Reel Britannia

A very British podcast about very British films with an occasional hint of professionalism.

Episode 166 - Poison Pen (1939) 04/21/2025

Episode 166 - Poison Pen (1939) Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism. This week, vintage British drama as a tranquil English village is torn apart by anonymous letters accusing residents of scandalous misdeeds. Suspicion and paranoia escalate, leading to tragic consequences, as the community struggles to uncover the culprit and restore harmony. Episode 166 - Poison Pen (1939) All episodes at: Poison Pen (1939) turns the tranquil charm of an English village into the backdrop for a juicy mystery! The drama kicks off when anonymous letters, brimming with scandalous gossip, start popping up in mailboxes. These “poison pen” notes stir up chaos, revealing secrets (and maybe even lies) that set tongues wagging and suspicions soaring. Reverend Rider (Reginald Tate) and his sister Mary (Flora Robson) do their best to soothe the panic, encouraging everyone to rise above the drama. But resisting the intrigue proves harder than it seems! Even Rider’s daughter Ann (Ann Todd) isn’t spared, with her fiancé David (Geoffrey Toone) caught in the crossfire. The letters keep coming, fanning the flames of mistrust and upending friendships. In a shocking twist, Connie Fateley (Catherine Lacey), a shy seamstress, is wrongfully accused of writing the letters. Heartbreaking consequences follow, but the mystery deepens as the letters continue, leaving the village reeling and desperate for answers. Though dark moments linger, the story keeps you hooked as it explores themes of trust, community, and the havoc wreaked by unchecked gossip. Beneath the mystery is a compelling cautionary tale about the impact of words and the resilience of human connections. With its gripping twists, Poison Pen delivers a captivating mix of tension, drama, and a reminder to think twice before judging others—wrapped up in the atmosphere of classic British cinema! "So last night wasn't enough for you, you little Jezebel?" This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod Thanks for listening Scott and Steven /episode/index/show/reelbritannia/id/36244195

Episode 165 - A Taste of Honey (1961) 04/18/2025

Episode 165 - A Taste of Honey (1961) Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism. This week, more classic British kitchen sink drama with the tale of Jo, a bold working-class teen who discovers strength in unexpected places. After a brief romance leaves her pregnant, she bonds with Geoff, a kind gay art student. Together, they challenge conventions, showing the power of love, resilience, and humanity in the face of social prejudice. Episode 165 - A Taste of Honey (1961) All episodes at: A Taste of Honey (1961), directed by Tony Richardson, is a groundbreaking British film that explores themes of poverty, identity, and unconventional relationships. Adapted from Shelagh Delaney's play, it is a cornerstone of the "kitchen sink realism" movement, portraying working-class life with raw honesty. The story follows Jo, a spirited yet vulnerable teenager living in a grimy Salford flat with her neglectful, self-absorbed mother, Helen. Their strained relationship is marked by Helen's pursuit of men and alcohol, leaving Jo to fend for herself emotionally and materially. When Helen marries her wealthy but boorish suitor, Peter, Jo is left alone and begins a tender romance with Jimmy, a black sailor. Their fleeting relationship results in Jo's pregnancy, but Jimmy departs, leaving her to face an uncertain future. Jo finds solace in Geoffrey, a kind-hearted gay man who becomes her roommate and surrogate family. Together, they create a fragile sense of stability, defying societal norms. However, Helen's return disrupts their fragile harmony, forcing Jo to confront her fears and independence. With gritty cinematography and a poignant jazz score, A Taste of Honey captures the struggles and resilience of its characters, offering a compassionate yet unflinching look at marginalized lives in post-war Britain. "Look at that. It's dead. A bit of love, a bit of lust, and there you are. We don't ask for life. We have it thrust upon us." This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod Thanks for listening Scott and Steven /episode/index/show/reelbritannia/id/36218325

