Great Britain and the “Masterpiece Tradition”
Right-Wing “Masterpiece Theater” school
“Merchant/Ivory” – (Director James Ivory, Producer Ismail Merchant, Screenwriter Ruth Prawer Jhabvala) in over 30-year partnership
Characteristics
Conflict of English vs. Indian cultures –in early films shot in India like Shakespeare Wallah (1966).
Later, “Anglo-English” adaptations (Europeans, Room with A View) dealing with collisions of class, temperament, and social hostility; contrast between emphasis on vestiges of class (expensive furnishings and etc.) YET the story emphasizes contempt for the crassly materialistic
WATCH: Howard’s End– Henry’s Proposal
Howard’s End: Henry’s Proposal – CC
Room with a View (1986). Huge hit. Like most of Ivory’s best works, this charming comedy [romance is beautifully mounted with elegant camerawork, ravishing color, and subtle compositions. Juicy and lyrical, complete with thrilling Puccini arias, waving fields of grain, and a swooning heroine (Helena Bonham Carter).
WATCH: ROOM WITH A VIEW –
- Bathing Scene
https://youtu.be/ZKbBwrsEV5A?t=17
- Poppyfield Kiss
Popular again (in England AND Jerry Springer-fied U.S.) In response to crudeness (albeit vibrant outspokenness regarding the dynamics of sex, class, and power) of Social Realism of the 1960s—
Literate scripts, first-rate actors, a high level of craftsmanship, and an intense class consciousness in films of taste, style, grace, and intelligence–often lack energy and vitality
Many set in the Edwardian era (1901-1910) which is regarded by many Tory conservatives as the golden age of British power and prestige (before losses of Australia/India/China)
Characters are almost exclusively bourgeois, white, Anglo-Saxon and Protestant. Since most of these movie deal with well-educated people, the characters speak the King’s English—the ‘correct’ dialect that is universally taught in so-called public schools (which are of course private, expensive, and exclusive). The characters are articulate, poised. Sometimes they are melancholy, even tragically doomed.
Left Wing modern “Kitchen Sink”
Like former 1960s kitchen sink Low-budget, Marxist in orientation but less emphasis on realistic style. More lively and rebellious.
A reaction to prime Minister Margaret Thatcher’s conservative stance (akin to contemporary Reagan in U.S.) which resulted in rich and upper-middle class prospering, but blue-collar workers and lower suffered.
Resulted in increase in racial tensions and unemployment.
- Obsession with recent past, especially the 1950s.
- Also, preoccupation with sex. Many films dealing with famous sex scandals.
- Neil Jordan’s Mona Lisa (1986) about ex-con Bob Hoskins working as a chauffeur for Black call girl Cathy Tyson, who he falls in love with. The nature of the subject matter—everyday life at the frayed fringes—works against glamour. The production values are kept deliberately matter of fact, nothing fancy. The domestic scenes in this movie are photographed in such plain style; whenever the protagonist descends into the sleazy underworld, however, the photography becomes stylized, simultaneously sinister, and seductive. Stylistically, more expressionistic—a neon poem with garish colors, unusual angles, and moody, low-key lighting.
WATCH: Mona Lisa
Steven Frears – most critically admired Working class Brit & left leaning liberal
- films about ethnic & class tensions between Pakistani immigrants and working-class Brits with sexual ambiguity
- My Beautiful Launderette (1986) shot in 6 weeks for $900k. Huge international hit
WATCH: My Beautiful Laundrette trailer
My Beautiful Laundrette trailer – CC
Sammy and Rosie Get Laid (1987) “The movie is stronger on character than on story and contains a good deal of Thatcher-bashing, rough language, political torture, allegory, lots of comedy, police brutality, street riots, and militant lesbianism and interracial sex.