POPULARITY
5 episodes with Ealing Studios
6 episodes with Ealing Studios
4 episodes with Ealing Studios
2 episodes with Ealing Studios
2 episodes with Ealing Studios
2 episodes with Ealing Studios
2 episodes with Ealing Studios
Zach is joined by return pod-pal Smokey (Podcaster, 'The House of Hammer' & 'All The Best Lines') on a trip to the legendary Ealing Studios to discuss and delight in the comedy titans 1955 classic, THE LADYKILLERS. Settle into Mrs. Wilburforce's world with our podcasters as they discuss the origins of the darkly comic script, revel in stories surrounding the casting of the many legends on screen, become flabbergasted at tales of director Alexander Mackendrick's methods in getting what he wanted on film, unpack the magnificent plot of a robbery stopped short by a little old lady, and finally settle upon the way this film and the Ealing Studio's output has influenced the world of film today. PLUS: Alec Guinness spoils classic movies to save you a trip to Wikipedia Be sure to follow Smokey's podcasting by checking out: HOUSE OF HAMMER: Apple Podcasts: https://podcasts.apple.com/gb/podcast/the-house-of-hammer/id1562467810 Spotify: https://open.spotify.com/show/7eWVAN2L9yTp8lYU4Sjm1O Also be sure to support HOUSE OF HAMMER on Patreon: https://www.patreon.com/househammerpod and find more the Linktree: https://linktr.ee/househammerpod and ALL THE BEST LINES: Apple Podcasts: https://podcasts.apple.com/gb/podcast/all-the-best-lines/id1533468069 Spotify: https://open.spotify.com/show/2iZlBfeEs05EHxhd1HJZl6 AND OF COURSE, Follow his social media shenanigans House of Hammer Twitter: https://twitter.com/HouseHammerPod House of Hammer Insta: https://www.instagram.com/househammerpod/ House of Hammer BlueSky: https://bsky.app/profile/househammerpod.bsky.social All the Best Lines Twitter: https://twitter.com/bestlinespod?lang=en
Gebeutelt von herbstlichen Erkältungen und technischen Problemen beim Videocall ringen Sebastian, Marco und Heiko damit, über den hervorragenden britischen Klassiker "It Always Rains on Sunday" zu sprechen. Der Film stammt aus den Ealing-Studios, die unter anderem für Komödien-Klassiker wie "Adel verpflichtet" und "Ladykillers" bekannt sind. "It Always Rains on Sunday" ist ein Alltagsdrama mit leichtem Thrillertouch, das im Nachkriegs-London spielt: Ein Sträfling ist aus dem Gefängnis entflohen und sucht Unterschlupf bei einer ehemaligen Geliebten, der Stiefmutter der Familie Sandigate. Während Vater beim Dart-Spielen verweilt, werden seine Töchter langsam Flügge und geraten an ganz unterschiedliche Männer des Viertels. Polizei und Presse sind bereits auf der Spur des Flüchtlings, der wie viele im East-Ende "einfach nur raus" will, doch was wird von der Familie Sandigate noch übrigbleiben, wenn der nächste verregnete Sonntag anbricht? weitere Kurz-Reviews: Der Pass (Serie), Hunting Ground (1983), The Flash (2023) Hört auch unseren Comic Podcast: Im COMIC CAMP Podcast besprechen wir alle vier Wochen die neuesten US-Serienstarts, Neuheiten aus aller Welt und Klassiker aus unserem Comicregal. Jetzt überall wo es Podcasts gibt! Unterstützt uns mit einer Spende oder werdet Mitglied in der Filmkammer des Schreckens! https://ko-fi.com/filmkammer Weitere Links zu unseren Websites und Social Media https://linktr.ee/filmkammer Emails könnt ihr uns an filmkammer@buddelfisch.de senden Hört die Filmkammer überall wo es Podcasts gibt! Mix: Sebastian Kempke Music: Intro: "80s Workout Montage", von CrossGateProductions, lizensiert via Envato Outro: "Filmkammer Theme Song" Mix von Sebastian Kempke
Send us a textDavid Sarnecki joins us at the waffle hut to talk about what is widely considered the Coen's worst film, the madcap-yet-sluggish remake of an Ealing Studios classic.
Door 5 in the Christmas Horror Advent Calendar opens, looking at seminal slices of festive fear - Dead of Night from Ealing Studios (1945) and macabre noir Beware My Lovely (1952)
The revamped Review It Yourself continues. The podcast with the sigh. Film reviews for the eternally unimpressed. Sean goes it alone without Sarah, already!? I know. Sean is joined by Marv from the 'Pods Like Us', 'When They was Fab' and 'Toppermost of the Poppermost' podcasts to discuss the classic Ealing Studios film The Titfield Thunderbolt (1953). Will Sean and Marv remain unimpressed by the film? Discussion Points: -Marv describes how his Grandad introduced him to hours and hours of train films. -The heart behind the film, the classic British "small force against adversity" story. -The strength in a simple yet effective story. -A libellous, passive aggressive float: what's not to love! -An accidental shotgun shoot-out. -Sean enjoyed the film, so his notes are horrendous. -The subtle social commentary in the film. -Marv and Sean seriously discuss the social impact of closing a railway to a small village, and The Beeching Cuts (1963-1965). The Beeching Cuts were a series of major service changes and line closures, headed by Richard Beeching of the British Railways Board. Raised Questions: -Have they ever bettered Technicolor? -Is this one of the most quintessentially British films ever made? -Does the humour work if you live outside of the UK? -Is this film sweet or quaint? Was the film prophetic? -How had Sean never seen an Ealing film before? -A perfect film for a rainy day with a cup of tea, with cake and sandwiches? -Does the length of the film help with rewatch-ability? Podcast Shout-outs: -Stew from 'Stew World Order'. -Bill from 'Bill Reads Bad Reviews'. Sean and Marv will return to review Passport to Pimlico (1949). Read Marv's Blog Here: https://marvsmidlifemeanderings.blogspot.com/ Thanks for Listening! Review It Yourself is now on YouTube! Find us here: Twitter: @YourselfReview Instagram: reviewityourselfpodcast2021 YouTube: https://www.youtube.com/@ReviewItYourself
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies
Cinema has had a hugely influential role on global culture in the 20th century at multiple levels: social, political, and educational. The part of British cinema in this has been controversial–often derided as a whole, but also vigorously celebrated, especially in terms of specific films and film-makers. In British Cinema: A Very Short Introduction (Oxford UP, 2022), Charles Barr considers films and filmmakers, and studios and sponsorship, against the wider view of changing artistic, socio-political, and industrial climates over the decades of the 20th Century. Considering British cinema in the wake of one of the most familiar of cinematic reference points–Alfred Hitchcock–Barr traces how British cinema has developed its own unique path, and has since been celebrated for its innovative approaches and distinctive artistic language. Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programs in film studies at the graduate and undergraduate level. He has since taught in St. Louis, Galway, and Dublin, and is currently a Research Fellow at St. Mary's University, Twickenham. Much of his published work has been on British cinema, including the books Ealing Studios and English Hitchcock, and he was cowriter, with director Stephen Frears, of Typically British, part of the centenary history of cinema broadcast on Channel 4 in 1995. He has continued writing on Hitchcock, with a study of Vertigo in the BFI Classics series and Hitchcock: Lost and Found, coauthored with the Parisian scholar Alain Kerzoncuf. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. His writing and other interviews about literature and film can also be found on Pages and Frames.
fWotD Episode 2599: Whisky Galore! (1949 film) Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Sunday, 16 June 2024 is Whisky Galore! (1949 film).Whisky Galore! is a 1949 British comedy film produced by Ealing Studios, starring Basil Radford, Bruce Seton, Joan Greenwood and Gordon Jackson. It was the directorial debut of Alexander Mackendrick; the screenplay was by Compton Mackenzie, an adaptation of his 1947 novel Whisky Galore, and Angus MacPhail. The story—based on a true event, the running aground of the SS Politician—concerns a shipwreck off a fictional Scottish island, the inhabitants of which have run out of whisky because of wartime rationing. The islanders find out the ship is carrying 50,000 cases of whisky, some of which they salvage, against the opposition of the local Customs and Excise men.It was filmed on the island of Barra; the weather was so poor that the production over-ran its 10-week schedule by five weeks, and the film went £20,000 over budget. Michael Balcon, the head of the studio, was unimpressed by the initial cut of the film, and one of Ealing's directors, Charles Crichton, added footage and re-edited the film before its release. Like other Ealing comedies, Whisky Galore! explores the actions of a small insular group facing and overcoming a more powerful opponent. An unspoken sense of community runs through the film, and the story reflects a time when the British Empire was weakening.Whisky Galore! was well received on release. It came out in the same year as Passport to Pimlico and Kind Hearts and Coronets, leading to 1949 being remembered as one of the peak years of the Ealing comedies. In the US, where Whisky Galore! was renamed Tight Little Island, the film became the first from the studios to achieve box office success. It was followed by a sequel, Rockets Galore!. Whisky Galore! has since been adapted for the stage, and a remake was released in 2016.This recording reflects the Wikipedia text as of 01:03 UTC on Sunday, 16 June 2024.For the full current version of the article, see Whisky Galore! (1949 film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Geraint Standard.
W pięćsetnym tygodniu nadawania Szymas śni koszmar, w którym nie może skończyć researchu do podcastu o pewnej antologii filmowego horroru! Dlaczego jubileuszowy odcinek poświęcam właśnie „U progu tajemnicy” (1945)? Jak bardzo rewolucyjna była ta produkcja w ówczesnym portfolio firmy producenckiej Ealing Studios? Ile tu ghost story, ile makabry, a ile komedii? Czy segment świąteczny, tj. „Christmas party”, bazuje na prawdziwej zbrodni? Co łączy ramę narracyjną tej antologii ze zbiorem opowiadań „Die Serapionsbrüder” E.T.A. Hoffmanna? Jak brytyjski lord zaorał brytyjskiego biskupa? Co symbolizuje kukła brzuchomówcy granego przez Michaela Redgrave'a? Czy seans tego filmu naprawdę przyczynił się do powstania nowej teorii kosmologicznej? Ile stron notatek przygotowałem do dzisiejszego nagrania? Dlaczego polski widz może pomylić „Dead of Night” (1945) z filmem noir „Secret Beyond the Door” (1947)? Odpowiedzi poznacie już za chwilę. Tylko w Nawiedzonym Podcaście!Tu zaś znajdziecie film dokumentalny o tej antologii. Plik mp3 do pobrania (40 min 27 sek)
As a tribute to Robbie's late father, this week the boys look back at his favourite film - the 1953 Ealing Studios masterpiece 'The Cruel Sea'. Often cited as one the the best war movies from that golden age of 1950s British cinema. Directed by Charles Frend, based on Nicholas Monsarrat's book and starring Jack Hawkins, Donald Sinden, and Denholm Elliot, the film documents the wartime service of a Royal Navy corvette and her crew during the battle of the Atlantic. Brutal, hard-hitting, and timeless, join us to find out why we love this film so much.Check out www.fightingonfilm.com for more!We are thrilled to be partnered with warfaremedia.net who have an incredible range of Cold War posters! Use the code FoF20 at check out at for a huge 20% discount. Become a member at https://plus.acast.com/s/fighting-on-film. Hosted on Acast. See acast.com/privacy for more information.
