British Film Institute (BFI) National Archive

Subterms

    Latest story

    125 Shares129 Views

    A Landmark of Black Cinema, Restored for a New Age

    by

    The British director Horace Ové struggled to get his 1975 film, “Pressure,” made and released. Now, weeks after his death, a new restoration is celebrated in New York and London.On a recent, rainy evening in London, movie fans gathered at the British Film Institute theater for a much-anticipated premiere, though the film was made nearly 50 years ago: Horace Ové’s newly restored “Pressure,” considered the first feature by a Black British director.Ové died last month, just weeks before his film was set to be celebrated internationally with screenings at both the London and New York Film Festivals. Herbert Norville, who starred in “Pressure” when he was 15, said in a speech at the London screening that he hoped the audience saw “what it was like being Black, being British and growing up in an era where racism was rife.”A roiling social-realist drama shot in 1974, “Pressure” follows Tony, a young Black Londoner looking for a job and a sense of belonging. He is pulled in several directions: by his activist older brother, by his pious West Indian mother and by white British society, which refuses to embrace him.Gradually radicalized by encounters with potential employers, a friend’s landlord and the police, Tony reaches a boiling point. In an interview after the screening, Norville, who played Tony, described the film as “pulling no punches” in its depiction of the reality of Black life in London in the ’70s. In an earlier Q. and A. with the audience, he had noted that the film’s themes of “institutional racism and police brutality” were still relevant in Britain today.In recent years, mainstream cultural institutions including the Tate museums and the BBC have been giving work made about Black British, and specifically Caribbean, lives more attention. The restoration of “Pressure” is accompanied by a major British Film Institute retrospective, “Power to the People: Horace Ove’s Radical Vision,” though in prior decades, the director struggled for recognition from the establishment.Oscar James and Sheila Scott Wilkinson in scene from “Pressure.” The film features professional and nonprofessional actors. BFI National Archive/The Film FoundationThe journey to get “Pressure” made was fraught. In 1972, Robert Buckler, who produced the film, was working as a script editor for the BBC, looking for stories about “the struggle for ordinary people,” he said in a recent interview. Buckler, who is white, spent part of his youth in the racially mixed London neighborhood of Peckham, and felt that the BBC’s programming wasn’t “reflecting fully the way our society was changing around us,” he said.In Britain in the 1970s, the Caribbean Artists Movement was thriving and Black British artists, poets, playwrights and theater directors were making work — just not for mainstream film or TV. Buckler said he approached Ové, a documentarian and photojournalist from Trinidad, to develop a script, but was unable to convince the BBC to fund a film “about a Black Englishman.” He recalled executives asking, “‘Well, who on earth would be in it?’”Instead, the British film Institute, or B.F.I., eventually financed “Pressure,” in 1974. Ové cast a mix of professional and nonprofessional actors, and the movie debuted at the London Film Festival the following year. But “Pressure” did not receive a theatrical release until 1978. “Banned is technically the wrong word,” said Arike Oke, a B.F.I. executive responsible for the organization’s archive; the delay in reaching movie theaters was more to do with “bureaucratic cul-de-sacs.” But the B.F.I. didn’t “proactively champion the film” at the time, Oke conceded.Its themes, however, were prescient. In “Pressure,” Tony is beaten by the police and arrested after attending Black Power meetings and marches; in 1976, a riot erupted following Notting Hill Carnival in west London, and as Buckler put it, “a sort of warfare between the youth and the police” broke out.Horace Ové in 1987. After making “Pressure,” he worked prolifically in TV.John Nobley/Fairfax Media, via Getty ImagesIn the same way that New York Magazine would later argue there could be “violent reactions” to Spike Lee’s 1989 film “Do the Right Thing” from Black audiences, Buckler said he wondered if the theatrical release of “Pressure” was delayed because of concerns it would heighten racial tensions.The British movie industry remained tentative about investing in Black talent for decades after the “Pressure” release, and filmmakers that followed Ové, like John Akomfrah and Isaac Julien, worked mostly in gallery spaces, while Ové worked prolifically in TV. He made only one other theatrically released movie, the 1986 comedy “Playing Away.”Zak Ové, the filmmaker’s son, said “Pressure” showed “exactly where we’ve come from and the kind of determination that was necessary.” He added that his father’s “honest depiction of a gritty reality” was a part of history at risk of disappearing if it was not honored.If it wasn’t for Ové, said Ashley Clark, the curatorial director at the Criterion Collection, that history “may not have been captured” at all. The director carved out a space “for Black people to speak for ourselves, in a landscape where a lot of those conversations were being had for us,” he said.Clark, who is British, but lives in the United States, has championed “Pressure” for several years. He said that Criterion plans to release a Blu-ray edition of the movie in 2024, and recalled programming screenings at the Brooklyn Academy of Music, where the film played from “a rickety 16-millimeter print.” With the movie’s cerebral Black Power advocates campaigning for Black rights, Caribbean immigrants striving for middle-class security and disenfranchised Black British youths driven to crime by a lack of opportunity, “Pressure” offers “a meeting of different ideas and forms and embodiments of Blackness,” Clark said.At the New York screenings of the film, he said, there were “young, trendy Brooklyn people from across the diaspora” asking: Where has this been all my life? More

