Episode 183 - Boiling Point (2021)

"I do not get paid enough to deal with this shit."

The 2021 British film "Boiling Point" offers a raw and immersive look into the high-pressure environment of a professional kitchen, captured in a single, continuous take. Directed by Philip Barantini, who co-wrote the screenplay with James Cummings, the film is a technical marvel that amplifies the relentless stress of the culinary world. The production notably filmed the entire movie four times, with the third take being the one used in the final cut, a testament to the cast and crew's incredible coordination and performance.

The narrative unfolds in real-time on the last Friday before Christmas, one of the busiest nights of the year for the upscale London restaurant, Jones & Sons. At the heart of the storm is Head Chef Andy Jones, portrayed with a visceral intensity by Stephen Graham. Already burdened by personal issues, Andy's night spirals into chaos from the moment he arrives. A surprise visit from a health and safety inspector downgrades the restaurant's rating, setting a tense tone for the evening.

As the service gets underway, the pressure cooker environment of the kitchen reaches a fever pitch. The camera masterfully weaves through the cramped and chaotic space, capturing the escalating conflicts between the overworked staff. Andy's patient and capable sous-chef, Carly (Vinette Robinson), struggles to manage the kitchen amidst her boss's erratic behavior. Meanwhile, the front-of-house manager, Beth (Alice Feetham), adds to the friction with her mishandling of demanding customers, including a celebrity chef who is also Andy's former mentor and a renowned food critic. The film expertly juggles multiple storylines, from difficult patrons with severe food allergies to internal staff disputes, all while Andy's personal life continues to unravel just outside the kitchen doors. The result is a palpable sense of anxiety that leaves the audience on the edge of their seat, deeply invested in the fate of the restaurant and its deeply flawed but compelling protagonist.

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Scott and Steven

Episode 182 - All Night Long (1962)

"Me? Oh, I belong to that new minority group: white American jazz musicians. They're going to hold a mass meeting in a phone booth."

Get ready to step into the coolest party of 1962. Basil Dearden's All Night Long is a cinematic powder keg, a film that brilliantly transplants Shakespeare’s classic tragedy Othello into the vibrant, smoke-filled world of the London jazz scene, and it does so with an electrifying pulse that never lets up. This isn't just a drama; it's a front-row seat to a once-in-a-lifetime jam session, featuring knockout performances from real-life jazz giants like Dave Brubeck, Charles Mingus, and Johnny Dankworth. The result is a stunningly stylish and suspenseful ride that swings to its own dynamic rhythm.

The story unfolds over the course of a single, spectacular evening. Wealthy music enthusiast Rod Hamilton (a wonderfully suave Richard Attenborough) is hosting an anniversary party for the golden couple of the jazz world: the supremely talented bandleader and pianist Aurelius Rex (Paul Harris) and his beautiful wife, Delia Lane (Marti Stevens), a celebrated singer who has happily retired from the stage for a life with her husband. The setting is a chic, converted warehouse on the Thames, buzzing with the energy of musicians, friends, and the infectious sound of bebop. The champagne is flowing, the music is hot, and love is in the air. For Rex and Delia, it’s a perfect celebration of their first year together.

But lurking in the shadows of this joyous occasion is the ambitious and conniving drummer, Johnny Cousin (a riveting Patrick McGoohan). Johnny has big plans to launch his own band, but his financial backing hinges on one crucial element: persuading Delia to be his lead singer. When Delia, devoted to Rex and her new life, politely turns him down, Johnny’s ambition curdles into a venomous plot. If he can't get her to join him, he’ll destroy the very foundation of her happiness. With a wicked grin and a drummer’s sense of timing, he sets out to poison Rex’s mind, spinning a devious web of lies to convince the bandleader that Delia is having an affair with their trusted friend and saxophonist, Cass Michaels (Keith Michell).

What follows is a masterclass in tension, made all the more thrilling by the incredible musical backdrop. As the party roars on, with Mingus plucking his bass and Brubeck commanding the piano, Johnny moves through the crowd like a phantom, orchestrating his symphony of destruction. He slyly gets Cass to smoke a "drugged" cigarette, loosens his tongue, and then, in a stroke of cunning genius, uses a reel-to-reel tape recorder to capture and manipulate conversations. He masterfully edits the tape to create a false, damning narrative of Delia and Cass’s "love affair." McGoohan is absolutely electric as the scheming Johnny, his intense eyes darting around the room, always a step ahead, turning a joyous celebration into his personal playground of chaos.