The rich history of Ealing Studios comes into the spotlight in this latest episode of STUDIOCANAL Presents, and in particular two of its comedies that are amongst the finest films in British cinema history: Kind Hearts & Coronets, and The Lavender Hill Mob. Host Simon Brew is joined by Ealing expert and fan Dr Benedict Morrison, and the pair explore the history, importance and joy of the films – whilst namechecking a few others for the watchlist too! Plus, as always, the latest news from the world of STUDIOCANAL as well…
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I hear that Alec Guinness made a couple of movies in the 1970s or 80s that you may know. This is not that. This is a classic Ealing Studios comedy in which Alec plays eight characters. Because it’s a British comedy, I was not surprised to find that it dealt with social class. Robert Hamer directs, and Dennis Price is the actual star. This episode is full of connections to other things we like. Everyone brought the trivia. Shelly Brisbin with Erika Ensign, Randy Dotinga, Micheline Maynard and David J. Loehr.
I hear that Alec Guinness made a couple of movies in the 1970s or 80s that you may know. This is not that. This is a classic Ealing Studios comedy in which Alec plays eight characters. Because it’s a British comedy, I was not surprised to find that it dealt with social class. Robert Hamer directs, and Dennis Price is the actual star. This episode is full of connections to other things we like. Everyone brought the trivia. Shelly Brisbin with Erika Ensign, Randy Dotinga, Micheline Maynard and David J. Loehr.
Reel Britannia podcast - a very British podcast about very British movies...with just a hint of professionalism. Scott and Steven are joined this week by Anthony, host of Film Gold, Glass Onion : On John Lennon, and Life and Life Only to discuss Train of Events (1949) The portmanteau film “Train of Events” brings together the many talents of Ealing Studios to present four stories linked by a train bound for Liverpool. This Ealing anthology weaves drama and comedy amongst the stories documenting various train passengers, all leading up to an incident to change their lives. Starring Jack Hawkins, Gladys Henson, Leslie Phillips, Joan Dowling, Valerie Hobson, Laurence Payne, John Gregson, and introducing Peter Finch in his first British film (having emigrated from Australia). the film's segments were directed by Ealing luminaries Charles Crichton, Basil Dearden, & Sidney Cole. “Train of Events” opened at the Gaumont Haymarket cinema in Lonodn on the 18th of August 1949. "Well, don't overwhelm me ducks. I dunno as my poor old ticker'll stand it." This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rb_podcast Glass Onion: On John Lennon https://podcasts.apple.com/gb/podcast/glass-onion-on-john-lennon/id1473867166 Life And Life Only https://lifeandlifeonly.podbean.com/ Film Gold https://podcasts.apple.com/us/podcast/film-gold/id1544641271 Thanks for listening Scott and Steven
Orson Welles, Joan Collins, George Peppard and Margaret Lockwood. This latest episode is like your fantasy dinner party, as Mel Byron and the team of reviewers introduce all these stars and more. Also coming up on your favourite UK TV channel this month are rarities such as the Lone Wolf films and Ealing Studios' production set in The Wirral.
In this edition I pay tribute to Ealing Film Studios, the quintessential British film marker. In part One I take a look at the History of the ‘Studios on the Green' and the fantastic films it produced. Coming in Part Two I review the almost forgotten ‘Train of Events' from 1949 starring Ealing stalwart Jack Warner I hope you enjoy this edition.
This week, Rob and Duncan are fighting back against the ruthless German paratroopers with the 1942 (yes, mid-war) film, Went the Day Well? Directed by Alberto Cavalcanti and adapted from a Graham Greene story, this is Ealing Studios at its war propaganda finest. Leslie Banks, Mervyn Johns and Basil Sydney both star *and* offer viewers the greatest array of 1940s men's names ever assembled on screen. Presented by Duncan Weldon and Robert Hutton. Executive produced by Nick Hilton for Podot. Produced by Ewan Cameron. For sales and advertising please contact nick@podotpods.com Hosted on Acast. See acast.com/privacy for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, Charles Barr introduces British cinema, the home of Ealing Studios and Alfred Hitchcock, and delves into its global significance. Learn more about “British Cinema: A Very Short Introduction” here: https://global.oup.com/academic/product/british-cinema-a-very-short-introduction-9780199688333 Charles Barr worked for many years at the University of East Anglia, helping to develop one of the first UK programmes in … Continue reading British Cinema – The Very Short Introductions Podcast – Episode 61 →
Wir haben wieder ein wenig gebraucht, aber kein #Noirvember ohne uns Filmarchivare. Dieses Jahr erweitern wir den Hashtag sogar ein wenig: Noirvember, British Edition! Denn wir reden über Noir aus und im Nachkriegs-England, hergestellt bei den berühmten Schwarzhumor-Meistern in den Ealing-Studios. Regisseur Robert Hamer bedient sich bei der Ästhetik des amerikanischen Noirs, inhaltlich ist er aber zutiefst europäisch, mit deutlichen Anleihen am Poetischen Realismus des Vorkriegs-Frankreichs und noch deutlicheren Vibes zu den ebenfalls aktuellen deutschen Trümmerfilmen und dem italienischen Neo-Realismus. Damit löst sich der Film vom zentralen Individuum im klassischen amerikanischen Noir und widmet sich mehr einer Netzwerkerzählung, die die aktuelle soziale Realität der Ärmsten im England darstellen will ... und des Zusammenbruchs von Solidaritätsoptionen im mechanischen Stellwerk genannt Moderne.
Britain’s Ealing Studios is best known for its comedies, including The Ladykillers, The Lavender Hill Mob, and Kind Hearts And Coronets. But this 1945 precursor to those famously funny films deals more with chills than chuckles. Four directors tag-team to adapt a mix of original and classic tales, including one based on a story by H.G. Wells. It’s the rare horror anthology whose framing story is as creepily compelling as its individual tales of terror, building to a memorably hair-raising climax that’ll stick with you through the closing credits and beyond. Come for the golf-induced suicide, stay for the ventriloquist’s dummy. Nathan Alderman with Shelly Brisbin and Randy Dotinga.
Britain’s Ealing Studios is best known for its comedies, including The Ladykillers, The Lavender Hill Mob, and Kind Hearts And Coronets. But this 1945 precursor to those famously funny films deals more with chills than chuckles. Four directors tag-team to adapt a mix of original and classic tales, including one based on a story by H.G. Wells. It’s the rare horror anthology whose framing story is as creepily compelling as its individual tales of terror, building to a memorably hair-raising climax that’ll stick with you through the closing credits and beyond. Come for the golf-induced suicide, stay for the ventriloquist’s dummy. Nathan Alderman with Shelly Brisbin and Randy Dotinga.
On this episode of March Forth with Mike Bauman, Mike chats with Allie Marie Hunter! Hailing from London, England, Allie is a country singer and creative who's been surrounded by music and entertainment since she was a child. Coming from a creative family of actors, musicians, singers and dancers, Allie started performing at a young age. In the years since her first leading lady role as Dorothy in The Wizard of Oz, Allie has continued her creative pursuits on multiple fronts. From musical theater, to attending drama school, scripting short films and plays, and even writing a science fiction novel, she's explored multiple avenues over the years. That said, Allie's love for country music has led her on her current path as an emerging country artist. She's released two singles since 2020 - "Never Beat Again" and "Hair of the Dog" - both of which have accompanying music videos and highlight her storytelling ability and authentic voice. Each single has amassed more than 30,000 streams on Spotify, while the music videos have also done well (57k YouTube views for "Never Beat Again;" 18k YouTube views for "Hair of the Dog"). In this episode, Allie talks with me about growing up performing in London with a creative and supportive family, the positive impact and influence of her mother, her love of country music and storytelling, her science fiction novel, working at the renowned FH Block and Ealing Studios in London, and more. This episode of March Forth with Mike Bauman also features the aforementioned "Hair of the Dog" from Allie Marie Hunter, available where you get your music! Follow Allie on Instagram @alliemariehunter. To stay up-to-date on the latest with Allie, visit https://www.alliemariehunter.com/! Follow Mike on Instagram @marchforthpod, and on Twitter @mikevbauman. To stay up-to-date on the podcast and learn more about Mike, visit https://linktr.ee/marchforthpod. Thanks for listening! If ya dug the show, like it, share it, tell a friend, subscribe, and above all, keep the faith and be kind to one another.
The Plot returns with a look at one of the greatest heist comedies in film history, 1951's The Lavender Hill Mob., starting Alec Guinness and Stanley Holloway. We discuss the film's plot, how a mild-mannered bank clerk masterminds a robbery of an armored car full of gold. We also give some background on the film, Ealing Studios, some of the creators behind the scenes and its filming. We also give a quick shout to the new video game Card Shark, a tale of grifting and card cheating in Pre-Revolutionary France. We hope to have some of the folks behind the game on a future episode of the Winter Palace Podcast. Thanks for listening. Be sure to listen to the other shows on the When It Was Cool Network.
