at the time as one of the best films made in England, Anderson's rugby sequences are uncompromising and explicit (similar to the boxing in Scorsese's Raging Bull). The script was by David Storey, based on his own novel.
My Left Foot (1989), directed by Jim Sheridan
This uplifting film features a tour-de-force performance by Daniel Day-Lewis as the strident Irish artist-writer Christy Brown, born with cerebral palsy. Director Sheridan in his debut film (he co-wrote alongside Shane Connaughton) handles the mixture of emotion, humour and drama perfectly, and extracts remarkable performances all round, especially from Hugh O'Connor as the young Christy. Day-Lewis and Brenda Fricker, who plays Christy's mother, both won Oscars.
Brazil (1985), directed by Terry Gilliam
Terry Gilliam's dazzling examination of a 1984-like future society swirls between the bleak reality of the life of hapless clerk Sam Lowry (the excellent Pryce) and his confused dreams. The screenplay, by Gilliam, Tom Stoppard and Charles McKeown, allows for wildly imaginative production design and some rich, dark comedy. Robert DeNiro crops up as a grinning freedom fighter, and Katherine Helmond (from TV's Soap) is Sam's bizarre mother. The film was initially cut by some 11 minutes for its US release and became the subject of a campaign to have the full version screened.
A Taste of Honey (1961), directed by Tony Richardson
Classic, offbeat British drama from the early '60s, based on Shelagh Delaney's London and Broadway stage success. An ordinary teenager in Salford (Rita Tushingham) has an affair with a black sailor, becomes pregnant and ends up being cared for by her homosexual friend (played by Murray Melvin). A poignant film, with fine central performances and a subtle script by Delaney and director Richardson. It scooped four BAFTA awards, including Best British Picture and one for Dora Bryan, who made Tushingham's mother a memorable character.
The Go-Between (1970), directed by Joseph Losey
An intriguing, moody picture, made by the combined talents of Joseph Losey (directing) and Harold Pinter (screenplay). Based on the story by L.P. Hartley, it tells of a 12 year-old boy, Leo, who carries love letters between farmer Ted Burgess (Bates) and beautiful aristocrat Marian Maudsley (Christie). A richly textured Edwardian England is re-created and elegantly filmed; the film is full of subtle nuances, as well as fine performances.
The Man in the White Suit (1951), directed by Alexander Mackendrick
Brilliant comedy from the talented Alexander Mackendrick (directing and co-writing), with Alec Guinness at his best as the innocent, idealistic inventor who devises a revolutionary piece of cloth that will always stay clean and last forever. This, of course, upsets the textile factory owners and workers, who suddenly see no further use for their businesses. Guinness's mild-mannered performance is finely balanced by the terrific Joan Greenwood who schemes with gentle charm. The gurgling noises from Guinness's experiments were later set to music and released as 'The White Suit Samba'!
The Ipcress File (1965), directed by Sidney J. Furie
First of the Harry Palmer spy series, produced by Harry Saltzman and based on Len Deighton's thrillers. Michael Caine's myopic crook-turned-agent offered the perfect antidote to the suave elegance of Bond and the film was a big success. Here, Palmer becomes involved in a number of nasty killings linked to mind control torture as he tracks a scientist who disappeared on a train. Two sequels followed (Guy Hamilton's Funeral in Berlin and Ken Russell's Billion Dollar Brain), and the Palmer character has been revived in the '90s, with Caine again taking the role.
Blow-Up (1966), directed by Michelangelo Antonioni
Classic '60s cinema from Italian director Antonioni, starring David Hemmings as a hip fashion photographer who discovers that he has accidentally photographed a murder in a park. The murder plot is the link to take viewers through 'swinging' London, dabbling with hash, sex and fashion in equal measures. A fascinating look at a currently cool age, with impressive performances from the young Redgrave, Birkin and Hemmings himself. Adapted by Antonioni and Tonino Guerra from Julio Cortazar's short story, with English dialogue by Edward Bond.