The music acts as the film's heartbeat, with each sensational performance escalating the drama until it reaches a fever pitch. When Rex finally hears the doctored tape, his love and trust shatter, leading to a raw and explosive confrontation that silences the entire party. But just when it seems tragedy is inevitable, Johnny’s web of deceit is heroically untangled by his own long-suffering wife. The truth comes crashing down, and Johnny's grand ambitions are left in ashes. In a powerful final scene, he is left alone, frantically beating his drums in a furious, solitary solo. The party is over, but for Rex and Delia, there’s a glimmer of hope as they walk out into the dawn, their bond tested but ultimately not broken, ready to pick up the pieces. All Night Long is a triumph—a sharp, exhilarating fusion of high drama and spectacular music that remains an absolute knockout.

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Thanks for listening

Scott and Steven

 

 

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism.

Episode 181 - The Gorgon (1964)

 

" Don't use long words, Inspector; they don't suit you."

Get ready to have a monstrously good time with one of Hammer Film Productions’ most creative and atmospheric chillers, 1964’s The Gorgon! This isn't just any old creature feature; it’s a vibrant, gothic mystery that brings together the titans of terror, Peter Cushing and Christopher Lee, for a truly legendary showdown. Forget what you know about Medusa, because this film introduces a new snake-haired sister to the mix, and she’s ready for her close-up!

The fun kicks off in the spooky little German village of Vandorf around the turn of the 20th century. This town has a serious problem: its residents have a nasty habit of turning to stone. When a young artist is found petrified, his family refuses to accept the flimsy official story. His determined father and brother arrive to uncover the truth, but the locals, terrified of a legendary curse, are tighter-lipped than a statue. This creates a wonderfully suspenseful puzzle, with our heroes piecing together clues while the village doctor (the ever-brilliant Peter Cushing) seems to know more than he’s letting on.

The mystery deepens with the arrival of the dashing Professor Karl Meister, played with commanding authority by the one and only Christopher Lee. He storms into town, ready to challenge superstition with science and solve the stony situation once and for all. The scenes between Cushing and Lee are electric, a fantastic duel between two masters of the genre who bring gravitas and excitement to every line. They elevate the film from a simple monster movie into a compelling human drama set against a wonderfully spooky backdrop.

The film does a masterful job building the tension, giving you glimpses of slithering snakes and haunting reflections before the big reveal. When Megaera finally appears in her full, terrifying glory, it’s a fantastic piece of classic horror magic. Her ghostly presence, combined with the eerie wail that precedes her, makes for some of the most memorable scenes in Hammer's history. The special effects, which show victims slowly hardening into stone, are delightfully retro and add to the film's unique charm.

The Gorgon culminates in a thrilling and dramatic finale set in the ruins of Castle Borski. It's a fantastic climax filled with heroic sacrifice, shocking revelations, and a final, unforgettable confrontation with the creature. If you’re looking for a horror film that is less about jump scares and more about rich atmosphere, brilliant performances, and a truly unique monster, then The Gorgon is an absolute must-see. It’s a stylish, exciting, and wonderfully entertaining ride from start to finish!

This and previous episodes can be found everywhere you download your podcasts

 

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Scott and Steven

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism

Episode 180 - A Kind Of Loving (1962)

"You know, it's a funny feeling. Sometimes I really fancy her, and the next day I can hardly stand the sight of her."

More kitchen sink drama this week as Scott and Steven step into the vibrant, bustling world of early 1960s Lancashire with "A Kind of Loving," a wonderfully spirited and heartfelt romance. The story centres on Vic Brown, a wisecracking and ambitious young draughtsman with dreams bigger than his industrial town. His world is instantly brightened when he sets his sights on the lovely and charming Ingrid Rothwell, a typist at the same company.

What follows is a delightful and utterly believable courtship, crackling with the electric energy of new love. Through trips to the pictures, countryside walks, and witty banter, a powerful attraction blossoms between the two. The film perfectly captures that exhilarating, head-over-heels feeling of a first romance, buzzing with the optimism of a new era. Vic's determined pursuit of Ingrid is full of charm, and their developing connection is a joy to watch unfold.

As their initial flirtation deepens into a more passionate and meaningful relationship, life throws the young couple an unexpected curveball. They are suddenly forced to confront adult responsibilities much sooner than planned, putting their affection to its first serious test.