Episode 164 - Hammer Britannia 017 - Paranoiac (1963) 04/12/2025

Episode 164 - Hammer Britannia 017 - Paranoiac (1963) Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism This week...more from the great Hammer studios as they craft a chilling tale of deceit and madness. A presumed-dead heir resurfaces, unraveling sinister family secrets. Gothic suspense intertwines with psychological twists, as greed, guilt, and identity collide in a haunting inheritance drama. Starring Oliver Reed and Janette Scott. Paranoiac (1963) Where secrets fester and madness reigns—welcome to the Ashby estate, where paranoia is just the beginning Paranoiac (1963), directed by Freddie Francis and produced by Hammer Films, is a gripping psychological thriller that delves into themes of identity, deception, and madness. Loosely based on Josephine Tey's novel Brat Farrar, the film is set against the backdrop of a wealthy but dysfunctional British family, the Ashbys, whose lives are marred by tragedy and secrets. The story begins with the Ashby siblings, Simon and Eleanor, living under the care of their strict Aunt Harriet after the death of their parents in a plane crash. Simon, a cruel and manipulative alcoholic, is weeks away from inheriting the family fortune. Eleanor, fragile and haunted by the past, struggles with her mental health, particularly after the apparent suicide of their elder brother, Tony, years earlier. The plot takes a dramatic turn when a man claiming to be Tony reappears, throwing the family into turmoil. While Eleanor is overjoyed and convinced of his identity, Simon and Aunt Harriet are skeptical, suspecting him to be an impostor. As tensions rise, the film unravels a web of deceit, revealing that "Tony" is indeed a conman hired by the family solicitor's son to cover up financial embezzlement. The narrative is further complicated by Simon's descent into madness, driven by guilt and greed. The eerie atmosphere is heightened by haunting organ music and a masked figure, adding layers of gothic suspense. The climax reveals shocking truths about the family's dark past, including Simon's role in Tony's death and Aunt Harriet's attempts to maintain a facade of normalcy. Oliver Reed delivers a standout performance as the volatile Simon, capturing the character's menace and vulnerability. The film's cinematography, with its shadowy visuals and dramatic angles, enhances the sense of unease, while Elisabeth Lutyens' haunting score underscores the psychological tension. Paranoiac is a masterful blend of gothic horror and psychological drama, showcasing Hammer Films' ability to craft compelling narratives that linger in the mind long after the credits roll. You can find this and all our previous episodes everywhere you download your podcasts Follow us on Twitter @rbritanniapod email: [email protected] #podcast #britmovie #reelbritannia #hammerhorror Thanks for listening Scott, Steven and Mark /episode/index/show/reelbritannia/id/36108455