The Loneliness of the Long Distance Runner (1962), directed by Tony Richardson
At the heart of this Woodfall production lies a BAFTA award-winning performance by Tom Courtenay as a rebellious young man chosen to represent his reform school in a long distance race. As he trains, he recalls events from his life. Out of the screenplay by Alan Sillitoe, based on his own story, Yorkshire-born director Richardson created one of the most powerful dramas of the '60s. Long Distance Runner was subsequently the title of Richardson's autobiography.
Sense and Sensibility (1995), directed by Ang Lee
Taiwanese director Ang Lee does a wonderful job of bringing Jane Austen's novel to the big screen, assisted in no small measure by leading lady Emma Thompson's Oscar-winning script. Set in 18th century England, two newly impoverished sisters - one, Winslet, spirited and flirtatious, the other, Thompson, repressed and sensible - have to deal with society and men. Performed with distinction all round, but perhaps a special mention for Alan Rickman's loyal and solid Colonel Brandon.
Passport to Pimlico (1949), directed by Henry Cornelius
Enchanting, whimsical comedy set shortly after the Second World War. An old royal charter which cedes Pimlico to the Dukes of Burgundy is found in a shell hole, and the locals declare themselves an independent state in the heart of London. Full of charm and flavour, the film was cleverly written by Ealing regular T.E.B. Clarke, and features fine performances from the likes of Margaret Rutherford, Stanley Holloway and Hermione Baddeley.
The Remains of the Day (1993), directed by James Ivory
Absorbing and moving Merchant-Ivory adaptation of Kazuo Ishiguro's novel, with fine central performances from Anthony Hopkins and Emma Thompson. Hopkins is the so-proper butler of a baronial country home and Thompson is the head housekeeper. Though they clash on certain matters, there are clear signs of an unstated romance. Meanwhile, the manor itself plays host to various intrigues as the naïve owner (Fox) forms relationships with Nazi sympathisers.
Sunday, Bloody Sunday (1971), directed by John Schlesinger
A complex, intelligent and remarkably well constructed film by John Schlesinger which explores the relationship between three people and the break-up of two love affairs. Peter Finch plays a homosexual doctor in his 40s and Glenda Jackson an employment counsellor in her 30s. Both are in love with Murray Head's boyish sculptor; he divides his attentions between both of them without showing a preference. Great performances all round.
The Railway Children (1970), directed by Lionel Jeffries
A true children's classic - a much-loved adaptation of E. Nesbit's novel about three children living with their mother in the Yorkshire countryside after their father has been sent to prison, charged with espionage. They are determined to clear his name, but at the same time become obsessed with the local steam railway, eventually helping to prevent an accident. Charmingly performed and constantly heart-warming.
Mona Lisa (1986), directed by Neil Jordan
Sharp, stylish drama from Neil Jordan (who wrote the screenplay with David Leland). A small-time criminal (Hoskins, in excellent form), newly released from prison, is given a job driving a high-priced call girl around London. As their relationship deepens, the oddly naïve Hoskins is drawn into an increasingly nasty underworld of drugs and violence. Cathy Tyson made an impressive debut as the call girl, while Michael Caine is suitably slimy as the evil crime boss.
Hamlet (1948), directed by Laurence Olivier
Olivier produced and directed this handsome version of Shakespeare's play from an adaptation by Alan Dent. Certain characters are omitted, but this is a vital, fluid and witty treatment with terrific performances; Stanley Holloway stands out as the Grave Digger. Best Picture trophies were scooped at both the Oscars and BAFTA. Olivier, who also won the Best Actor Oscar, played the title character (as did Kenneth Branagh almost 50 years later) as a platinum blond.
