Reel Britannia

• 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: https://directory.libsyn.com/shows/view/id/reelbritannia     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      

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• 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: https://directory.libsyn.com/shows/view/id/reelbritannia         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    

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• 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

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• 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

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• Episode 162 - The Big Job (1965)

  Welcome to Reel Britannia-a very British podcast about very British movies ...with just a hint of professionalism. And a huge welcome to Hal, contributer of wonderful reviews at the official Talking Pictures Podcast as well as host of his very own show Couple Indemnity. Back to 1965 this week and a hilarious crime caper featuring a host of well known and well loved British comedy stars The Big Job (1965)   Get ready for a cheeky caper full of wit, charm, and some truly hapless criminal antics! The Big Job is a delightful 1965 British comedy about a gang of bumbling bank robbers, led by the lovable but inept George the Brain (played by Sid James). When their heist goes hilariously awry, the crew ends up stashing their loot in the hollow of a tree, only to be swiftly arrested. Fast forward 15 years, and they're finally out of prison—ready to reclaim their spoils. But there's a catch: their precious hiding spot now stands smack dab in the middle of a residential housing development! Cue the chaos as George and his eccentric gang—including the sarcastic Fred (Dick Emery) and the ever-resourceful Dipper (Lance Percival)—cook up absurd schemes to retrieve their loot without being discovered. Packed with slapstick humor, quirky characters, and plenty of British charm, The Big Job is a rollicking ride through misadventure and mischief. Fancy a giggle? This film delivers in spades! 'You're right. You're absolutely right. All you've got to do is go in there and say "Excuse me, Sarge, but fifteen years ago we happen to have left fifty thousand nicker in your tree. Can we have it back please?" '   This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod  Follow Couple Indemnity @coupleindemnity   Thanks for listening   Scott and Steven

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