Themes

Since the turn of the 20th century, there have been many distinct styles to appear in British cinema which can be defined as typically British. The 'heritage' film is an example in which pride in British history is upheld. Though they often have a contemporary slanting, they tended to focus on periods of glory or 'great' historical figures. These include The Private Life of Henry VIII (1933), The Iron Duke (1935), Victoria The Great (1937), and more recently Elizabeth (1998), which aimed to rebrand Britain during the period known as Cool Britannia. A 'heritage' film is most likely to be a genre which is extremely difficult to recreate in a short film, but it is important to bear in mind the way in which audiences' negotiated readings can craft meaning, and also the way in which national myths are challenged.

The Private Life of Henry VIII (1933)

Class is also another issue often portrayed in early British film. Films such as Convoy, and Ships With Wings (1941), show non-inclusive cinema, with very much a focus on the middle classes. However, during WWII, the government deemed it wise to commission examples of inclusive cinema, including In Which We Serve (1942), Millions Like Us, and Fires Were Started (1943). What they wanted was for it to become a 'People's War,' making it a much more concerted war effort. Though class is no longer such a divisive issue in today's society, it's important to note characteristics that are 'British,' displayed particularly in the inclusivist cinema, particularly the idea of pulling together for a universal cause, showing great courage and determination, making sacrifices for one another and your country. These are typically British values, but in modern society can be considered outdated and nostalgic.

In Which We Serve (1942)

Following the war period came a period of great nostalgia for the sense of national community and solidarity which existed during the war. Britain was close to bankruptcy and rationing continued for many years after the war had finished so these war time motifs seen in Passport to Pimlico (1949) shows a longing for 'the good old days.' The people were fed up of being promised luxury items in the future; they wanted them now. British values demonstrated here include a heightened sense of 'pluck' and intuition, flouting the rules.

Scene from Passport to Pimlico (1949)

Another film which demonstrates typical British values is Brief Encounter (1945), in which the main characters show great emotional restraint, a stiff upper lip. This is a recurring theme, appearing also in Bridge on the River Kwai (1957).

The 1960s was a time of great social change, with the deteriorisation of the class system, and increased freedom and rights for people. Britain's search for a new identity in an ever changing world was to a certain extent defined by Bond. From Russia With Love (1963) is an example of Britain struggling with its post-Imperial identity, particularly after the Suez Crisis, forging its way into a new period for Britain which was dominated by immigration, social unrest, economic change, and gross unemployment; not to mention another war.

Sean Connery as James Bond

My Beautiful Launderette (1985), Bhaji on the Beach (1993), East is East (1999) and Bend It Like Beckham (2002) all show the increasing influence of immigration on modern society. Examples of multiculturalism are probably the most easily found and is a likely theme for our film. Searching for an identity of one's own is perhaps an issue that affects a large number of people in British society nowadays.

Bend It Like Beckham (2002)

Equally, reality is something one would hope people have much contact with! 'Social realism' is a style of film which can be described very much as being British. A key example of this is This Is England (2006). It is filmed in a much grittier style, portraying life blunty; as it was during the early 1980s - following the Falklands War and privatisation of many industries. There are elements of this style in Trainspotting (1996), and on the whole, the filming style is perhaps suited to what resources we have available to us. However, showing life as being 'grim' might prove a difficulty, given the sheltered lives we live!

Equally, however, making an 'urban fairytale' could prove equally, if not more difficult; without Hugh Grant, or access to any elegant settings, nor equipment of high enough quality. Notting Hill (1999) and Bridget Jones' Diary (2001) is, in effect, a backward step in terms of racial integration, showing only white, middle classes - designed to sell abroad. This came during the period of Cool Britannia, an initiative driven by Tony Blair to promote Britain as a vibrant, forward thinking nation. As a result, it is meant to look ideal - snow at Christmas, 'tourist' London, with white characters. Getting things to be 'ideal' will be more or less impossible without a budget to spend.

Bridget Jones' Diary (2001)

To conclude, it therefore seems most plausible to incorporate elements of social realism into a plot involving a search for identity within such a diverse and multicultural society.

By Daryl Finch