Elizabeth (1998), directed by Shekhar Kapur
Dark, engrossing film, shot on location at the castles of north-east England, with a towering central performance by Australian actress Cate Blanchett in the title role. Elizabeth's ascendancy to the throne is a story of palace intrigues, executions and attempted assassinations, as she tries to find balance, in a country divided by faith, between Protestant and Catholic. Shekhar Kapur does a wonderful job in creating a rich, potent atmosphere and extracting fine performances from his varied cast. Watch out for footballer Eric Cantona as a French courtier.
Goodbye, Mr. Chips (1939), directed by Sam Wood
Robert Donat won a well deserved Oscar for his performance as the shy schoolmaster Mr. Chips, whose whole life is teaching 'his boys' until in later life he encounters love in the form of Greer Garson. Based on James Hilton's novel, the film manages to balance sentiment with drama, and Garson, making her film debut, became an overnight star. Re-made as a musical in 1969 with Peter O'Toole in the lead role.
A Room With A View (1985), directed by James Ivory
An elegantly presented adaptation of E.M. Forster's novel about a young woman's awakening while on a chaperoned trip to Florence, while at heart dealing with British manners. Helena Bonham Carter impresses as the young woman, Miss Honeychurch, though the strength of the film is the superb band of supporting players, ranging from Judi Dench, Denholm Elliott and Maggie Smith, through to Daniel Day-Lewis's hilarious performance as Bonham Carter's prissy suitor. The film won three Oscars: Best Screenplay (by Merchant-Ivory regular Ruth Prawer Jhabvala), Art Direction and Costume Design.
The Cruel Sea (1952), directed by Charles Frend
Based on Nicholas Monsarrat's best-seller (published the previous year), with an Oscar-nominated screenplay by Eric Ambler, this is an exceptionally well made drama about the battles in the Atlantic during World War II. The crew are brave and determined but, as the film ably presents, war is dreadful and the ultimate enemy is the cruel sea. A great box-office success, with fine performances from Hawkins, Sinden and Baker.
Billy Liar (1963), directed by John Schlesinger
Tom Courtenay is terrific as Billy, the ambitious but intently lazy young man who escapes from the dull routine of his job by entering a fantasy world, making some comments along the way about Britain's middle class life. Based on the novel by Keith Waterhouse, and scripted by Waterhouse and Willis Hall (who also wrote the stage version together), this remains tremendous, well-acted entertainment.
Oliver! (1968), directed by Carol Reed
Rousing, constantly enjoyable musical version of Dickens's Oliver Twist from Lionel Bart, with a memorable central performance by Ron Moody as Fagin. In fact, every part is well cast, with Mark Lester and Jack Wild also excellent as Oliver and the Artful Dodger respectively, and Oliver Reed finding a perfect role as the vicious Bill Sikes in a film directed by his uncle. Oliver! won six Oscars, including Best Picture and Director, along with a special prize to Oona King for her inspired choreography. The marvellous sets are by John Box, who designed several films for David Lean.
Peeping Tom (1960), directed by Michael Powell
Michael Powell's notorious Peeping Tom was so vilified by the British critics when first released that it was swiftly withdrawn and the episode almost ended Powell's career. It was later re-evaluated and perceived as a creepy, frightening picture about a very disturbed mind. Carl Boehm (whose cool Teutonic looks work very well for the title role) plays the cameraman who films his victims' murders, while Anna Massey is the innocent girl downstairs who becomes his confidant. It is certainly disturbing cinema, perhaps ahead of its time, and remains a powerful visual document·
Far From the Madding Crowd (1967), directed by John Schlesinger
Beautifully shot film version of Thomas Hardy's much-loved (and much-studied) novel about Bathsheba Everdene (the excellent Julie Christie) and her three suitors - wonderfully played by Peter Finch (as the wealthy landowner), Alan Bates (as the lowly but honest farmer) and Terence Stamp (as the dashing officer). This is thoroughly enjoyable, classic cinema, packed full of incident, intelligently directed by Schlesinger, who displays his ability to get the best out of his actors.