    More stories

    • 125 Shares179 Views

      in Movies

      ‘Young Soul Rebels,’ Isaac Julien’s 1991 Drama, Lands at IFC

      by

      A newly restored print of Isaac Julien’s 1991 politically minded musical drama opens Oct. 20 at the IFC Center.Few movies were more freighted with expectation than Isaac Julien’s “Young Soul Rebels” — a politically minded musical drama populated by “soul boys,” punks, and skinheads, financed by the British Film Institute and directed by a 30-something Black gay film artist.A double time-capsule, made in 1991 but set in 1977, the year of the Sex Pistols and Queen Elizabeth II’s Silver Jubilee, a newly restored print of the film, Julien’s first feature, is opening Oct. 20 at IFC Center.The eponymous rebels are teenage best friends, Chris (Valentine Nonyela) and Caz (Mo Sesay), operating a pirate radio station, the Soul Patrol, that privileges funk over punk. Both have issues with the larger community. Chris is macho and gay. Caz is straight, metrosexual and the son of a white mother, played by Frances Barber. The co-star of Stephen Frears and Hanif Kureishi’s multi-culti “Sammy and Rosie Get Laid,” Barber was a rare veteran in a cast of neophytes.Julien first attracted attention with his poetic essay “Looking for Langston,” a meditation on the Harlem Renaissance that outed the writer Langston Hughes and incurred the wrath of Hughes’s estate. “Young Soul Rebels” is more mainstream, less suggestive of the raw punk movies made in the late 1970s than the power pop films — “Something Wild” or “Desperately Seeking Susan” — that followed, as well as Hollywood’s 1990 tribute to pirate radio, “Pump Up the Volume.”The kids quarrel, go clubbing — their preferred dive seems open to punk, disco, and soul — and find romance. Caz woos Tracy, a glamorous production assistant (the future star Sophie Okonedo). Chris is courted by a dimwitted anarchist punk (Jason Durr). Complications include racist cops, the patriotic frenzy of the Jubilee and, opening the movie, a friend’s murder.“The moments when the film tries to build suspense are clankingly overdone,” Stephen Holden wrote in a generally sympathetic New York Times review, adding that “Young Soul Rebels” was best when exposing “the schisms in London society in scenes of the local street life, where tensions are often on the verge of erupting into violence.” Still, for all the shots of a cardboard cutout of an inanely waving Queen Elizabeth, the movie pulls a few punches, the nastiness of the far-right National Front, for one, seems somewhat mitigated.“Young Soul Rebels” had its premiere at the 1991 Cannes Film Festival, where its queer-positive attitude and nuanced treatment of racial difference were overshadowed by three forceful Hollywood movies by Black filmmakers: “Jungle Fever,” “Boyz N the Hood” and “A Rage in Harlem.” As reported from Cannes, Julien criticized “Jungle Fever” and “Boyz” as sexist and homophobic and took particular issue with “Jungle Fever” for what he characterized as its negative view of interracial relationships. By contrast, Julien’s vision of the United Kingdom intimated the idyllic, inclusive United Colors of Benetton. Rather than the “no future” nihilism of 1977, “Young Soul Rebels” reflects the promise that came with the archconservative Margaret Thatcher’s political demise.If hampered by its script, “Young Soul Rebels” is helped by an essential good cheer and a percolating soundtrack segueing from Funkadelic to the Blackbyrds to Poly Styrene. Indeed, this may be the most upbeat movie ever to open with a sex murder and end with a fascist riot — prelude to a curtain call that has the couples sorted out and everyone dancing.Young Soul RebelsOpens Oct. 20, IFC Center Manhattan, ifccenter.com. More