Without giving anything away, the film poses a timeless question: can the intoxicating spark of initial attraction survive the very real pressures of commitment and family expectations? "A Kind of Loving" is an engaging and hopeful look at two young people navigating the complicated journey from infatuation to a more enduring love, all set against the rich and authentic backdrop of a changing Britain.

 

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Thanks for listening

Scott and Steven

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism.

Episode 179 - North Sea Hijack (1980)

Forget your suave, tuxedo-clad spies. The hero of North Sea Hijack is Rufus Excalibur ffolkes, a man whose only true loves are his cats, a strong Scotch, and a perfectly executed bit of underwater sabotage. When a group of rather impolite terrorists, led by the chillingly polite Kramer, decide to hijack a massive oil rig and its supply vessel in the middle of the tempestuous North Sea, the British government is in a pickle.

The villains' demand is simple: a staggering £25 million, or they’ll send the pride of Britain's oil industry to the bottom of the ocean, creating an environmental and economic catastrophe. With the clock ticking and the North Sea winds howling, the Prime Minister and her advisors are running out of options. Who can possibly handle such a delicate, high-stakes situation?

Enter ffolkes. He’s a freelance counter-terrorism consultant with a magnificent moustache, a deep-seated dislike for all women, and a plan so audacious and meticulously bonkers it just might work. Leading a team of tough-as-nails commandos he calls "ffolkes's fusiliers," he boards a nearby ship to mastermind a counter-strike. What follows is a delicious cat-and-mouse game between a truly eccentric genius and a band of ruthless criminals. Will ffolkes's penchant for precision (and needlepoint!) be enough to outwit the villains before they send billions of dollars' worth of hardware to a watery grave? You’ll have to watch to see if this feline fanatic can pull it off.

"I like cats, and I don't like people who don't."

 

This and previous episodes can be found everywhere you download your podcasts

 

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Thanks for listening

Scott and Steven

 

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism.

Episode 178 - Carry On Cruising (1962)

"During the War I did Arctic runs that would've made HMS Ulysses look like a trip to Brighton. Without getting a scratch! Two days on a simple cruise with you lot and look at me!"

The sixth installment in the beloved Carry On franchise, 1962's Carry On Cruising holds a special place in the series' history. Not only did it take the familiar brand of British seaside humour to the high seas, but it was also the very first Carry On film to be shot and presented in glorious Eastmancolor. This transition to a vibrant palette marked a significant step forward for the series, elevating its visual appeal and setting a new standard for the films that would follow. However, the production was not without its own undercurrents of drama, and the final product received a mixed reception from critics and audiences alike, cementing its status as a unique and much-debated entry in the Carry On canon.

All aboard the SS Happy Wanderer for what is, in theory, a relaxing cruise. Captain Crowther, played by the eternally exasperated Sid James, is hoping for one last, quiet trip before a swanky promotion.   His hopes are, naturally, torpedoed within minutes. His crack team of sailors has been replaced by a collection of Britain's finest bumblers, seemingly sourced from a village fete raffle.     There's Kenneth Williams as the First Officer, whose vocabulary is more expansive than the Atlantic itself, yet possesses the practical seamanship of a goldfish. Kenneth Connor is the ship's doctor, a man more interested in diagnosing a case of love-at-first-sight with a passenger than any actual ailments. And let's not forget Lance Percival as the chef, a culinary genius who discovers his arch-nemesis is the gentle rocking of the boat.   What follows is less a luxury cruise and more a floating slapstick convention, now presented in dazzling colour for the very first time.    

This and previous episodes can be found everywhere you download your podcasts

 

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Thanks for listening

Scott and Steven

 

 

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism

Episode 177 - This Is England (2006)

Set in a coastal English town during the summer of 1983, This Is England centres on Shaun, a lonely 12-year-old boy grieving the death of his father in the Falklands War. After a fight at school, Shaun is befriended by a group of older, good-natured skinheads led by the welcoming Woody. He quickly finds a sense of belonging and a surrogate family within their subculture of ska music, fashion, and camaraderie.

The group's joyful dynamic is shattered by the return of Combo, a charismatic but deeply troubled ex-convict with a volatile temper. Imbued with a nationalist, racist ideology from his time in prison, Combo attempts to steer the group towards far-right extremism. His intimidating presence causes a painful schism, forcing everyone to choose sides. While Woody and several others reject Combo’s hateful politics, the impressionable Shaun, swayed by Combo’s rhetoric about patriotism and pride, is drawn into his darker, more aggressive world. The film explores Shaun's loss of innocence as he navigates this dangerous new path, searching for a father figure amidst the social and political turmoil of Thatcher's Britain.

