#Britannia III dvd

[spryfilm]

DVD review: “Britannia III” (2019)

[britesparc]

Weekend Top Ten #451

Top Ten British Films of My Lifetime

Here we are with another of my semi-regular “this has nothing to do with anything but I just thought about it” lists. Nothing to tie into, nothing to celebrate, just a moderately interesting topic. Hopefully.

I don’t feel like people talk about British films the way they did in the nineties. Maybe that’s just because I'm not a teenage wannabe film director reading Empire anymore so I'm not picking up on a meta-narrative or looking for ways into the industry, but I think it’s more the changing nature of the film “biz”. The nineties proved that there was a functioning film industry in Britain, and the subsequent rise (or return) of huge blockbusters filming here has meant that there’s always a lot of money flowing through British studios and companies. Star Wars, the Wizarding World, and James Bond are just three franchises where, whichever country owns the rights or the IP, there’s still a strong UK flavour to the productions, even if they have American actors and directors. Even indie films get money from all over the globe now, further muddying any attempt to define the nationality of a film. For a long time there, the Coens were making films for Working Title, so arguably they were British films too.

I'm going to insert a depressing caveat here and say that, with Covid shutting the cinemas and the government’s reluctance to offer ongoing support to the industry, there is a chance that our position as a great location or a destination for a raft of production and post-production services may be under serious threat. Like with Thatcherism, we could end up seeing a return to the bad old days of the eighties, when despite stone-cold gems emerging, the industry did struggle. But anyway.

Basically, I don’t always know if a British film is a British film these days, and their Britishness does not get ballyhooed as much as it did 25 years ago.  But all the same, for reasons undefinable (because Lord knows I’m not feeling very patriotic at the moment), I have here decided to list my Top Ten British Films. I’ve focused on “in my lifetime” because, well, it’s easier, and there are fewer huge films that I've missed. But like I always say, I'm not a journalist or a professional film critic, so there certainly are some huge films that I've missed. Off the top of my head, three very big films I've never seen are Naked, Sexy Beast and In God’s Country; maybe they would be on the list. Also, with the 2020 of it all, I've seen virtually nothing this year (Farmageddon and – is it British? – Cats are the only Brit-flicks I saw at the cinema before the Dark Times; if you’re after a review, well, Farmageddon is better). But, look, this is my list and It's utterly arbitrary, as always.

Rule Britannia, etc.

Paddington 2 (2017): yes, it’s utterly delightful, which we need more of in this day and age, but it’s also exquisitely constructed on a technical level. It's phenomenally well-shot, Paddington himself is an extremely good effect, the scripts are tight, the performances spot-on (give Grant an Oscar!)… honestly, this film is perfect. I try to be arch or cynical but I can’t. It's a masterpiece and it does not get enough love.

Withnail & I (1987): as sublime a piece of screenwriting as you’re likely to find, the film is also bolstered with two stand-out performances for the ages (three, really, if you include Uncle Monty). Simultaneously a hilarious character comedy, a gritty but nostalgic look at a lost decade, and an utterly tragic tale of self-destruction.

Brazil (1985): one of those films that’s disturbingly, increasingly prescient. A grim look at the future through a dirty lens, a visual tour-de-force, Michael Palin playing a delightful monster, pathos, romance, tragedy… almost certainly Gilliam’s best film.

Trainspotting (1996): utterly seminal; stands alongside Pulp Fiction as one of the definitive films of my youth. Boyle’s direction is so assured, Hodge’s screenplay distils an unfilmable novel into something utterly cinematic, and McGregor delivers an unforgettable performance. Cool, slick, funny, strange, tragic, and very, very British.

In Bruges (2008): another film with two people swearing a lot and just having terrific dialogue, this time against an ironically beautiful backdrop. A neat character study, great performances, devastatingly sad, just damn funny. Also inspired my wife and I to take a real holiday to Bruges, so top marks.

Hot Fuzz (2007): probably, on balance, the best of the Cornetto Trilogy, perfecting the intense montage-heavy style but giving us a bigger canvas, excellent action, a neat puzzle box of a plot (the forward-referencing is at its peak here), a series of increasingly amazing cameos, and arguably the best incarnation of the classic Pegg/Frost double act.

United 93 (2006): unlike many on the list, not one I’d relish watching again; a blisteringly tense, heartbreaking interpretation of the last moments of flight United 93 on 9/11. Taking something seemingly unfilmable, Greengrass gives us a thriller of the highest calibre, a director working at the top of his game to make something unbearable but unmissable.

Ex Machina (2014): it’s rare that a film can be a tense chamber piece and also a groundbreaking sci-fi and also a great special effects movie, but Ex Machina is that, as well as a directorial debut (Dredd rumours notwithstanding). Gleeson and Isaac are incredible in their cat-and-mouse relationship, Vikander is a revelation as Ava, and the whole thing is shot through with such assuredness, walking well-trod paths but absolutely giving us something new and interesting.

Notting Hill (1999): I kinda had to have a “traditional” romcom in here, of the kind popularised by the writing of Richard Curtis; I think common logic says Four Weddings is the best but I’ve always preferred Notting Hill as it’s simultaneously more focused (just dealing with Grant and Roberts) but also has a bigger canvas as it touches on celebrity and fame. As a piece of popular writing it’s exceptional; funny and genuinely romantic and moving, with a great central couple you’re always rooting for.

Brassed Off (1996): sneaking into my Top Ten, displacing the likes of The Descent, Richard III, and 12 Years a Slave, simply because its message of resilience in the face of governmental cruelty and its quiet depiction of nurturing northern socialism is striking a chord at the moment. Stephen Tompkinson should have been able to launch a Hollywood career off the back of this performance, and the late, great Pete Postlethwaite is a beacon of tragic, stoic heroism, especially in the climax of the film. The Fully Monty went into similar areas to greater financial success, but Brassed Off is the sadder film, the film that stays with you longer.

Right, there we are; a definitive list. Sorta. I’m kind of surprised there are so many relatively recent films up there; I thought it’d be full of stuff from the late eighties and mid-nineties (I’m note sure why I feel that “mid-nineties” needs a hyphen whilst “late eighties” doesn’t, but there you go). As I flicked through my mental album, however, I realised that a lot of films from that period I hadn’t seen in twenty years or more, and I just didn’t feel like I could justly rank them; A Fish Called Wanda, Time Bandits, The Company of Wolves, Educating Rita, The Cook, the Thief, his Wife, and her Lover, Secrets and Lies, Mona Lisa… all of these might have been included if either my memory was better or if I’d whacked a DVD on more recently.

Anyway, there you. Brits are good at some things. Obviously those things don’t include feeding hungry children or successfully negotiating international trade agreements, but there you go. Can’t have everything.