    • 88 Shares159 Views

      in Movies

      Where Culture Flows Along London’s River Thames

      by

      The Southbank Center, the host of this year’s British Academy Film Awards, has become a focal point of the city’s arts and culture scene.LONDON — As Lisa Vine looked out over the River Thames from the floor-to-ceiling windows of the Southbank Center’s Royal Festival Hall main foyer, she recalled first coming here as an 11-year-old girl in 1957 to attend a concert.Over the decades, Ms. Vine, a retired teacher and native Londoner, who had stopped in for coffee on the way back from a nearby errand, has seen a lot of change here. She has not only watched the Southbank Center develop — with the Queen Elizabeth Hall opening in 1967 and the Hayward Gallery the next year — she has also seen the area around it grow and change, with the addition of artistic and performance spaces including the National Theater, the British Film Institute, the Tate Modern and Shakespeare’s Globe.“I remember when the river was dull,” she said, looking out at a panorama that includes the Houses of Parliament, Big Ben and St. Paul’s Cathedral. Now, she noted, “there is so much going in terms of concerts and events, but I don’t get out here as often as I should.”That’s the sentiment of Londoners and visitors alike. With so much going on at the Southbank Center, from classical music concerts, dance premieres and D.J. sets to poetry, film and literature festivals, it would be impossible to attend every event. And all of those happenings — at a venue that’s open five nights a week, where about 3,500 annual events take place — have made the Southbank Center one of the focal points of London’s arts and culture scene.Hosting the British Academy Film Awards, commonly known as the BAFTAs, for the first time on Sunday is yet another big moment in the storied history of the space, which has had everyone from Ella Fitzgerald, Frank Sinatra and Jacqueline du Pré to David Bowie, Michelle Obama and Greta Thunberg grace its stages.The Royal Festival Hall, as seen from the Hungerford Bridge. The venue opened in 1951, kicking off the development of what would become the Southbank Center. Bjanka Kadic/Alamy“We’re so thrilled about the central location of the Royal Festival Hall and accessibility of the space, enabling us to program our most ambitious and inclusive night for attendees yet,” Emma Baehr, the BAFTAs’ executive director of awards and content, wrote in an email. (The awards have previously been hosted in various locations, most recently the Royal Albert Hall in Kensington.) “Southbank is the largest arts center in the U.K., home to the London Film Festival and in the heart of London on the River Thames — having staged our television awards there for several years, it felt a natural move for us.”The Royal Festival Hall — which seats 2,700 — was opened in 1951 by King George VI, along with his daughter Princess Elizabeth and her husband, Prince Philip, during the Festival of Britain, which was centered on the south bank of the Thames. The area had been devastated during World War II and its derelict buildings and factories were razed to build a number of temporary structures for the festival.During the next few decades, not only did the Southbank Center develop — both the 900-seat Queen Elizabeth Hall and the Hayward Gallery, which holds contemporary art exhibitions, are fantastic examples of 1960s Brutalist architecture — but the area around it did, too.The British Film Institute, which hosts film festivals and has helped fund a number of films including the BAFTA-nominated movies “Aftersun” and “Triangle of Sadness,” opened its first theater in 1957 under the Waterloo Bridge. And the National Theater, under the direction of Laurence Olivier, opened its doors next to the institute in 1976.Members of the royal family, including Princess Elizabeth, center, opened the Southbank Center’s Royal Festival Hall in 1951 during the Festival of Britain.Associated PressThat festival centered on the redeveloped south bank of the Thames, where the Royal Festival Hall, right, sat alongside a typical British pub.Frank Harrison/Topical Press Agency, via Getty ImagesAbout a mile east is Shakespeare’s Globe, which first opened in 1599 and then burned down in 1613 during a performance of “Henry VIII” (a second theater was later built but was eventually closed by parliamentary decree in 1642). The newest version of the theater opened in 1997 and now houses two stages including the Sam Wanamaker Playhouse, where plays and concerts are performed by candlelight. A stone’s throw from the Globe is the Tate Modern, the world-class modern and contemporary art museum housed in a former power station that opened its doors to the public in 2000.