In this episode, we eagerly kick off our next block focusing on anthology films. Michael starts the conversation with the legendary Ealing Studios classic Dead of Night from 1945. Jason helps define the stylistic elements of anthology films. Michael embraces the very British Horror vibe of the movie. And for some reason, Dustin can't stop using the term urtext. But before all that Dustin hops on the soapbox to champion Alex Garland's Men, Michael tries to not discuss Rescue Rangers and Jason finally breaks the rules to talk some Star Trek. And so much more! Part of the Prescribed Films Podcast Network (www.thepfpn.com) What We've Been Watching: -Michael: Operation Mincemeat (2021) but actually Chip 'n Dale: Rescue Rangers (2022) -Dustin: Men (2022) -Jason: Star Trek: Strange New Worlds (2022) Show Notes: -Dead of Night Trailer -Go check out Fans of the Dead -Related Film: Grand Hotel -Related Film: If I Had a Million -Related Song: Barenaked Ladies – If I Had a Million Dollars -Related Film: L'amore -Related Film: Quartet -Related Film: Intolerance -Related Film: Tales of Manhattan -Related Film: Unheimliche Geschichten -Related Film: New York Stories -Related Film: The Red Violin -Related Film: Hellraiser: Bloodline -Related Film: Trilogy of Terror -Related Film: Trick 'r Treat -Related Film: Creepshow -Related Show: The Twilight Zone -Related Film: The Twilight Zone -Related Show: Tales from the Darkside -Related Film: Tales from the Darkside -Related Show: Outer Limits -Related Film: Tales from the Crypt -Related Show: Tales from the Crypt -Related Film: Tales from the Hood -Related Film: V/H/S -Related Film: The Ballad of Buster Scruggs -Related Topic: Hyperlink Cinema -Related Film: Ju-On: The Grudge -Related Film: Pulp Fiction -Related Film: Reservoir Dogs -Related Topic: Prophetic Dreams -Related Film: Horror of Dracula -Related Film: The Hound of the Baskervilles -Related Film: Brides of Dracula -Related Film: Peeping Tom -Related Film: Final Destination -Related Film: A Christmas Carol -Related True Crime: Constance Kent -Related Film: Occulus -Related Film: Amityville: A New Generation -Related Film: Amityville Dollhouse -Related Film: Amityville: It's About Time -Related Film: Amityville 4: The Evil Escapes -Related Show: Friday the 13th -Related Film: The Lady Vanishes -Related Performers: Abbot and Costello -Related Film: Urban Legend -Related Film: The Entity -Related Film: Ghostbusters -Related Film: Casablanca -Related Topic: Immersion Therapy -Related Film: Deep Red -Related Topic: Mobius Strip -Related Topic: The Steady-State Theory -Related Episode: The Twilight Zone: Twenty Two -Related Episode: The Twilight Zone: The Mirror -Related Film: From Beyond the Grave -Related Episode: The Twilight Zone: Shadowplay -Related Film: The Great Gabbo -Related Episode: Alfred Hitchcock Presents: The Glass Eye -Related Episode: The Twilight Zone: The Dummy -Related Episode: The Twilight Zone: Caesar and Me -Related Film: Magic -Related Film: Devil Doll -Related Show: Goosebumps -Related Film: Goosebumps -Related Film: The Mortuary Collection -Go check out Kanopy -Go check out Fandor Next Time: Cat's Eye (1985)
With a varied career that has spanned both post-production, advertising and production company management, Charlie sits today as the Studio Manager of the world's oldest film studio at Ealing in London, home to historic productions such as 1955's The Ladykillers, as well as more recent fare like Oscar-winning Darkest Hour, Shaun of the Dead, and of course, Downton Abbey. Today we discuss:(01:46) Charlie's early days(05:13) Working as a runner (07:23) Falling in and out of the industry(09:40) How do you set up a production company?(13:34) What does a studio manager actually do? (17:44) Film studio problems (19:32) How is Ealing coping during the UK's content boom?(20:58) Charlie's Best Advice and RCR QuickfireTo make sure you don't miss any future episodes sign up for our mailing list here!If you liked the podcast, I would be very thankful if you could leave a short review on Apple podcasts! It only takes 30 seconds and really helps us grow and speak to more interesting filmmakers.Follow Red Carpet Rookies on Instagram, Twitter or Youtube
Its two for the price of one today, as Rob and Trev discuss both cinematic incarnations of The Ladykillers. First an absolute classic, the Ealing Studios comedy from the 1950's, then for its modern remake by the talented Coen Brothers, but how do they compare. The Ladykillers (1955) - https://amzn.to/3KTSMZUA gang of criminals posing as a string quartet rent a room from a little old lady to plot a heist, but have to reconsider her role as their plans unravel.Starring Alec Guinness, Peter Sellers, Katie Johnston, Hebert Lom, Cesil Parker and Danny GreenThe Ladykillers (2004) - https://amzn.to/3GdUvpwA gang of hapless criminals posing as a string quartet rent a basement off of gospel loving old lady as they plot an elaborate robbery. Starring Tom Hanks, JK Simmons, Irma P. Hall and Marlon WayansSupport the show (https://www.buymeacoffee.com/wnmovietalk)
Hop on board this intergalactic 125 as we head for the Outer Rim to chew over this weeks happenings in the Star Wars galaxy. We look at Anthony Daniels at Ealing Studios and discuss what he could be doing there, get all warm and fuzzy as the family of Peter Mayhew welcome Carey Jones - Black Krrsantan from The Book of Boba Fett - into the wookiee family - take in a thought-provoking listeners question and look back a quarter of a century to the Star Wars Trilogy Special Edition. All this and more cryogenic density combustion boosters than you could comfortably fit into a trash compactor on Episode 125 of Making Tracks. Tomorrow brings the latest Making Tracks Reaction Chat as we discuss the 6th Chapter of The Book of Boba Fett. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook and YouTube. You can contact any of our shows and send in your listeners questions by emailing radio@fanthatracks.com or comment on our social media feeds: www.youtube.com/channel/UCZ7LZotr3rQhVJwpO3b2ELw www.instagram.com/fanthatracks www.facebook.com/FanthaTracks www.twitter.com/FanthaTracks www.pinterest.co.uk/fanthatracks/ www.fanthatracks.tumblr.com/ www.tiktok.com/@fanthatracks
This week we're back in the desert of North Africa with a forgotten gem from Ealing Studios. 1943's Nine Men follows a lost section of British infantry, commanded by Jack Lambert, as they're besieged by attacking Italian infantry. Directed by Harry Watt Nine Men is a gripping and surprisingly visceral film which fans of The Way Ahead and Sahara will love. Follow us on Twitter @FightingOnFilm and on Facebook. For more check out our website www.fightingonfilm.com Thanks for listening!
From music hall to Red Dwarf, pantomime to Absolutely Fabulous, we look at the history of British comedy, the names, shows, and historical events that made it what it is today. Like what you hear? Become a patron of the arts for as little as $2 a month! Or buy the book or some merch. Hang out with your fellow Brainiacs. Reach out and touch Moxie on Facebook, Twitter, or Instagram. Music: Kevin MacLeod, Steve Oxen, David Fesliyan. . Reach out and touch Moxie on Facebook, Twitter, or Instagram. Links to all the research resources are on the website. Podchaser: Moxie got me through 2,500 miles. I listened to every episode regardless of audio quality from the vault. I got my fix of facts with a personality that kept me entertained the entire time. I shared it with everyone I knew that would appreciate the facts, wit and hilariously subtle segues. Profile avatar 2 months ago byBoredatwork23 Book: David Nowlin 5.0 out of 5 stars Be prepared to be amazed at what you needed know, but did not. Reviewed in the United States on October 31, 2021 Great book. Read it cover to cover, but am planning to reread it again and again. It is so full of such wonderful pieces of information that I use to interject conversations whenever I can. Thank you Moxie for such a wonderful gift, and the book is great too Gift and merch “The story so far: In the beginning the Universe was created. This has made a lot of people very angry and been widely regarded as a bad move.” Thus begins Douglas Adams' Restaurant at the End of the Universe, sequel to his culture touchstone The Hitchhiker's Guide to the Galaxy. That's the book that gave us the answer to life, the universe and everything, though not the question. Welcome to episode number 42, which I have decided to devote to [drumroll] the history of British comedy. That means we're going to try to cram hundreds of years, thousands of performers, and a dozen mediums into a half-hour show. But don't panic. My name's Moxie and this is your brain on facts. British comedy history is measured in centuries, from chase scenes and beatings into Shakespeare's comedies to the misadventures of Mr. Bean. Even as times, tastes, and technologies changes, some themes are eternal. Innuendo, for example, has been a staple in the literature as far back as Beowulf and Chaucer, and is prevalent in many British folk songs. King Charles II was such a fan of innuendo that he encouraged it to the point that Restoration comedy became not only its own genre, but an explicit one at that. The repressive Victorian period gave us burlesque, though not in the same form as the shows you can see today - more vaudeville than striptease. Absurdism and the surreal had always been an undercurrent, which firmly took root in the 1950's, leading Red Dwarf, The Mighty Boosh, and Count Duckula. Though the British Empire successfully conquered ¼ of the globe, but its individual people struggled and suffered. Plagues, wars, poverty, class oppression, and filthy cities gave rise to, and a need for, black humor, in which topics and events that are usually treated seriously are treated in a humorous or satirical manner. The class system, especially class tensions between characters, with pompous or dim-witted members of the upper/middle classes or embarrassingly blatant social climbers, has always provided ample material, which we can see in modern shows like Absolutely Fabulous, Keeping Up Appearances, and Blackadder. The British also value finding humor in everyday life, which we see in shows like Father Ted, The IT Crowd, and Spaced, which also incorporates a fair amount of absurdity. But there's nothing the Brits do better than satire and nobody does it better than the Brits. “The British, being cynical and sarcastic by nature do have a natural flair for satire,” says BBCAmerica.com writer Fraser McAlpine. “There's a history of holding up a mirror to society and accentuating its least attractive qualities that goes back hundreds of years...Sometimes the satire is biting and cold, sometimes it's warm and encouraging, but if you want someone who can say a thing that isn't true, but also somehow IS true in a really profound way. You need look no further.” There are three principal forms of satire. Menippean satire uses fantasy realms that reflect back on modern society. Everything from Alice in Wonderland to the works of Terry Pratchett fit here, as would Dr. Who. Horatian satire skewers cultural moments of silliness using parodic humor. These are the kind of thing you tend to see most of in comedy TV shows, like The Office. We're laughing at people being inept and harassed, but not evil. Juvenalian satire skewers everything with abrasive, often bleak, wit. If there's an element of horror at the topic being discussed, that's a clue that it's Juvenalian. John Oliver is a fair hand with Juvenalian satire. Most political cartoon and black humor fall under this heading. Though comedy is as old as laughter, we're going to begin today's time travel with the music hall. (FYI, the narrative today is going to overall linear, but there will be a fair amount of bouncing around.) Music halls sprang up as an answer to proper theater, which was at the time heavily monitored and censored by the government. It took place in humble venues like the backs of pubs and coffee houses. By the 1830s taverns had rooms devoted to musical clubs. They presented Saturday evening Sing-songs and “Free and Easies”. These became so popular that entertainment was put on two or three times a week. Music in the form of humorous songs was a key element because dialogue was forbidden. Dialogue was for the theater and if you had speaking parts, you'd be subject to censorship. The Theatrical Licensing Act of 1737 empowered the Lord Chamberlain's Office to censor plays; this act would be in force until 1968. So, no speaking parts, less, though still some censorship. Music halls also allowed drinking and smoking, which legitimate theaters didn't. As the shows became more popular, they moved from the pubs into venues of their own. Tavern owners, therefore, often annexed buildings adjoining their premises as music halls. The usual show consisted of six to eight acts, possibly including a comedy skit (low comedy to appeal to the working class), a juggling act, a magic act, a mime, acrobats, a dancing act, a singing act, and perhaps a one-act play. In the states, this format was essentially vaudeville. The music hall era was a heyday for female performers, with headliners like Gracie Fields, Lillie Langtry, and Vesta Tilley. The advent of the talking motion picture in the late 1920s caused music halls to convert into cinemas to stay in business. To keep comedians employed, a mixture of films and songs called cine-variety was introduced. The other critically important tradition of that era was panto or pantomime, but not the Marcel Marceau type of pantomime you might be picturing, but a type of theatrical musical comedy designed for family entertainment. Modern pantomime includes songs, gags, slapstick comedy, dancing, and gender-crossing actors. It combines topical humour with well-known stories like fables and folk tales. It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers. It's traditionally quite popular around Christmas and New Years. In early 19th century England, pantomime acquired its present form and featured the first mainstream clown Joseph Grimaldi, while comedy routines also featured heavily in British music halls. British comedians who honed their skills at pantomime and music hall sketches include Charlie Chaplin and Stan Laurel. The influential English music hall comedian and theatre impresario Fred Karno developed a form of sketch comedy without dialogue in the 