Episode 163 - Kind Hearts and Coronets (1949) 04/08/2025

Episode 163 - Kind Hearts and Coronets (1949) Welcome to Reel Britannia-a very British podcast about very British movies ...with just a hint of professionalism. Back to 1949 this week and a darkly witty masterpiece of British cinema! An Ealing comedy blending sharp humour, class satire, and Alec Guinness playing eight roles. A timeless classic! Kind Hearts and Coronets (1949) A Delightfully Dark Comedy of Class and Revenge Kind Hearts and Coronets, the crown jewel of British cinema’s dark humour. If you haven’t yet basked in its glory, let me paint the scene for you. Picture this: Edwardian England, an impeccable sense of manners, and a protagonist who’s as calculating as he is charming—all wrapped in a story about climbing the social ladder by…murdering every single person standing in the way. Yes, murder. And somehow, it’s positively delightful. The plot centers on Louis Mazzini (played by Dennis Price), who is probably cinema’s most likable sociopath. Born into a working-class life, Louis has always resented his mother’s noble family, the D’Ascoynes, who cast her out for marrying “beneath her station.” But when Louis’s mother dies penniless and the snobbish D’Ascoynes refuse her last wish of burial in the family crypt, the gloves come off—Louis vows to avenge his mother’s disgrace and reclaim his rightful place among the aristocracy. There’s just one minor snag: eight D’Ascoynes stand between him and the title of Duke. A daunting task? Perhaps. But for Louis, it’s all in a day’s work. Now, what makes Kind Hearts and Coronets so uniquely brilliant is its approach to murder. This isn’t your run-of-the-mill bloodbath; it’s murder with panache, style, and an undeniable charm. Each of Louis’s victims is played by the inimitable Alec Guinness, who dons eight different personas—from pompous aristocrats to eccentric eccentrics, each more absurd than the last. Guinness’s performance is a cinematic tour de force, bringing every D’Ascoyne to life with precision and wit, ensuring no two murders feel the same. Louis may be methodical, but he’s never boring—whether he’s engineering an explosion or a “tragic” drowning, each act of homicide is artfully executed with a dose of dark humor. One of the joys of Kind Hearts and Coronets is its unashamed cleverness. The film wields irony like a rapier, slicing through social norms and class pretensions with a gleeful grin. Louis’s ascent from working-class obscurity to the dizzying heights of the aristocracy is as much a critique of class inequality as it is a comedy of manners. His steely resolve to eliminate his relatives is matched only by his ability to deliver dry, razor-sharp commentary along the way. Dennis Price’s impeccable delivery transforms Louis into a character you can’t help rooting for—despite his penchant for, well, homicide. Of course, no tale of ambition and revenge is complete without a touch of romance. Louis’s love life is deliciously complicated, involving a love triangle between Sibella (Joan Greenwood), his childhood sweetheart, and Edith (Valerie Hobson), the widow of one of his victims. Sibella is wonderfully wicked—a femme fatale with a voice like melted honey and an unapologetic thirst for social status. Edith, on the other hand, is all grace and dignity, providing a stark contrast to Sibella’s conniving charm. Louis, being the opportunist that he is, juggles both women with alarming ease, adding an extra layer of intrigue to his already twisted pursuits. The film’s finale is a masterstroke of irony and poetic justice. Just when Louis seems to have achieved everything he set out to accomplish, fate intervenes with one final twist—a testament to the film’s commitment to keeping its audience thoroughly entertained until the last frame. Without spoiling too much, let’s just say that Louis’s razor-sharp intellect proves to be both his greatest strength and his Achilles’ heel. Visually, Kind Hearts and Coronets is a treat for the eyes. Director Robert Hamer uses cinematography to accentuate the film’s satirical tone, juxtaposing the grandeur of the D’Ascoyne estate with the cold, calculated reality of Louis’s crimes. The costume design and period details immerse viewers in Edwardian England, while the film’s score lends an air of sophistication to even its most macabre moments. It’s a film that looks as good as it feels, capturing the essence of a bygone era with wit and style. What truly elevates Kind Hearts and Coronets is its audacity. It dares to make us laugh in the face of murder, to cheer for a protagonist whose moral compass is utterly skewed, and to see the absurdity in the rigid class structures of the time. It’s a film that revels in its own wickedness, inviting viewers to join in the fun. And fun it is—rarely does a film blend darkness with levity so effortlessly, crafting a narrative that’s as thought-provoking as it is entertaining. In summary, Kind Hearts and Coronets is a masterful dark comedy that stands the test of time. With unforgettable performances, sharp wit, and a plot that keeps you on your toes, it’s a cinematic experience that delights in its own cunning brilliance. "The D'Ascoynes certainly appear to have accorded with the tradition of the landed gentry, and sent the fool of the family into the church." This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod Thanks for listening Scott and Steven /episode/index/show/reelbritannia/id/36050810