“I spend my life in a constant state of FOMO because there is always something happening,” said Stuart Brown, B.F.I.’s head of program and acquisitions, adding that the area is quite magical because of its location by the river and the architecture of the buildings. “You’ve got these incredible world-class artistic offerings to people through music, theater, visual arts, film, and all those experiences can inspire us, move us, make us think about the world differently.”The American jazz singer Ella Fitzgerald, backstage at the Royal Festival Hall circa 1963. Ms. Fitzgerald is among the luminaries who have appeared at the London venue. David Redfern/Redferns/Getty ImagesMusic has always been a highlight of the programming at the Southbank Center and with six resident orchestras — including the London Philharmonic Orchestra, the Orchestra of the Age of Enlightenment and the Aurora Orchestra — almost every evening there is some kind of concert.“Music is absolutely central to everything we do,” said Elaine Bedell, the chief executive of the Southbank Center. However, she added that classical music audiences globally had not returned to full pre-Covid strength and that that was something she and her colleagues wanted to address. “We have a very dynamic new head of classical music, Toks Dada, who has a very clear strategy and has very ambitious plans for bringing new audiences to classical music.”The Purcell Sessions have been part of that overall strategy to bring in younger audiences to various genres, including classical music. Housed in the same building as the Queen Elizabeth Hall, the Purcell Room is an intimate stage with just 295 seats. The series based there is a chance for up-and-coming musicians, some of whom work across different art forms, to showcase their talents. “It has always had this legacy of experimentation,” Ms. Bedell said. “The idea is, it’s a real space for collaboration, innovation and invention.”The Purcell Room, of course, is not the only space for collaboration and experimentation. For 40 years the Southbank Center has had an “open foyer” policy in the building that houses the Royal Festival Hall, which connects to the other Southbank buildings through a series of outdoor concrete walkways. Like the year-round free exhibitions, and the concerts outside during the summer Meltdown festival, the foyer is open to the public seven days a week as a civic space. Weekly music jams, dance groups and language clubs meet up there to practice.“That sense of openness and inclusiveness is the unique thing about the Southbank Center,” Ms. Bedell said, adding that there are cafes and restaurants scattered across the cultural campus that help add to the center’s revenue. “I like the idea that people kind of feel their way to use the space.”Over the years, the various cultural institutions along the river’s south bank have cross-pollinated on projects. For a number of years, the British Film Institute has used the Royal Festival Hall for premiere screenings during the London Film Festival. Last year during the Hayward Gallery’s exhibition “In the Black Fantastic,” which focused on Afrofuturism, the institute hosted a talk with Ekow Eshun, the show’s curator.“We have a warm and collaborative relationship with other organizations on the south bank, meeting regularly as leaders to learn from each other and share best practice,” Kate Varah, the executive director of the National Theater, wrote in an email. “We’re all asking similar questions as we navigate through the permacrisis, and it’s more important than ever that we share our experiences and have a forum for collective ideas.”During the lying-in-state of Queen Elizabeth in September, a number of the spaces worked together to entertain — through poignant music and archival film of the royal family — the thousands of mourners who stood in the queue that snaked past the cultural institutions before heading across the river to Westminster Hall.The interaction between the venues is just one of the reasons fans of the area like Ms. Vine say they love it so much.“It is a wonderful place, one of my favorites in London,” she said. More