1890s, and Chaplin and Laurel were among the young comedians who worked for him as part of "Fred Karno's Army". VODACAST Hopping back to famous ladies of music hall, one such was Lily Harley, though her greatest claim to fame is having given birth to Charles Spencer Chaplin. When Lily inexplicably lost her voice in the middle of a show, the production manager pushed the five-year-old Charlie, whom he'd heard sing, onto the stage to replace her. Charlie lit up the audience, wowing them with his natural comedic presence. Sadly, Lily's voice never recovered, and she was unable to support her two sons, who were sent to a workhouse. For those of us who don't know workhouses outside of one reference in A Christmas Carol, think an orphanage or jail with indentured servitude. Young Charlie took whatever jobs he could find to survive as he fought his way back to the stage. His acting debut was as a pageboy in a production of Sherlock Holmes. From there he toured with a vaudeville outfit named Casey's Court Circus and in 1908 teamed up with the Fred Karno pantomime troupe, where Chaplin became one of its stars as the Drunk in the comedic sketch A Night in an English Music Hall. With the Karno troupe, Chaplin got his first taste of the United States, where he caught the eye of a film producer who signed Chaplin to a contract for a $150 a week, equivalent to over three-grand today. During his first year with the company, Chaplin made 14 films, including The Tramp, which established Chaplin's trademark character and his role as the unexpected hero. By the age of 26, Chaplin, just three years removed from his vaudeville days, was a superstar. He'd moved over to the Mutual Company, which paid him a whopping $670,000 a year to make now-classics like Easy Street. Chaplin came to be known as a grueling perfectionist. His love for experimentation often meant countless takes, and it was not uncommon for him to order the rebuilding of an entire set or begin filming with one leading actor, realize he'd made a mistake in his casting and start again with someone new. But you can't argue with results. During the 1920s Chaplin's career blossomed even more, with landmark films, like The Kid, and The Gold Rush, a movie Chaplin would later say he wanted to be remembered by. We'll leave Chaplin's story while he's on top because his private life from here on out gets, in a word, sordid. Though Chapin was English, his film were American. British cinema arguably lagged decades behind, but they began to close the gap in the 1940's. Films by Ealing Studios, particularly their comedies like Hue & Cry, Whisky Galore! and The Ladykillers began to push the boundaries of what could be done in cinema, dealing with previously taboo topics like crime in comedic ways. Kitchen sink dramas followed soon after, portraying social realism, with the struggles of working class Britons on full display, living in cramped rented accommodation and spending their off-hours drinking in grimy pubs, to explore controversial social and political issues ranging from abortion to homelessness. These contrasted sharply with the idea of cinema as escapism. This was the era of such notable stars as actor/comedian/singer-songwriter Norman Wisdom. Beginning with 1953's Trouble in the Store, for which he won a BAFTA (the British equivalent to an Oscar), his films were among Britain's biggest box-office successes of their day. Wisdom gained celebrity status in lands as far apart as South America, Iran and many Eastern Bloc countries, particularly in Albania where his films were the only ones by Western actors permitted by dictator Enver Hoxha to be shown. He also played one of the best characters in one of my favorite and most hard to find films, “The Night They Raided Minsky's.” There are few institutions in British history that have had such a massive role in shaping the daily lives of British citizens as the British Broadcasting Corporation, which for decades meant the wireless radio. “For many it is an ever-present companion: from breakfast-time to bedtime, from childhood through to old age, there it is telling us about ourselves and the wider world, amusing and entertaining us,” says Robin Aitkin, a former BBC reporter and journalist. The BBC solidified its place in the public consciousness from its beginnings in 1922 to the end of the Second World War in 1945 is of special interest because these pivotal years helped redefine what it means to be British in modern society. This was especially true during the high unemployment of the 1920's, when other forms of entertainment were unaffordable. The BBC was formed from the merger of several major radio manufacturers in 1922, receiving a royal charter in 1927, and governmental protection from foreign competition made it essentially a monopoly. Broadcasting was seen as a public service; a job at the BBC carried similar gravitas to a government job. Classical music and educational programs were its bedrock, with radio plays added to bring theater to the wireless. The BBC strove to be varied but balanced in its offerings, neutral but universal; some people found it elitist nonetheless. Expansion in offerings came slowly, if at all, in the early years. Trying to bring only the best of culture to the people meant that bawdy music hall acts had little to no place on the radio. Obscenity was judged by laws passed as early as 1727. British libel and slander laws are more strict than in the US, so making fun of public figures was taboo even in forms that would have been legal. And blasphemy? Lord, no. In 1949, the BBC issued to comedy writers and producers the Variety Programmes Policy Guide For Writers and Producers, commonly known as "the Green Book." Among things absolutely banned were jokes about lavatories, effeminacy in men, immorality of any kind, suggestive references to honeymoon couples, chambermaids, fig leaves, ladies' underwear, prostitution, and the vulgar use of words such as "basket". (Not an actual basket, the Polari word “basket,” meaning the bulge in a gentleman's trousers. More on that later.) The guidelines also stipulated that "..such words as God, Good God, My God, Blast, Hell, Damn, Bloody, Gorblimey, Ruddy, etc etc should be deleted from scripts and innocuous expressions substituted." Where the independently tun music halls gave people what they wanted, BBC radio gave people what it felt they needed. But comedy writers are nothing if not clever and there is always a way to slip past the censors if you try. In the very beginning of radio, comedies lampooned the poor, because only those with money had radios. As radio ownership grew, the topics of shows broadened. First half-hour comedy program in 1938, Band Wagon, included musical interludes, was effectively a sitcom and set the stage for much of what came after. By then, nearly every household had a radio. WWII had an enormous impact on British comedy and entertainment in general. Unlike WWI, which was fought on the continent, WWII was right on top of them, with the Blitz, blackouts, rationing, et al. All places of amusement, which by their nature meant lots of people would gather and could be a target for bombings, were closed. But the government soon realized comedy had an important role to play in helping its people to keep calm and carry on. Bonus fact: The iconic 'Keep Calm and Carry On' poster was designed months before WWII began, but was never officially sanctioned for display. It only achieved its prominent position in the public imagination after its rediscovery in 2001. All the parody t-shirts still annoy me though. Theater was allowed to continue, but television service was suspended. This brought radio back to the forefront for communication and diversion. The most popular show was It's That Man Again, which ran on BBC radio from ‘39-'49. It's humor was a great unifier during the war, helping people to laugh at the things they were scared of. People would often listen huddled around their radio during a blackout. In its character archetypes, it offered a more comprehensive range of social representation than what had come before it, with characters ranging from east end charwomen to the upper class. It was so universally popular that supposedly its catch-phrases, which is regarded as the first to really succeed with, were used to test suspected German spies. If you didn't know who said what, they'd be shot. During the war, Britain fought back against the Nazi propagandists' ferocious scaremongering with things like a song about the fact that Hitler may or may not have only one testicle, the other of which we were storing in a London theatre for safe keeping. This attitude, combined with having had enough authority to last them a while, would extend to their own government at the start of the 1960's when Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller made fun of the prime minister in their stage show Beyond The Fringe, with the PM in the audience. This would open the door for satirical news programs like 1962's That Was The Week That Was, grandfather to The Daily Show and The Colbert Report. There was also The Frost Report, whose staff of writers included five names many of know well and you know we're going to get into more detail on - Chapman, Jones, Idle, Palin, and Cleese. The war would remain subject to comedy, either as the primary setting or a recurring plot point for decades to come in shows like Dad's Army, Allo Allo, and even Are You Being Served?, one of my personal favorites. If you've ever seen me at my customer service day jobs, I pattern my behavior on Mrs. Slocombe, though I don't reference my pussy as often. [clip] Experiences in the war led to the prominence of absurdism/surrealism, because nothing could match what they men had been through. One of the most famous example was The Goon Show, with Spike Milligan, Harry Secombe, and Peter Sellers. The scripts mixed ludicrous plots with surreal humour, puns, catchphrases and an array of bizarre sound effects. Some of the later episodes feature electronic effects devised by the fledgling BBC Radiophonic Workshop, who also created the theme to Dr Who. The Goon Show and other such programs were popular with those who were students at the time, seeding their sense of humor into the next generation. Spike Milligan in particular had wide-reaching cultural influence. The Goon Show was cited as a major influence by The Beatles, the American comedy team The Firesign Theatre, as well as, among many others, Monty Python. PATREON Do you remember how I said in episode #39, Short-Lived, Long Remembered that Jackie Gleason's Honeymooner's was the first TV sitcom? I was mistaken and I don't mind issuing a correction. Pinwright's Progress, which ran for ten episodes starting in 1946, was the first half-hour television sitcom, telling the tale of a beleaguered shop-owner, his hated rival and his unhelpful staff. By 1955, ⅓ of British households had a TV. That year saw the launch of ITV, I for independent, because it was *not run by BBC with its war vets with good-school educations, but by showmen and entertainers. Where the BBC did comedies for and about the middle-class, ITV brought full-blooded variety to TV. The BBC was forced to loosen its tie a bit to keep up. ITV also had commercials, which BBC shows never did -a concept that is quite foreign to the American brain- so writers had to learn to pace their shows differently to allow for the break. One stand-out was Hancock's Half-hour, which began on radio and moved to TV. Fom 54-61, it pushed sitcoms with a focus on character development, rather than silly set-ups, musical interludes, and funny voices of radio plays. Two writers on the show, Ray Galton and Alan Simpson, would leave to create Comedy Playhouse in 1961, ten half-hour plays. One of these grew into the TV show Steptoe and Son (1962–74), about two rag and bone men, father and son, who live together in a squalid house in West London. This was the basis for the American series Sanford and Son, as well as version in Sweden, Netherlands and Portugal. For those not in the know, a rag and bone man collected salvageable rubbish from the streets, making it a bizarre name choice for a clothing company but oh well. The tone and offerings changed considerably with the cultural revolution of the 1960's. Rock music, the birth control pill, civil rights, everything was changing. Round The Horne, which aired on BBC radio on Sunday afternoons was chock full of brazen innuendos and double-entendres. Some of them were risque to the point of being ironically safe -- people who would have objected to them were not of the sensibility to catch the joke it the first place. Their most remarkable characters were Julian and Sandy, two very obviously gay characters in a time when it was still illegal to be gay in Britain. Julian and Sandy got away with the bawdiest of their jokes because they spoke Polari, a pidgin language made up a words from Romani, French, Italian, theater and circus slang and even words spelled backwards. They might refer to someone's dirty dishes and the squares would have no idea that “dish” meant derriere. Bonus fact: You probably use Polari words without even realizing it, if you describe a masculine person as “butch” or something kitchy as “camp,” even “drag” meaning clothes, particularly women's. The Carry On Films, a franchise that put out nearly a movie a year for three decades and spun off a TV series, held up a cartoonish mirror to the depressed and repressed Britain of the 1950s and 1960s. They blended the rapid-fire pace of music hall sketches with topicality and a liberating sense of directness. Carry On also filled the gap left as music halls as an institution collapsed. Monty Python's Flying Circus aired from 69-74 and enjoyed a unique watershed success not just for British comedy but also for television comedy around the world. Monty Python was unlike anything that had appeared on television, and in many ways it was both a symbol and a product of the social upheaval and youth-oriented counterculture of the late 1960s. The show's humour could be simultaneously sarcastic, scatological, and intellectual. The series was a creative collaboration between Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam, the sole American in a group of Oxford and Cambridge graduates. The five Brits played most of the roles, with Gilliam primarily contributing eccentric animations. Although sketch comedy shows were nothing