Episode 162 - The Big Job (1965) 03/11/2025

Episode 161 - Green for Danger (1946) 03/06/2025

Episode 160 - Hammer Britannia 016 - Kiss Of The Vampire (1963) 11/14/2024

Episode 159 - Last Orders (2001) 10/31/2024

Episode 159 - Last Orders (2001) 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 their dear friend Mark, host of The Good, The Bad and The Odd podcast, to chat about a touching, bittersweet journey of friendship and regret, as four old friends fulfill a promise to scatter their late friend's ashes. Last Orders (2001) "Last Orders" (2001), directed by Fred Schepisi, is a poignant drama centered around a group of lifelong friends fulfilling their deceased friend's final wish. The story revolves around four aging men—Ray (Bob Hoskins), Lenny (David Hemmings), Vic (Tom Courtenay), and Vince (Ray Winstone)—who embark on a journey to scatter the ashes of their friend Jack Dodds (Michael Caine) in the sea at Margate, following his last orders. Jack, a butcher and a pub regular, left behind his widow, Amy (Helen Mirren), who is still grappling with the loss and her own regrets. As the men travel from Bermondsey to Margate, they make several stops significant to their shared history. Each stop triggers memories and flashbacks, revealing their past experiences, relationships, and the complicated dynamics between them. These flashbacks feature a younger version of Jack (JJ Feild), his friends, and his family, providing a deeper understanding of their connections and the life they led. Ray, Jack's best friend and a bookie, reflects on his unrequited love for Jack's wife, Amy, and his own failed marriage. Lenny, a former boxer, grapples with the loss of his son and his troubled relationship with his daughter. Vic, the quiet undertaker, contemplates the significance of life and death, while Vince, Jack's adopted son, struggles with his feelings of inadequacy and the pressure of living up to his father's expectations. As the journey progresses, the men confront their own insecurities, secrets, and unresolved issues. They share stories, argue, and ultimately bond over their shared grief and memories of Jack. Along the way, they visit landmarks such as the war memorial, the pub where they spent countless hours, and the racetrack where Jack placed his bets. Each location holds a piece of their collective past, evoking nostalgia and reflection. In the end, the men reach Margate and scatter Jack's ashes into the sea, honoring his final request. This act of closure allows them to find peace and move forward, forever changed by the journey and the memories they shared with their dear friend. "Last Orders" is a touching exploration of friendship, loss, and the passage of time, beautifully capturing the essence of life's fleeting moments and the impact of enduring bonds. "If y... if you ever get the chance... Raysy. I... if, if you ever get the option - you go first. It's the carrying on that's hard." You can find this and all our previous episodes everywhere you download your podcasts Follow us on Twitter @rbritanniapod email: #britmovie #reelbritannia #movie #podcast #michaelcaine #bobhoskins #helenmirren #raywinstone #tomcourtenay #davidhemmings Thanks for listening! Scott and Steven /episode/index/show/reelbritannia/id/33700732

