Episode 185 - Miranda (1948)

"You've hated me ever since I set tail in this house."

In the canon of post-war British comedy, there are grand spectacles and quiet character studies. And then, every so often, there's a film so completely, cheerfully absurd that it defies category. Miranda (1948) is one such treasure, a fantasy-comedy that is as polished and witty as it is delightfully naughty. It's a film that asks what would happen if a classic British "comedy of manners" was suddenly interrupted by a mermaid—and the answer, it turns in, is pure, bubbly entertainment.

The story itself is a wonderfully silly concoction. Dr. Paul Martin (Griffith Jones), escaping his wife for a solo fishing holiday in Cornwall, gets more than he bargained for. He doesn't just catch a fish; he is caught by Miranda, a flirtatious, man-crazy mermaid who promptly holds him captive in her aquatic cave. His ransom? A trip to see London.

What follows is a brilliant farce. Paul passes off the beautiful Miranda as an "invalid patient," concealing her tail under long dresses and wheeling her around his sophisticated London home. This is where the film truly shines, thanks to the absolutely enchanting central performance from Glynis Johns. Long before she was Mrs. Banks in Mary Poppins, Johns established her star power here. With a coy, kittenish voice and eyes that perpetually sparkle with mischief, her Miranda is a sublime creation. She's no innocent nymph; she's a charming siren who has every man in the house—from her "doctor" to the lovestruck chauffeur (a wonderful David Tomlinson)—wrapped around her little finger, or fin.

While Glynis Johns is the undeniable heart of the film, she is bolstered by one of the finest supporting casts in British comedy. Googie Withers is perfectly cast as Paul's increasingly bewildered and suspicious wife, Clare. But it is the magnificent, eccentric Margaret Rutherford who threatens to steal the entire picture as Nurse Carey. Hired to look after the "patient," she is not shocked to discover Miranda's secret but openly delighted, exclaiming, "It's a mermaid! I've always believed in them!"

The film is packed with witty dialogue and brilliant sight gags that never get old: Miranda's insistence on eating raw fish sandwiches, her casual snacking from the goldfish bowl, and a priceless scene at the zoo where she communicates with the seals. It's all so unapologetically fun, a droll and airy fantasy that was a smash hit with audiences at the time, and it's easy to see why. Miranda is a whimsical, charming, and thoroughly amusing escape that still feels as fresh and sparkling as the day it first splashed onto the screen.

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Scott and Steven

Episode 184- In The Name Of The Father (1993)

"You got 15 years of blood and sweat and pain from my client - whose only crime was that he was bloody well Irish. And he was foolish, and he was in the wrong place at the wrong time!"

Based on the powerful true story of the Guildford Four, In the Name of the Father (1993) is a gripping legal and personal drama chronicling a devastating miscarriage of justice during "The Troubles" in 1970s England.

The film centers on Gerry Conlon (Daniel Day-Lewis), a petty thief from Belfast. To escape the escalating violence, his father sends him to London. While Gerry and his friend Paul Hill are squatting in a flat, an IRA bomb explodes at a pub in Guildford, killing five people. Under intense pressure to secure convictions, the British police, led by Inspector Robert Dixon, arrest Gerry and Paul as prime suspects.

What follows is a harrowing interrogation. Gerry is subjected to days of psychological torture, threats, and violence, eventually breaking down and signing a false confession. This confession is then used to implicate not only himself and Paul but also two others (the "Guildford Four") and, shockingly, members of Gerry's own family who had no connection to the crime, including his asthmatic, law-abiding father, Giuseppe (Pete Postlethwaite). This group becomes known as the "Maguire Seven."

Despite glaring inconsistencies and the lack of physical evidence, the coerced confessions are enough to convict them. Gerry and his father are sentenced to life in prison.

The film's focus then shifts to their 15-year incarceration. The volatile Gerry and the devout, peaceful Giuseppe share a cell, their strained relationship evolving into a profound bond of love and shared resilience. Giuseppe works tirelessly from prison to prove their innocence, while Gerry struggles with despair. They even encounter the actual IRA bomber, who confesses to the crime, but the authorities refuse to reopen the case, burying the new evidence.

Giuseppe eventually dies in prison, which galvanizes Gerry. He begins working with a determined solicitor, Gareth Peirce (Emma Thompson). Peirce meticulously re-examines the case and, after a long fight, uncovers crucial files that the prosecution deliberately withheld from the defense—evidence that contained an alibi proving Gerry's innocence.

In a dramatic climax, the case is brought back to court, the police corruption is exposed, and the convictions of the Guildford Four are finally quashed. Gerry Conlon emerges from the courthouse a free man, vowing to clear his father's name.

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Scott and Steven

"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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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!

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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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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."

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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.

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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