new, television had never broadcast anything as untraditional and surreal, and its importance to television is difficult to overstate. Their free-form sketches seldom adhered to any particular theme and disregarded the conventions of comedy that writers, performers and audiences had been accustomed to for generations. Even the opening title sequence didn't follow the rules; it might run in the middle of the show or be omitted entirely. Over the run of the series, a *few characters recurred, but most were written solely for one sketch. The show spun-off a number of feature films, like Monty Python and the Holy Grail (1975), Life of Brian (1979), and the Meaning of Life (1983) and even a Tony Award-winning musical comedy Spamalot, first produced in 2005, as well as books and albums like Instant Record Collection. Decades after the show's initial run, the mere mention of some dead parrots, silly ways, Spam or the Spanish Inquisition is enough to prompt laughter from even casual fans. All the members who continue on to successful careers, but let's follow John Cleese to his next best-known project. I put my favorite sketch in Vodacast; see if you can guess it before you look. And tell me yours, soc med. Fawlty Towers has been described as the sitcom by which other sitcoms must be measured, voted number one in the BFI's 100 Greatest British Television Programmes in 2000. Its main character, Basil Fawlty, was inspired by a seethingly rude hotel proprietor John Cleese encountered while filming abroad with the Monty Python team. Cleese actually tested the character on another show in 1971, Doctor At Large, a comedy about newly-graduated doctors, based on the books of Richard Gordon. The setting for Fawlty Towers was a painfully ordinary hotel that Basil constantly struggling to inject a touch of class into. His escapades included trying to hide a rat from a hygiene inspector, keeping a dead customer hidden, and pretending that his wife Sybil was ill during their anniversary party, when in fact she's walked out on him). Basil was the perfect vehicle for Cleese's comic talents: mixing the biting verbal tirades against his wife and guests with the physical dexterity utilised to charge about between self-induced disasters. Part of the success of the show is arguably the fact that it ran for a mere twelve episodes, so never ran out of steam. It's been remade in other countries, but those version never really capture the success of the original. That's one of the key differences between British and American TV series. A British show might have 2 writers for a season of 6-10 episodes, whereas an American show will have a team of writers for a season of 13-25 episodes. Quality over quantity, I suppose. In part, this is a reflection of the difference between the size of the TV audience in the two countries, and the economics of television production; for decades sitcoms on US television that delivered the highest ratings, whereas; in Britain the highest ratings figures were normally for soap operas. The tone shifted again as the 60's gave way to the 70's. The anger of 60's revolution gave way to a more comfortable feeling in the 70's. One of the stand-outs of the decade, which continued into the 80's, was The Two Ronnies. A sketch show starring Ronnies Barker and Corbett, it moved away from the long-standing comic and straight-man format. It was the BBC's flagship of light entertainment, the longest running show of its genre. If we're talking modern comedy duos, we need to talk about Dawn French and Jennifer Saunders. Even in alternative comedy scenes, women had trouble gaining the same notoriety as their male peers. A step in the right direction was 1987's French and Saunders, a sketch show that displayed the wilful amateurishness of much alternative comedy, but shunned both the violence and scatology or the strident politics that were staples of the big-name performers. The duo's humour was distinctively female, but not feminist, and most of their jokes were at the expense of themselves or each other. As audiences and budgets grew, the pair increasingly favoured elaborate spoofs of pop stars and blockbuster movies. After the show French starred in The Vicar of Dibley and Saunders to the role she's probably best known for, Edina in Absolutely Fabulous. And that's where we run out of ideas, at least for today. Don't be surprised if this topic spawns a sequel. I left out Punch and Judy, skipped right over literature, had to forgo luminaries like Morecambe and Wise, didn't get to the panel show format, and said nothing of Stephen Fry and Hugh Laurie, which may actually be a crime, I'm not sure. Well, it's like they say in the biz, always leave them wanting more. Thanks for spending part of your day with em. Sources: https://www.iwm.org.uk/history/truth-behind-keep-calm-and-carry-on https://www.theguardian.com/stage/2016/feb/17/the-five-stages-of-british-gags-silliness-repression-anger-innuendo-fear https://en.wikipedia.org/wiki/The_Goon_Show https://en.wikipedia.org/wiki/Norman_Wisdom https://en.wikipedia.org/wiki/Hancock%27s_Half_Hour https://www.theguardian.com/commentisfree/2008/apr/17/gender.filmnews https://en.wikipedia.org/wiki/Round_the_Horne http://www.screenonline.org.uk/film/id/1011109/index.html https://www.britannica.com/topic/Monty-Pythons-Flying-Circus https://en.wikipedia.org/wiki/Galton_and_Simpson http://www.bbc.co.uk/comedy/fawltytowers/ http://www.bbcamerica.com/anglophenia/2014/06/history-brits-better-satire https://www.britannica.com/art/music-hall-and-variety https://www.biography.com/people/charlie-chaplin-9244327 https://cupola.gettysburg.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1107&context=ghj https://www.youtube.com/watch?v=U77CXPANrCc&list=PL9e1sByp65ixpMQlW9hpMMdomwSwGK9-Y
A Serious Disc Agreement is the only "serious" podcast on the Australian Internet about "Movie Disc Culture."Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) are expanding their IMPRINT COMPANION podcast to include the best physical media releases worldwide. For this episode, we're discussing Umbrella Entertainment's SUNBURNT SCREENS - THE BIG STEAL & THE OVERLANDERS.THE BIG STEAL (1990) (SUNBURNT SCREENS #7) BLU-RAYFirst time The Big Steal comes to life on Blu-ray with exclusive 4K restoration and extra features.On Monday Danny Clark (Ben Mendelsohn, Spotswood, Cosi, Black and White) is the reluctant recipient of a birthday present he would rather forget, his father's old Nissan Cedric. By Tuesday he has asked the beautiful Joanna Johnson (Claudia Karvan, The Secret Life of Us, Dating The Enemy) out on a date... only problem is, he promised to pick her up in a Jaguar. In a tight fix and desperate to impress, Danny trades the Nissan Cedric in for a Jaguar only to be ripped off by a dodgy used car salesman, Gordon Farkas (Steve Bisley). With his mates in tow and revenge on their minds, Danny sets out to rectify wrongs and finish his dream date better than it started.Extras:NEW audio commentary with David Parker, moderated by film buff Paul Harris2003 audio commentary with Nadia Tass & David ParkerFilmmakers Featurette with Nadia Tass & David ParkerCast interviews (1990 & 2003): Ben Mendelsohn (2003), Claudia Karvan & Ben Mendelsohn (1990), Claudia Karvan (2003), Steve Bisley (1990 & 2003)Original cast audition tapes: Angelo D'Angelo, Claudia Karvan & Damon Herriman“Where Was It Filmed?" FeaturetteOriginal theatrical trailerTHE OVERLANDERS (1946) (SUNBURNT SCREENS #8) BLU-RAYOur latest release and volume #8 for our Sunburnt Screens collection is The Overlanders. An Australian classic starring the legendary 'Chips' Rafferty, including exclusive extra features.Set in 1943, The Overlanders is a classic Australian outback survival story based on true events, starring legendary Aussie screen icon 'Chips' Rafferty as Dan McAlpine. With Australia facing invasion from Japanese forces during WWII, man of the land and master drover Dan McAlpine sets out to preserve his very livelihood and the fate of more than a thousand head of cattle by trekking them across an alternate route over three thousand kilometres.Facing an arduous and desolate landscape, from the dry extremes of the Northern Territory to the dense pastures north of Brisbane, McAlpine is joined by a dedicated yet disparate band of horsemen who set about bringing their considerable charge in for head count. An adventure of the grandest scale, produced by the famed Ealing Studios and also featuring John Nugent Hayward and Daphne Campbell, The Overlanders captures a uniquely Australian story of hardship and survival, celebrating a remarkable historical achievement.Extras: Audio commentary with Screenwriter and Film Historian Stephen VaggThe Cattle Story (1955) – documentary featuretteOriginal theatrical trailerStill galleryKangaroo (1952) – bonus featurette & audio commentary by Screenwriter and Film Historian Stephen VaggBlake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
This week, the guys return to the list! This is the final Ealing Studios comedy on the list so the question is... will Jason finally genuinely like one of these a lot? Is there ever too many Alec Guinnesses or the more the merrier? What are the lead character's similarities to Patrick Bateman? And did they just say what I think they said in that one scene?! (we literally can't and don't want to type it out here)? Plus: it's an all-out directors brawl! The guys also draw next week's movie out of a hat! What will it be? Join us, won't you? Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx) Kind Hearts and Coronets stars Dennis Price, Alec Guinness (x9); Joan Greenwood; Valerie Hobson; Miles Malleson, Arthur Lowe and Hugh Griffith; directed by Robert Hamer. Is It Streaming? USA: Kanopy and available to rent Canada: N/A UK: Virgin TV Go and available to rent Learn more about your ad choices. Visit megaphone.fm/adchoices
In a complete change from last week's episode, the 2016 remake of the 1949 Ealing Studios classic Whisky Galore is about as close as you can get to the original source material without being a blatant copy and paste job! Eddie Izzard finally gets some lines in a movie covered on this show but is it worth it and do they deliver!? What IS the perfect remake and what are the qualifications? Why wasn't Mrs. Waggett given her own film? And why this pointless subplot about a "red case" that ultimately ends up meaning nothing? Next week: The series presses forward with the Sylvester Stallone (and co-starring original lead Michael Caine) remake of Get Carter. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx) Whisky Galore stars Gregor Fisher, Sean Biggerstaff, Naomi Battrick, James Cosmo, Ellie Kendrick, Kevin Guthrie and Eddie Izzard; directed by Gillies Mackinnon. Is It Streaming? USA: Indie Flix and Flix Fling Canada: Flix Fling UK: N/A Learn more about your ad choices. Visit megaphone.fm/adchoices
Dead of Night is a 1945 black and white British anthology horror film, made by Ealing Studios, was their sole attempt at making a horror movie. It Featured the following storiesThe Hearse Driver, based on "The Bus-Conductor" by E. F. BensonThe Christmas PartyThe Haunted MirrorThe Golfer's Story, based on "The Story of the Inexperienced Ghost" by H. G. WellsandThe Ventriloquist's DummyThe individual segments were directed by by Alberto Cavalcanti, Charles Crichton, Basil Dearden and Robert Hamer. The film is best remembered for the concluding story featuring Michael Redgrave and an insane ventriloquist's malevolent dummy.Dead of Night is a rare British horror film of the 1940s; horror films were banned from production in Britain during the war. It had an influence on subsequent British films in the genre. Both of John Baines' stories were reused for later films and the possessed ventriloquist dummy episode was adapted into the pilot episode of the long-running CBS radio series Escape.The circular plot of Dead of Night inspired Fred Hoyle's steady state model of the universe, developed in 1948.Mario Livio in Brilliant Blunders cites the impact of a viewing of Dead of Night had on astrophysicists Fred Hoyle, Hermann Bondi, and Thomas Gold. "Gold asked suddenly, "What if the universe is like that?' meaning that the universe could be eternally circling on itself without beginning or end. Unable to dismiss this conjecture, they started to think seriously of an unchanging universe, a steady state universe.In the early 2010s, Time Out conducted a poll with several authors, directors, actors and critics who have worked within the horror genre to vote for their top horror films. Dead of Night placed at number 35 on their top 100 list. Director Martin Scorsese placed Dead of Night 5th on his list of the 11 scariest horror films of all time.Writer/director Christopher Smith was inspired by the circular narrative in Dead of Night when making his 2009 film Triangle.Something Horrific:Censorhttps://www.youtube.com/watch?v=KRrhXjH1M70HAMMER HOUSE OF HORROR The Mark of Satanhttps://www.youtube.com/watch?v=zTKjizivKRUHelp my House is Hauntedhttps://www.youtube.com/watch?v=NPpZOb0svC0$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$Just in case anyone has too much money and wants to give a bit to us to help with our hosting n stuff. It would be amazing if you fancied sending us some pennies - thank you.https://supporter.acast.com/general-witchfinders$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$£$ Get bonus content on PatreonSupport this show http://supporter.acast.com/general-witchfinders. See acast.com/privacy for privacy and opt-out information.
E.F. Benson's classic eerie tale. Trivia note, this story is part of the old Ealing Studios anthology, Dead of Night. Music on the podcast: Ice Demon by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3897-ice-demon License: https://filmmusic.io/standard-license
Dan Crinnion ACE started as a production runner at the legendary Ealing Studios in London and worked his way up from assistant editor on massive dramas like Downton Abbey, all the way up to the award-winning Killing Eve and Batman spinoff, Pennyworth.Along the way, he's grabbed a BAFTA nomination, an Emmy nomination and won an Eddie award for best edited Drama Series, so I think it’s safe to say he knows what he’s talking about!Aside from all that, he’s just a loveable and likeable guy who talks so openly about the creative demons we all wrestle with. I know you’re gonna enjoy what he has to say on this week’s show!