The Draughtsman's Contract (1982), directed by Peter Greenaway
Writer-director Peter Greenaway's clever, mannered film is set on an English estate in the summer of 1694. A draughtsman (Higgins) is working on images of the landscape, but gets attacked by those whose love is property. He is teased and tormented by the excellent Janet Suzman, while as usual Greenaway constructs his images with clinical precision. Made by the BFI, the film was a popular and critical success.
A Clockwork Orange (1971), directed by Stanley Kubrick
At the end of the century, Kubrick's notorious film is still unavailable for screening in the UK at the request of the film-maker himself. But despite, or perhaps because of, that, it retains an enduring underground popularity. This adaptation of Anthony Burgess's celebrated novel is truly harrowing, disturbing cinema. It traces the anti-social antics of Alex (the excellent Malcolm McDowell) and his gang as they make their violent way around the city. Eventually captured, he is made 'safe' - a 'clockwork orange', healthy and whole on the outside, but what of the inside?
Distant Voices, Still Lives (1988), directed by Terence Davies
Filmed in two distinct parts, and with a considerable time between the two shooting periods, this is a magnificent evocation of working class life in England during the '40s and '50s. Family members are all damaged in some way by the irrationally cruel father, while the cheerful lyrics of popular songs act as a balance to their dour lives. Davies, working from his own autobiographical script, presents the ordinary lives beautifully and conjures up memorable imagery. The Long Day Closes was a sequel .
Darling (1965), directed by John Schlesinger
Julie Christie won the Best Actress Oscar for her performance as the young woman who transforms her life by switching from an ordinary lifestyle to marrying an Italian noble; in between, there are plenty of love affairs. Frederick Raphael's script is excellently constructed - trendy, cynical and very 1960s - and a perfect vehicle for Christie. Raphael and costume designer Julie Harris also won Oscars for their work on the film.
Educating Rita (1983), directed by Lewis Gilbert
Memorable two-hander based on Willy Russell's play, directed with a knowing touch by Lewis Gilbert (who collaborated again with Russell later that decade on Shirley Valentine). Julie Walters, who also played the role on stage, is the Liverpudlian hairdresser who signs up for an Open University English course; Michael Caine is her drunken college tutor. They set about changing each other over the period of the course - she wanting the education he thinks worthless; he relishing her lust for life. Beautifully acted and very entertaining.
Brassed Off (1996), directed by Mark Herman
It is 1992 and the miners of Grimley Colliery are in trouble. The pit is under threat of closure and the Colliery band is about to call it a day. Then Gloria (Tara Fitzgerald) arrives and has a profound impact on the lives of the band members, the miners and their families. This is a moving film with a cutting social edge, full of hilarious lines (scripted by the director, Mark Herman, who later filmed Little Voice). The sequences of the brass band in the national competition are very stirring.
Genevieve (1953), directed by Henry Cornelius
The 'Genevieve' of the title is a classic car - a 1904 Darracq - to be driven by John Gregson and Dinah Sheridan in the London-to-Brighton motor rally against the smug Kenneth More and the trumpet-playing Kay Kendall in a 1904 Spyker. Seemingly effortless, perfect comedy, with the two drivers genially and gloriously slugging it out on the road. The harmonica music is by the legendary Larry Adler.
Women in Love (1969), directed by Ken Russell
The never less than interesting Ken Russell directs this adaptation of D.H. Lawrence's novel, essentially tracing two love affairs. There are fine performances all round, but perhaps best remembered is the nude wrestling scene between Reed and Bates. Glenda Jackson won her first Best Actress Oscar for her portrayal of Gudren Brangwen. In Ken Russell's The Rainbow, a sort of prequel to Women in Love, made 20 years later, Jackson played the mother of her character in this film.