"Some people say we're racists.We're not racists. We're realists.Some people call us Nazis.We're not Nazis.No, what we are, we are nationalists and there's a reason people try to pigeonhole us like this.And that is because of one word, gentlemen.- Fear."

 

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Scott and Steven

 

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism

Episode 176 - Hammer Britannia 020 - The Evil Of Frankenstein (1964)

In Hammer's "The Evil of Frankenstein" (1964), a destitute Baron Victor Frankenstein (Peter Cushing), with his assistant Hans, is forced to flee and returns to his ancestral chateau in Karlstaad. He finds his home looted by vengeful villagers and his original creation missing.

Guided by a deaf-mute girl, he discovers the Creature (Kiwi Kingston) perfectly preserved in a glacier. After thawing and reanimating its body, Frankenstein finds its mind is dormant. Desperate, he seeks help from Professor Zoltan, a traveling carnival hypnotist, hoping to reactivate the Creature's brain.

Zoltan succeeds but seizes control of the powerful being for his own greedy purposes. He commands the Creature to steal and murder, enacting revenge on the town officials who wronged him. The Creature's rampage spirals out of control, leading to Zoltan's death. In a drunken rage, the Creature accidentally sets Frankenstein’s laboratory ablaze. Refusing to abandon his creation, the Baron is trapped in the inferno, seemingly perishing alongside the monster in the fiery explosion that consumes the chateau.

"I realised long ago that the only way to prove my theories was to make something in my laboratory that actually lived. I never told you, Hans... I succeeded once."

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Scott and Steven

 

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism.   This week, join Scott, Steven and Mark as they discuss a genuine British wartime classic.   Episode 175 - The Bridge On The River Kwai (1957)  

In a Japanese POW camp during WWII, British Colonel Nicholson engages in a fierce battle of wills with the camp's commandant, Colonel Saito, over the construction of a railway bridge. Nicholson's rigid adherence to principle evolves into a dangerous obsession. He becomes determined to build a perfect bridge, not for his captors, but as a monument to British ingenuity and morale.

As the bridge nears completion, a symbol of his proud collaboration, an Allied commando team, including an escaped American POW, arrives to destroy it. The climax is a tragic, explosive collision of duty, pride, and the profound madness of war.

"We can teach these barbarians a lesson in Western methods and efficiency that will put them to shame. We'll show them what the British soldier is capable of doing."

 

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Scott and Steven

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism.   This week, join Scott and Steven as they discuss'The Killing Of Sister George' (1968)   On-screen, she's Britain's beloved Sister George. Off-screen, she’s a gin-soaked, abusive tyrant. When network executives axe her popular character, actress June Buckridge's life implodes. A ruthless BBC boss not only orchestrates her professional demise but also seduces her vulnerable young lover, Alice. Stripped of her fame and her relationship in a vicious power play, George is left a humiliated, broken woman facing total annihilation.   Episode 174 - The Killing Of Sister George (1968)  

"The Killing of Sister George" (1968) doesn't just explore the gap between public image and private life—it shatters it. On the air, June "George" Buckridge is Sister George, a beloved BBC radio nurse. Off the air, she's a gin-soaked, cigar-chewing tyrant, trapping her younger, childlike partner, Alice "Childie" McNaught, in a toxic, abusive relationship.

When June's off-screen antics and declining ratings become a liability, rumors fly that the BBC plans to kill off her character. The seemingly prim executive, Mrs. Mercy Croft, is dispatched to handle the "situation," but her motives seem ambiguous. As the professional axe hangs over her head, June's paranoia and rage explode, tightening her cruel grip on the vulnerable Alice.

Mrs. Croft begins to insert herself into their chaotic home life under the guise of offering support, but her interest, particularly in Alice, seems to go beyond professional concern. As June fights to save her career, a more insidious power struggle emerges within her own four walls. The film builds towards a tense confrontation between the three women, where careers, relationships, and identities hang precariously in the balance.

"Appearing to be drunk happens to be one of the easier ways of getting out of some of life's most embarrassing situations."

 

This and previous episodes can be found everywhere you download your podcasts

 

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Thanks for listening

Scott and Steven