Join the boys for another heist as Brendan and Jason dive into another Ealing Studios comedy with Charles Crichton's The Lavender Hill Mob. They talk all about Alec Guinness playing against type and his fascinating physical acting, the US market forcing a rewrite of the original ending, Audrey Hepburn making a very early appearance, the shots that may have inspired Vertigo and much, much more! The guys also roll the dice to find out what they'll be watching next week. Join us, won't you? Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx) The Lavender Hill Mob stars Alec Guinness, Stanley Holloway, Sid James, Alfie Bass, Marjorie Fielding, John Gregson and a cameo from Audrey Hepburn; directed by Charles Crichton Is It Streaming? USA: Kanopy, Flix Fling Canada: Flix Fling UK: available to rent on Amazon, Google Play & YouTube Learn more about your ad choices. Visit megaphone.fm/adchoices
Dan's journey through The X Files continues and Sam recalls the time he was filming in Ealing Studios with Sarah Harding.This is part of A New Winter Podcast Network. If you like the show please remember to rate it!Website: anewwinter.netPatreon: patreon.com/anewwinterInstagram: @anewwinterTwitter: @anewwinterEmail: anewwinterpodcast@gmail.com or oddcastoddballs@gmail.comSam's Twitch Channel https://www.twitch.tv/legassiqueDan's YouTube Channel https://www.youtube.com/channel/UCDRTt17kVazujMJbxo688sA Support this show http://supporter.acast.com/anewwinter. See acast.com/privacy for privacy and opt-out information.
When it comes to a name in British comedy, Ealing Studios is a name that has persisted throughout the years. Alec Guinness had made his name for these comedies and in 1951 he was teaming up with Alexander Mackendrick to make a strange science fiction comedy about an unassuming scientist who makes a fabric that is both indestructible and doesn't stain, and the fall out which occurs when both the textile mill owners and the trade unions realise this will put them out of work. The Man in the White Suit, is not one of the better known Ealing Comedies but it is certainly one of the most cynically unique of them. All this and more on Adjust Your Tracking! Follow us on: Twitter: @adjustyrtrack & Instagram: @betterfeelingfilms
We went long for our Hallowe’en Special Subject for 2020: Ominous Omnibi, featuring two eerie anthology films of the 1940s, Universal's star-studded Flesh and Fantasy, directed by Julien Duvivier during his WWII Hollywood sojourn, and Ealing Studios' Dead of Night, best remembered for its crowning tale, The Ventriloquist's Dummy, starring Michael Redgrave as a man in an agitated relationship with a prop. After warming up with some Robert Benchley and Oscar Wilde talk, we dig into Dead of Night and the uncanniness of male anxiety. Elise asks Dave to ponder the intrinsic horror of the double act. Prepare for many David Lynch comparisons and Twilight Zone episode recommendations. Happy Hallowe’en! Time Codes: 0h 01m 00s: Flesh and Fantasy (1943) [dir: Julien Duvivier] 0h 43m 14s: Dead of Night (1945) [dirs: Cavalcanti, Robert Hamer, Basil Dearden & Charles Crichton] 1h 55m 55s: Listener email from Barry +++ * Check out our Complete Upcoming Episode Schedule * Find Elise’s latest film piece on Depression era film romance *And Read lots of Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre
Get ready for another TITLE VERSUS TITLE face-off! But THIS time, it's ANTHOLOGY DEATHMATCH style! First, we're subjected to a deadly premonition, ghosts, a haunted mirror, a ventriloquist dummy...and golf. Which story survives the first deathmatch, in the classic anthology film from Ealing Studios, Dead of Night (1945)? Then, we jump ahead to Dead of Night (1977), for our second anthology deathmatch. This time, stories featuring time travel, vampirism and a ritual to bring a child back from a watery grave, battle it out in a three-way dance, to determine who comes out on top! And then from there, it's title versus title! Which movie reigns supreme and takes home the title as Dead of Night champion?
Pictured: Ennio Morricone Matthew Bannister on: Ennio Morricone, the Italian composer best known for his scores for films like The Good, The Bad and the Ugly and The Mission, but keen to be remembered also for his avant garde classical works. Sir Everton Weekes, the outstanding batsman who played a key role in West Indian cricket’s success in the 1940s and 50s. Baroness Maddock, the Liberal Democrat politician who won a stunning victory in the Christchurch by-election in 1993. Earl Cameron, the Bermuda-born actor whose long career included roles in many hit TV series as well as films like Pool of London, Thunderball and Guns at Batasi. Interviewed guest: David Willey Interviewed guest: David Temple Interviewed guest: Donna Symmonds Interviewed guest: BC Pires Interviewed guest: Lord Alan Beith Interviewed guest: Baroness Jenny Randerson Producer: Neil George Archive clips from: Outlook, World Service 07/01/2015; Everton Weekes in his own words, Sky Sports January 2019; England v West Windies 1950 Test Match, Pathe News; England v West Indies at Lords 1950, BBC News; British Politics, Radio 4 30/07/1993; Black on Screen, Radio 4 08/01/2001; Front Row, Radio 4 14/10/2016; Pool of London, directed by Basil Dearden, Ealing Studios 1951; The Heart Within, directed by David Eady, Penington Eady Productions 1957; Guns at Batasi, directed by John Guillermin, Twentieth Century Fox 1964; Thunderball, directed by Terence Young, Eon Productions 1965.
(TSAP S03E06) Sam Hughes speaks with Actor Neil Newbon about his work in Resident Evil 3 as NEMESIS (Performance Capture), Nikolai (Capture & VO) and others, his acting career, performance capture and more! Neil Newbon is a Professional Actor and Voice Over Artist, working in Film, Television, Theatre as well as high-profile AAA Video Games in Full Performance Capture, specialising in Martial Arts Stunts and Combat. He is based in London and Los Angeles. Neil began his training at the internationally acclaimed National Youth Theatre, he went on to study Method Acting, the work of Yat Malmgren and many other craft techniques with the renowned Giles Foreman Centre of Acting. Neil began his professional career at the Royal Court Theatre, Bloomsbury Theatre and Edinburgh Fringe Festival. He quickly found work in Television and Film and has continued to work professionally for over 15 years, and branched out into the exciting new media of Performance Capture and Voice Over in which he has been working consistently for over 8 years. Neil has been a part of BAFTA GAMES CREW for 3 years and is now a Full BAFTA member. Neil also now acts as a Performance Consultant/ Action Director for games and has given panel talks and round-tables at events, such as Develop 2017 on working with Actors and getting the best from them in both Performance Capture and Voice Over. Neil alongside Award winning Artist and Director Saleta Losada has founded Performance Captured Ltd group, which specialises in casting for games, performance capture consultation and production and also the Performance Captured Academy providing Full Performance Capture Courses by Professionals for Professionals' based in world famous Ealing Studios in which Neil is the main mentor. Recent Credits include: Lead role in ‘Planet of the Apes: Last Frontier' by Andy Serkis' Imaginarium, supporting leads in ‘Wallis' by Viacom and ‘Detroit:Become Human' by Quantic Dream with Jesse Williams and Clancy Brown and ‘Gangs Of London' directed by award winning Corin Hardy for HBO. Special thanks to Toivo Kallio for editing. Want to sponsor an episode? E-mail Sam at sam@thesoundarchitect.co.uk for your sponsorship to be read out on the podcast. This episode and so much more at: www.thesoundarchitect.co.uk Twitter: @SoundDesignUK Facebook: facebook.com/thesoundarchitect.co.uk Instagram: thesoundarchitectofficial Stay up to date via our Monthly Newsletter as well: www.thesoundarchitect.co.uk/newsletter --- Send in a voice message: https://anchor.fm/thesoundarchitect/message
An early anthology film, the Ealing Studios movie Dead of Night (1945) gets a watching this week. While most of the entries in this movie are strong, “The Ventriloquists Dummy” is quite the unsettling chapter. The H.G. Wells story “The Story of the Inexperienced Ghost” is adapted here and is pretty much the comic relief ... Read moreEpisode 21: Dead of Night
I first met Neill with a folio tucked under my arm for my interview I had managed to arrange at Ealing Studios in 1995. My first job with him was making oversized Casio watches, which were fibreglassed out of silicone moulds to make G-Shock watch display units. --------------------------------- Check out our new website: Battles With Bits Of Rubber Dot Com --------------------------------- One thing I have always noticed about Neill is that he has a seemingly fearless approach to problem-solving. He will go directly to the source and grab whatever is the root of the issue in order to overcome it. This seems to me to be the single best approach to fixing things which go wrong and thus continue on to better results. It is so easy for us to protect ourselves from the pain of that difficulty that it needs constant motivation and reminding to break through that in-built resistance. The film industry is couched in problem-solving, each situation unique and usually high pressured. It is an attractive career and it rewards those involved with decent pay and pride, at the cost of many long hours and the weight of responsibility. When things are done well by competent practitioners, it often looks like not much has been done at all - as if the ease with which something has been accomplished has been the result of something requiring little skill. The truth is, people who are highly skilled make it look easy, and it is interesting to discuss this with people who are successful and well connected to their efforts which made them so. It does nobody any service to imply that great success is easy, yet there is no shortage of 'get rich quick' schemes online, dangling the carrot of instant fame at the touch of a recording button. Truth is, people pay for what they value and solving problems is a valuable commodity. The job of all of us I think is to figure out whose problems you can solve, and how to be of service whilst building a body of work you can be proud of. In this episode, Neill & Stuart dig into the behind the scenes stuff about what is hard and how to address the weaknesses. We also come up with three very practical ways to get started, which don't involve massive expense or commitment: Sculpt self-portraits with clay, spending just 30 mins a day and reuse the clay to practice sculpting. Mirror, lamp and you. Do this for 30 days. Take a photo each day of what you did in the time, and rip the clay up and reuse it the next day. Repeat. Sculpt a face or creature face onto a board. Make a plaster mould of this and make a latex face mask. Avoid expensive silicone in the first instance, just stick to the basic materials. Highlight and shadow makeups. The cornerstone of everything, modifying forms with just highlight and shadow using a few brushes and a makeup palette such as the 12 colour 'Supracolour' B Palette from Kryolan. Neill also talks about his interest in psychology and how it can best affect how we see to sculpt. We do so many things automatically without actively noticing, so learning to do new things makes you meet those difficulties. That is the blockage when you start learning new things. There is no immediate reward, no endorphin rush of doing something you are competent at. When starting out, most people are awful, few people are 'natural born sculptors'. It takes repetition and powering through the crap stuff, like purging the spout of a half-used tube of glue, getting the crust out of the way so the fresh stuff can get out. I'm a better sculptor because of how I break things down into simpler forms. Complexity is just repeated layers of simplicity. Sculpting is difficult because you have a low-resolution version of things - you can't have a high-resolution version of all things in the world, it is too much information to retain and recall so we become adept at glossing over most things most of the time. When called to reproduce and generate something which is believable, it helps to have a clear idea of how to break down a given subject so it can be approached and digested systematically in smaller, simpler chunks, arranged in the right order. Asked to draw a horse from memory, most of us will realise what we don't have stored as we have instead an 'icon' of what a horse is rather than a detailed, accurate schematic. You know what constitutes a horse so you can recognise one when you see it, but recreating one will require more resolution than you have, so feed that when needed by studying reference material Lastly, a few words about social media enterprises. YouTube sells the idea that it's easy, but there is a lot of unseen work, effort and equipment which needs to be used correctly. The illusion of social media platforms is that they make you think of them as accessible. In the entire history of entertainment until recently, TV and media used up on a pedestal, that which was on a screen wasn't interacted with. Now the platform has been democratised. However, you can't own an audience. You cannot control a following. To be of value, have something first, and once you have something to offer, THEN use the social media outlet to promote it. After all, you don't buy a shop and then wonder what to sell in it. In this episode we mention a few things, so here are the details regarding them. The 'Corson book' is a classic and has just come out with the 11th edition. It also has a lot of cool stuff in by a friend of the show Matthew Mungle so we recommend that: Stage Makeup Richard Corson (author), James Glavan (author), Beverly Gore Norcross (author) Psychology book recommendations: Your Deceptive Mind: A Scientific Guide To Critical Thinking Skills By Steve Novella Black Box Thinking By Matthew Syed Radical Candor: How to Get What You Want by Saying What You Mean By Kim Scott Extreme Ownership: How U.S. Navy SEALs Lead and Win By Jocko Willink & Leif Babin VANESSA DAVIS - THE SKULLTRESS™ - @skulltressbeauty Many thanks for listening! Give us a share on the socials and maybe check our merch store here and our Teespring Store to show your support! Check out the awesome podcast pin badge. It's made from metal and everything! -Stuart & Todd
We're joined yet again by James to discuss one of the first horror anthologies - the Ealing Studios classic Dead of Night! Sources "Horror", British Board of Film Classification "Appreciating Dead of Night, the Birth of the Horror Anthology" by Kyle Anderson, Nerdist "Dead of Night", Encyclopedia Brittanica "Dead of Night - the movie that changed the universe" by Simon Singh, The Guardian Find James on Twitter - @CalamityJames4
What if you suddenly realized you were a foreigner in your own land?! That's what happens in this week's film as residents of a small town called Pimlico suddenly come in possession of a document that proves that they are indeed betrothed to Burgundy, France in Passport to Pimlico. Brendan and Jason discuss some decidedly lighter fare this week in the form of an Ealing Studios comedy with lots of hijinx, illegal drinking, "inappropriate" clothes to answer the door with and a whole lotta silly romance! Hope you have your identification ready if you plan on checking out this week's show! The guys also roll the dice to find out what they'll be watching next week. Join us, won't you? Full List: https://en.wikipedia.org/wiki/BFI_Top_100_British_films Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/bfi_pod Our logo was designed by the wonderful Mariah Lirette (https://www.instagram.com/mariahhx)
The team sit down in front of a stone-cold classic- Ealing Studios only horror film;1945’s “Dead of Night” A film in which cigarettes are handed out like sweets, a teenage Truly Scrumptious is far too enthusiastic about being slapped by a middle-aged man and zee zychiatrist zpeaks viz zee cohrrecht akzent! Along the way they discuss “Houdini & Doyle”, “In Fabric”, “The Dead Don’t Die”, “The Banana Splits Movie” and the worst-named aftershave in history.