A Hard Day's Night (1964), directed by Richard Lester
This Beatles vehicle was stunningly successful, mainly because it allowed the 'fab four' to romp about, largely playing themselves. This is Richard Lester's idea of a typical day in the life of the Beatles: they head to London with Paul's grandfather (Wilfrid Bambell) in tow, and get into all sorts of trouble before eventually just making it to the studio in time for a television performance. Very amusing, with a great soundtrack (including Can't Buy Me Love), the film allowed all the Beatles to stand out as personalities. The following year, Lester directed them in the even more frantic Help!
Hope and Glory (1987), directed by John Boorman
John Boorman's autobiographical tale (he also scripted and produced the film) of a young boy's experiences during the early years of World War II proved a great success with audiences, who appreciated the humour and emotion as well as the rich detail. Boorman skilfully re-creates the atmosphere - a mixture of excitement, danger and boredom - of the London air raids, while always looking at the experiences through a boy's eyes. Charley Boorman, who starred in The Emerald Forest for his father, appears here as a German pilot who is shot down.
My Name is Joe (1998), directed by Ken Loach
Moving and funny in equal doses, this is a Glasgow-set drama by director Ken Loach, working from a great script by Paul Laverty. Peter Mullan gives an award-winning performance as Joe, a reformed alcoholic who tries to make ends meet by doing a little decorating, while also running a rag-tag football team. He falls in love with a social worker (Goodall), but his compassion for his friends leads him into conflict with a local drug dealer (menacingly portrayed by Hayman).
In Which We Serve (1942), directed by Noel Coward, David Lean
A masterful story of men at war, co-directed by Noel Coward and David Lean, receiving his first directing credit. Coward, who also wrote and scored the film, stars as Captain Kinross, leading his men on board a World War II battleship. The under-stated patriotism is what is most moving as the story unfolds via flashbacks. The film offered debuts to Celia Johnson, Richard Attenborough (as an inexperienced stoker), young Daniel Massey and even an infant Juliet Mills.
Caravaggio (1986), directed by Derek Jarman
Writer-director Derek Jarman crafted an imaginary biopic of Italian painter Caravaggio, who died in 1610, with emphasis on beautiful male models, court scandals and humorous moments of anachronism. Fabulous production design by Christopher Hobbs and impressive cinematography from Gabriel Beristain added immeasurably to a film shot on a very modest budget. A popular success on release, this retains today a cult appeal.
The Belles of St. Trinian's (1954), directed by Frank Launder
The first and best of the film versions of Ronald Searle's cartoons about a crazy school for girls. The priceless Alastair Sim plays twin roles - as the school's headmistress Millicent Fritton and as Clarence Fritton, her bookmaker brother, who wants to use the school in a scam. Also on hand are Joyce Grenfell as an undercover policewoman and George Cole with his memorable portrayal of well-meaning spiv Flash Harry. Great comedy which spawned several sequels.
Life is Sweet (1990), directed by Mike Leigh
Wonderful Mike Leigh comedy, dwelling on a working class couple, Wendy and Andy (played to perfection by Alison Steadman and Jim Broadbent), their oddball twin daughters (one of whom, played by Jane Horrocks, is filled with self-loathing) and their friend (Timothy Spall), a would-be restaurant owner. The humour is often bitter-sweet, but then, as always, Mike Leigh's work reflects life in all its darkness and light.
The Wicker Man (1973), directed by Robin Hardy
A haunting, harrowing chiller scripted by Anthony Shaffer which has gained cult status over the years. Woodward is the Scots police sergeant who visits an isolated island to investigate the disappearance of a local child. He is drawn into local rituals, often eerie and erotic, eventually discovering an awful pagan rite which involves himself. The film offered a change of horror style for Christopher Lee after multiple appearances as Count Dracula.
Nil By Mouth (1997), directed by Gary Oldman
Stunning directorial debut by actor Gary Oldman (who also wrote the script), featuring searingly honest performances from Kathy Burke and Ray Winstone. An unsparing account of life in the underbelly of London, where the only escape from depression is to take drink or drugs and occasional brutal violence. Kathy Burke won the Best Actress award at the 1997 Cannes Film Festival for her role.