Episode 158 - A Private Function (1984) 10/23/2024

Episode 157 - McVicar (1980) 09/04/2024

Episode 156 - Hammer Britannia 015 - The Damned (1962) 08/26/2024

Episode 155 - The Small World of Sammy Lee (1963) 08/18/2024

Episode 155 - The Small World of Sammy Lee (1963) Welcome to Reel Britannia-a very British podcast about very British movies ...with just a hint of professionalism. Back to the seedy side of sixties Soho this week featuring a powerful performance from Anthony Newley This week, Scott and Steven are joined by Anthony, the host of the Film Gold podcast The Small World of Sammy Lee (1963) The Small World of Sammy Lee is a 1963 British crime drama film directed by Ken Hughes. The story unfolds in the seedy underbelly of London's Soho district, focusing on the life of Sammy Lee, a strip club compere and hustler who finds himself in dire straits. Sammy Lee, played by Anthony Newley, is a charismatic but desperate man. He owes £300 to a local bookie named Connor and has only five hours to pay off his debt. If he fails, the consequences will be severe, as Connor’s enforcers are known for their ruthless methods. The film begins with Sammy receiving a phone call informing him that his time is running out, setting off a frantic race against the clock. As Sammy scrambles to gather the money, the film provides a vivid portrayal of his world. Soho is depicted as a place filled with strip clubs, gambling dens, and shady characters. Sammy’s interactions with the various inhabitants of this world reveal much about his character and the precarious life he leads. Throughout the day, Sammy employs a series of hustles to raise the funds. He borrows from friends, pleads with acquaintances, and even resorts to stealing. One of the significant characters he turns to is his brother Lou, who runs a delicatessen. Lou, portrayed by Warren Mitchell, is initially reluctant to help due to Sammy’s repeated failures and irresponsible behavior. However, the bond of family eventually prevails, and Lou reluctantly provides some money, though it’s not enough to cover the debt. Parallel to Sammy's frantic efforts, the film explores the impact of his lifestyle on others, particularly Patsy, a young woman who is infatuated with him. Patsy, played by Julia Foster, arrives in Soho from the countryside, naively hoping to start a new life with Sammy. Her innocence and genuine affection for Sammy contrast sharply with the gritty reality of his world. Sammy, though fond of her, is too entangled in his own troubles to reciprocate her feelings fully. As the deadline approaches, Sammy’s situation becomes increasingly desperate. His attempts to hustle money from various sources lead to a series of tense and dramatic encounters. The film’s climax occurs in the strip club where Sammy works. In a last-ditch effort, Sammy bets the money he has managed to gather on a high-stakes poker game, hoping to win enough to pay off his debt. However, luck is not on his side, and he loses the game, sealing his fate. The final scenes of the film are poignant and impactful. As the clock ticks down, Connor’s enforcers arrive to collect the debt. Sammy’s frantic energy gives way to a sense of resignation and defeat. The enforcers take Sammy away, leaving his fate ambiguous but undoubtedly grim. The Small World of Sammy Lee is a compelling character study and a vivid depiction of the darker side of 1960s London. The film’s strength lies in its atmosphere, the complexity of its protagonist, and the tense, fast-paced narrative that keeps the audience engaged from start to finish. Through Sammy Lee’s story, the film explores themes of desperation, survival, and the human cost of a life lived on the margins of society. "Soho's not a place, it's a state of mind. It's where you end up when you've got nowhere else to go." This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod Glass Onion: On John Lennon Life And Life Only Film Gold Thanks for listening Scott and Steven /episode/index/show/reelbritannia/id/32625522

Episode 154 - Sitting Target (1972) 08/11/2024

Episode 153 - Up In The World (1956) 08/07/2024

Episode 152 - Saturday Night and Sunday Morning 08/03/2024

Episode 152 - Saturday Night and Sunday Morning Welcome to Reel Britannia-a very British podcast about very British movies ...with just a hint of professionalism. Classic kitchen sink drama this week featuring a powerful performance from Albert Finney This week, Scott and Steven are joined by Anthony, the host of the Film Gold podcast Saturday Night and Sunday Morning (1960) Saturday Night and Sunday Morning, released in 1960, still remains one of the finest of the Angry Young Men movies that emanated from England in the late 1950s and ’60s. In his first starring role, Albert Finney played a charismatic man who seems destined to follow in his parents’ and grandparents’ footsteps by pursuing a mundane, working-class lifestyle. Employed as a lathe operator in a Midlands factory, Finney’s Arthur Seaton lives for the weekend, when he drinks and womanizes to excess. However, when he has an affair with a coworker’s wife, he finds himself facing decisions he never expected to have to make. Saturday Night and Sunday Morning was based on the first novel by British author Alan Sillitoe, who wrote the screenplay. He based the grim but compelling story line on his own experiences working in a factory and used the plot as a plea for the younger generation of Brits to break the bonds that restricted them to predictable and unfulfilling lives. An accomplished stage actor, Finney earned international acclaim for his powerful performance. "Don't let the bastards grind you down!" Production notes and credits Studio: Continental Distributing Director: Karel Reisz Producer: Tony Richardson Writer: Allan Sillitoe Music: John Dankworth Running time: 89 minutes Cast Albert Finney (Arthur Seaton) Shirley Anne Field (Doreen) Rachel Roberts (Brenda) Hylda Baker (Aunt Ada) Norman Rossington (Bert) This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod Glass Onion: On John Lennon Life And Life Only Film Gold Thanks for listening Scott and Steven /episode/index/show/reelbritannia/id/32422267