One of the first comedies produced by the prestigious Ealing Studios of London, Kind Hearts and Coronets (1949) is an exercise in cynicism as well as a bright spot in the early careers of Dennis Price and Alec Guinness. The film was the pinnacle in the career of director Robert Hamer, an Ealing regular, and also marked the beginning of the career of cinematographer Douglas Slocombe, who would go on to film a number of Hollywood blockbusters. Have a comment or question for the host? Email Sean at 1001moviespodcast@gmail.com or follow him on Twitter via @1001MoviesPC.
Perhaps the world's first famous Scots filmmaker, Alexander Mackendrick was not much more than a set designer when he was hired by Britain's Ealing Studios to direct Whisky Galore! (1949). If you were to ask Mackendrick himself, he would like not cite it as the high point of his career, as the production was plagued with problems between him and the producers. Based on actual events, Whisky Galore! is the charming little story of an island village in Scotland whose inhabitants conspire to steal a boatload of whiskey from a sunken ship. Traditional stereotypes may stand out, but at the end of the day most audiences won't help but smile to themselves at Alexander Mackenrick's directorial debut. Have a question or a comment for the host? Email Sean at 1001moviespodcast@gmail.com, follow him on Twitter via @1001MoviesPC, or look for the podcast's Facebook page.
Cheers! We’re back. Did you miss us? To make up for our hiatus, we’re going to talk about three movies – that’s right, THREE – movies starring Alec Guinness. In honor of these three movies from Ealing Studios we’re drinking East Coast Bias from HenHouse Brewing from Petaluma, California. We actually don’t have a clever tie-in […]
Sterling, Quita, and Charles review Ealing Studios "Nina" starring Zoe Saldana LEAVE A REVIEW ON iTUNES or STITCHER THEN EMAIL OR TWEET US FOR A CHANCE TO WIN PASSES FOR ATLANTIC CITY BOARDWALK CON! Questions or comments? Leave us feedback! Email: podcast@gamingandthensome.com Voicemail: 609 800 GATS (keep it under 2 minutes!) CHECK OUT OUR SPONSOR - TWEAKED AUDIO! www.tweakedaudio.com enter code "gatspod" at checkout for 33% off your order, free international shipping and a lifetime warranty. Help us get to San Diego Comic Con by donating to our Fundly. We can't do it without you! —-> fundly.com/help-gatspod-get-to-sdcc-2016# Pick up a Black History SEASON tee here ---> www.teespring.com/blackhistoryseason Help us make the show better and buy something from our Amazon Wishlist! amzn.com/w/7T3EVUUO7YM7 Donate to the show, every dollar counts! www.gatspod.com/donate Shop with us at Amazon www.gatspod.com/amazon Peep the new ever growing GaTSPOD STORE! shop.spreadshirt.com/gatspod1/ Join our Facebook group --> www.facebook.com/groups/GaTSPOD/ Join our Grand Theft Auto Online crew here--> socialclub.rockstargames.com/crew/ocean_omega Join our Destiny clan here --> www.bungie.net/en/Clan/Forum/185632 Leave us a review on iTunes or Stitcher, if you want it read on the show MAKE IT 5 STARS! Like us - www.Facebook.com/GaTSPod Podcast Twitter www.twitter.com/GaTSPod Sterling's Twitter www.twitter.com/TheWoundGod Charles' Twitter www.twitter.com/HarposHand Quita's Twitter - www.twitter.com/doctoress Monique's Twitter - www.twitter.com/tokenpsycho Follow us on Xbox Live Sterling - The Wound God Charlie - Harpos Hand Quita - Artless Ace Monique - Token Psycho PSN Charles - HarposHand Monique - TokenPsycho
Sterling, Quita, and Charles review Ealing Studios "Nina" starring Zoe Saldana LEAVE A REVIEW ON iTUNES or STITCHER THEN EMAIL OR TWEET US FOR A CHANCE TO WIN PASSES FOR ATLANTIC CITY BOARDWALK CON! Questions or comments? Leave us feedback! Email: podcast@gamingandthensome.com Voicemail: 609 800 GATS (keep it under 2 minutes!) CHECK OUT OUR SPONSOR - TWEAKED AUDIO! www.tweakedaudio.com enter code "gatspod" at checkout for 33% off your order, free international shipping and a lifetime warranty. Help us get to San Diego Comic Con by donating to our Fundly. We can’t do it without you! —-> fundly.com/help-gatspod-get-to-sdcc-2016# Pick up a Black History SEASON tee here ---> www.teespring.com/blackhistoryseason Help us make the show better and buy something from our Amazon Wishlist! amzn.com/w/7T3EVUUO7YM7 Donate to the show, every dollar counts! www.gatspod.com/donate Shop with us at Amazon www.gatspod.com/amazon Peep the new ever growing GaTSPOD STORE! shop.spreadshirt.com/gatspod1/ Join our Facebook group --> www.facebook.com/groups/GaTSPOD/ Join our Grand Theft Auto Online crew here--> socialclub.rockstargames.com/crew/ocean_omega Join our Destiny clan here --> www.bungie.net/en/Clan/Forum/185632 Leave us a review on iTunes or Stitcher, if you want it read on the show MAKE IT 5 STARS! Like us - www.Facebook.com/GaTSPod Podcast Twitter www.twitter.com/GaTSPod Sterling’s Twitter www.twitter.com/TheWoundGod Charles' Twitter www.twitter.com/HarposHand Quita's Twitter - www.twitter.com/doctoress Monique's Twitter - www.twitter.com/tokenpsycho Follow us on Xbox Live Sterling - The Wound God Charlie - Harpos Hand Quita - Artless Ace Monique - Token Psycho PSN Charles - HarposHand Monique - TokenPsycho
Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know!
Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know!
Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know!
Alec Guinness's Professor Marcus really meets his match with Katie Johnson's Mrs. Wilberforce in Alexander Mackendrick's 1955 Ealing Studios comedy "The Ladykillers," what some call the last great comedy from the studio. Where he plots and schemes to rob a bank truck, she makes tea and makes sure her guests act like gentlemen -- even when those men are thieves. It's a great premise for this film, and one that makes at least half of us on the show laugh. Join us -- Pete Wright and Andy Nelson -- as we continue our Sir Alec Guinness series with "The Ladykillers." We talk about why it worked so well for Andy and why it didn't for Pete, looking at everything from the characters to the situations to the overall story. We chat about the performances from the actors playing the five criminals -- Guinness, Peter Sellers, Herbert Lom, Cecil Parker and Danny Green -- as well as the very well mannered Mrs. Wilberforce played by the brilliant Johnson. We discuss the look of the film and the cinematography by Otto Heller, the great score by Tristram Cary and the Oscar-nominated writing by William Rose. We touch on the Coen remake and Tom Hanks playing the Guinness role. And we chat about how great Guinness really is in this film and how we're thrilled to be doing a series on him right now. So check it out -- let us know what you think about the movie. Love it? Hate it? We want to know!
Ealing Studios comedies, particularly the ones we've been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn't just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we've seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It's a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd
Ealing Studios comedies, particularly the ones we’ve been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn’t just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we’ve seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It’s a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we’re doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it’s just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd
Ealing Studios comedies, particularly the ones we've been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn't just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we've seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It's a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)
Ealing Studios comedies, particularly the ones we've been talking about, have all had a bit of an anti-establishment feel to them but “The Man in the White Suit” feels like they were trying to something a bit more with it. The film is fascinating satirical comedy looking at the relationship between the factory owners and the union laborers in England back in the 50s that doesn't just focus on their differences but also finds a way to bring the two groups together. The reason for their coming together is, of course, the titular character, played wonderfully by Sir Alec Guinness. Join us — Pete Wright and Andy Nelson — as we talk about this great Alexander Mackendrick film from 1951 as the next in our Guinness series. We talk about why we find this film so fascinating, and how this film is really the foundation for our podcast. We chat about Guinness and the way he plays his character, as well as many of the other wonderful actors who do so well here, namely Joan Greenwood, Cecil Parker and Michael Gough. We discuss the wonderful cinematography by Douglas Slocombe, working with more shadows than we've seen before, as well as Mackendrick and what he brings to the table. And we chat about some of the effects, from the luminescent suit to the stunt of Guinness scaling the side of the house to escape. It's a brilliant film, one which we both love, and one which more people should really see. So check it out then tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)
Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios' “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He'd continue working in both comedy and drama throughout his career, but we're lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton. We talk about the comedy in this film and why it still works so well six and a half decades later. We chat about Crichton and his wonderful directing, and compare this film with his last film, 1988's “A Fish Called Wanda,” which he directed and co-wrote. We discuss Guinness and the other actors making up the titular mob — Stanley Holloway, Sidney James and Alfie Bass — and look at what they each brought to the table. We chat about our favorite moments of the film and why, even with its problems, it's still an utterly enjoyable caper film. And we point out several familiar faces that you may miss scattered throughout the film — see if you can catch them! It's an absolute delight of a crime caper film, one which we have a great time talking about. Tune in! Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!! The Next Reel on iTunes The Next Reel on Facebook The Next Reel on Twitter The Next Reel on Flickchart The Next Reel on Letterboxd Guess the Movie with The Next Reel on Instagram Check out the Posters with The Next Reel on Pinterest And for anyone interested in our fine bouquet of show hosts: Follow Andy Nelson on Twitter Follow Pete Wright on Twitter Follow Steve Sarmento on Twitter Check out Tom Metz on IMDB Follow Mike Evans on Twitter Follow Chadd Stoops on Twitter Follow Steven Smart on Letterboxd
Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios' “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He'd continue working in both comedy and drama throughout his career, but we're lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton. We talk about the comedy in this film and why it still works so well six and a half decades later. We chat about Crichton and his wonderful directing, and compare this film with his last film, 1988's “A Fish Called Wanda,” which he directed and co-wrote. We discuss Guinness and the other actors making up the titular mob — Stanley Holloway, Sidney James and Alfie Bass — and look at what they each brought to the table. We chat about our favorite moments of the film and why, even with its problems, it's still an utterly enjoyable caper film. And we point out several familiar faces that you may miss scattered throughout the film — see if you can catch them! It's an absolute delight of a crime caper film, one which we have a great time talking about. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)
Sir Alec Guinness had already proven both his comedic and dramatic prowess by the time he came to Ealing Studios' “The Lavender Hill Mob” in 1951, a point in his career when he was making two films a year. He'd continue working in both comedy and drama throughout his career, but we're lucky to still be talking about his comedies because “The Lavender Hill Mob” is an absolute delight. Join us — Pete Wright and Andy Nelson — as we continue our Sir Alec Guinness series with a conversation about his seventh film, directed by Charles Crichton. We talk about the comedy in this film and why it still works so well six and a half decades later. We chat about Crichton and his wonderful directing, and compare this film with his last film, 1988's “A Fish Called Wanda,” which he directed and co-wrote. We discuss Guinness and the other actors making up the titular mob — Stanley Holloway, Sidney James and Alfie Bass — and look at what they each brought to the table. We chat about our favorite moments of the film and why, even with its problems, it's still an utterly enjoyable caper film. And we point out several familiar faces that you may miss scattered throughout the film — see if you can catch them! It's an absolute delight of a crime caper film, one which we have a great time talking about. Tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)
As part of BBC Radio 3's Sound of Cinema, a week of essays written and presented by historian and columnist Simon Heffer on classic British taboo-breaking films which depicted a society changed profoundly by war. The cinema of the 30s was nakedly and unashamedly escapist in a way that the cinema of the late 40s and early 50s - in an age of lost innocence and social upheaval - simply couldn't be. This was a period when British cinema was forced to embrace change and reflect reality.Taboos it had left untouched could no longer be ignored if film was to remain relevant. Families had broken up because of bereavement and adultery. Subjects considered unsuitable for a cinema audience - marital breakdown , criminality, revenge, failings in the justice system, and disability - suddenly became popular with British screenwriters and studios. Social realism was the order of the day.In Heffer on British Film, Simon Heffer puts the case for five films from the decade after the war which show British cinema dealing with gritty social issues and dramatic high standards before the 60s were underway - including It Always Rains on Sunday (1947), The Long Memory (1952), The Browning Version (1951), Yield to the Night (1956) and the focus of today's essay - Mandy (1953).Ealing Studios' Mandy, directed by Alexander Mackendrick was based on the book 'The Day Is Ours' by Hilda Lewis, with screenplay by Nigel Balchin and Jack Whittingham. It's the story of a girl, Mandy Garland, who is diagnosed with a congenital hearing defect and starred Phyllis Calvert, Jack Hawkins and Terence Morgan.As her parents Harry and Christine Garland come to terms with the fact that they have a deaf-mute daughter, they enrol her in special education classes to try to get her to speak. As she struggles to express herself and learn how to lip-read, her parents argue over the best way to deal with her condition and their marriage comes under severe strain. This is compounded by hints of an affair between Christine and Searle (Jack Hawkins) , the headmaster of the school for the deaf where Mandy is enrolled. Although it may be too late for the little girl to make great strides, the specialist training eventually pays off to the point where Mandy says her own name for the first time.While the drama revolves around the parents' sharply conflicting views of what to do for their child, the unpretentious, documentary style adopted by MacKendrick reveals the world through the eyes of the little girl as she responds to the strange way adults around her conduct themselves and the sensitive guidance of her school. And, thanks to the wonderful performance he draws from Mandy Miller, the slow but sure development of this youngster is at the heart of the film.Producer: Mohini Patel.
It’s Creepy! This week in the B-movie clubhouse one of our friends from the U.K. Dave Thomas will be joining us as we talk about a film made by Ealing Studios called Dead of Night from 1945. Plus we have some great feedback. Toll Free Number 888-350-2570 James Dean Ultimate Collector’s Edition (Blu-ray) Mr.Gasser Ratfink.org […]
Reprinted from wikipedia with thanks and respect The Three Doctors is the first of the of the British series , first broadcast in four weekly parts from 30 December 1972 to 20 January 1973. The serial opened the tenth anniversary year of the series. Synopsis The of the is under siege, by an unknown force that by all accounts should not even exist. The only person who can help them is , but even he will need assistance – from his previous selves. [] Plot A signal is sent to , carrying with it an unusual energy blob that seems intent on capturing the . In the meantime, the homeworld of the is under siege, with all the power sustaining it being drained through a . Trapped and desperate, the Time Lords do the unthinkable and break the First Law of Time, allowing the Doctor to aid himself by summoning his two previous from the past. Unfortunately, the is trapped in a time eddy, unable to fully materialize, and can only communicate via viewscreen, but the joins the Third in investigating the origins of the creature and the black hole, while headquarters faces an attack by the gel-like alien creatures. The First Doctor deduces the black hole is a bridge between universes, and the other two Doctors allow the TARDIS to be swallowed up by the energy creature, which transports them, Dr Tyler, , and into an universe created by the legendary Time Lord . Omega was a solar engineer who created the that powers Time Lord civilization, but was considered killed in the explosion. In actuality, he had been transported to the antimatter universe, where his will and thought turned the formless matter into physicality. Trapped, due to the fact that his will is the only thing maintaining reality, he vowed revenge on the Time Lords who left him stranded. It is clear that the exile has made Omega quite insane. Along with his revenge, he has summoned the Doctors here to take over the mental maintenance of the antimatter universe so he can escape. However, the Doctors discover that years of exposure to the corrosive effects of the black hole's have destroyed Omega's physical body – he is trapped forever. Driven over the edge by this discovery, Omega now demands that the Doctors share his exile. The Doctors escape briefly, and offer Omega a proposition. They will give him his freedom if they send the others back to the positive matter universe. Omega agrees, and when that is done, the Doctors offer Omega a force field generator containing the Second Doctor's recorder, which had fallen in it prior to the transport through the black hole. Omega knocks the generator over in a rage and the unconverted positive matter recorder falls out of the force field. When the recorder comes into contact with the antimatter universe, it annihilates everything in a flash, returning the Doctors in the TARDIS to the positive matter universe. The Third Doctor explains that death was the only freedom anyone could offer Omega. With the power now restored to the Time Lords, they are able to send the First and Second Doctors back to their respective time periods. As a reward, the Time Lords give the Third Doctor a new dematerialization circuit for the TARDIS and restore his knowledge of how to travel through . [] Continuity Omega would return in the serial, (1983), the , the novel and the gamebook . The Chancellor is portrayed by Clyde Pollitt who had also played one of the Time Lords who tried and exiled the Second Doctor. Barry Letts states in the DVD commentary that this was intentional as he meant for this to be the same character. Similarly, Graham Leaman reappears as a Time Lord having been seen in the role in , discussing 's activities and their use of the exiled Doctor as an agent. The Brigadier refers to the (), the () and the (). The novel states that the First Doctor is taken out of time between the stories and but immediately before the novel. [] Production Serial details by episode EpisodeBroadcast dateRun timeViewership (in millions)Archive "Episode One" 30 December 1972 24:39 9.6 PAL 2" colour videotape "Episode Two" 6 January 1973 24:18 10.8 PAL 2" colour videotape "Episode Three" 13 January 1973 24:22 8.8 PAL 2" colour videotape "Episode Four" 20 January 1973 25:07 11.9 PAL 2" colour videotape Working titles for this story included The Black Hole. The script was originally supposed to feature all three Doctors equally, but William Hartnell was too ill to be able to play the full role as envisioned. He was, therefore, reduced to a pre-recorded , appearing only on the TARDIS's scanner and the space-time viewer of the Time Lords. It would be the last time he played the Doctor and his last acting role before his death in 1975. Hartnell's scenes were filmed at BBC's Ealing Studios and not in a garage or a garden shed as fan myth would have it. The serial's promotional photo shoot was the only time the three actors were shown together. The production team also planned for to reprise his role of alongside the Second Doctor; however, Hines was not available, due to his work on the soap opera . Much of the role originally intended for Jamie was reassigned to Sergeant Benton. [] Outside references Jo references The ' song "". [] In print A novelisation of this serial, written by , was published by in November 1975. The novelisation provides a rationale for Omega's realm to be a : over the millennia, Omega has become weary of the mental effort required to generate a verdant landscape and now makes do with rock and soil. The Second Doctor is referred to throughout as Doctor Two. In the book, Mr Ollis is renamed Mr Hollis. book The Three Doctors Series Release number 64 Writer Publisher Cover artist ISBN Release date 20 November 1975 Preceded by ' Followed by ' [] Broadcast, VHS and DVD releases The serial was repeated on BBC2 in November 1981, daily (Monday-Thursday) (23 November 1981 to 26 November 1981) at 5.40pm as part of "The Five Faces of Doctor Who". This story was released twice on , first in August 1991 and thereafter remastered and re-released in 2002 as part of the 's The Time Lord Collection boxed set. This story was released on in the UK in November 2003 as part of the Doctor Who 40th Anniversary Celebration releases, representing the Jon Pertwee years. Some copies came in a box set housing a limited edition model of , the Third Doctor's vintage roadster. A special edition of the DVD, with new bonus features, is to be released in the uk on 13 February 2012 in the third of the ongoing Revisitations DVD box sets. [] References Shaun Lyon et al. (2007-03-31). . Outpost Gallifrey. Archived from on 2008-05-18. Retrieved 2008-08-30. . Doctor Who Reference Guide. Retrieved 2008-08-30. Sullivan, Shannon (2007-08-07). . A Brief History of Time Travel. Retrieved 2008-08-30. ; ; (1995). . Doctor Who: The Discontinuity Guide. London: . p. 141. . Retrieved 2010-09-03. [] External links Wikiquote has a collection of quotations related to: at at at the Reviews reviews at reviews at Target novelisation reviews at
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