    • 138 Shares189 Views

      in Television

      Streaming Companies Are Looking to Britain for Studios to Meet Demand

      by

      Netflix, Amazon Prime and other studios are snapping up soundstages in Britain and building more, drawn by an experienced labor pool and alluring tax incentives.LIVERPOOL, England — For two decades, the Littlewoods building in Liverpool, a long, low-slung and cavernous space built to house a betting and mail-order company in the 1930s, sat abandoned. No one wanted to take on this crumbling hulk looming on the outskirts of the city.Until Lynn Saunders. She is the driving force to make it the center of Liverpool’s first film and TV studio complex.“It’s a beast of a site,” said Ms. Saunders, the head of the Liverpool Film Office. It had been too intimidating for most prospective buyers. But amid a boom in TV and film production in Britain, Littlewoods Studios is now one of at least two dozen major plans to build or expand studio space across Britain.Streaming platforms like Netflix, Disney+ and Amazon Prime Video are racing to meet insatiable demand for content and have chosen Britain as their location to make it, countering the malaise of overall investment in the nation since it voted to leave the European Union. In 2021, a record 5.6 billion pounds ($7.4 billion) was spent on film and high-end TV productions in Britain, nearly 30 percent more than the previous high in 2019, according to the British Film Institute. More than 80 percent of that money was coming ashore from American studios or other foreign productions.Lynn Saunders, the head of the Liverpool Film Office, hopes that adding studios will keep productions in town and stimulate the local economy.Francesca Jones for The New York TimesAssured that there is no imminent end to the desire for binge-worthy shows and movies, studios, property developers and local authorities are rushing to build more production space. Blackstone, the world’s largest private equity company, and Hudson Pacific Properties, the owner of Sunset Studios, which include the former homes of Columbia Pictures and Warner Bros. off Sunset Boulevard in Hollywood, have said they will invest £700 million to build the first Sunset Studios facility outside Los Angeles, just north of London. With 21 soundstages, it will be larger than any of its Hollywood studios.“There is just such a massive need to produce content in markets that already have infrastructure,” said Victor Coleman, the chairman and chief executive of Hudson Pacific Properties. “And the infrastructure is not necessarily just the facilities but it’s also the talent both in front and behind the camera.”The once-abandoned Littlewoods building in Liverpool. The site is now one of about a dozen major plans to build or expand studio space across Britain.Francesca Jones for The New York TimesThe early “Star Wars” films and 10 years’ worth of Harry Potter movies helped Britain get here. Film productions were attracted by experienced labor and visual effects companies and, critically, generous tax breaks. In 2013, the incentives were extended to TV productions that cost more than £1 million per broadcast hour — so-called high-end TV series, like “The Crown” and “Game of Thrones.” In recent years, productions were offered a 25 percent cash rebate on qualifying expenditures, such as visual effects done in Britain. In the 2020-21 fiscal year, tax breaks for film, TV, video games, children’s television and animation exceeded £1.2 billion.In Britain, film gets a level of government attention that other creative industries, such as live theater, can only dream of.“I would not like to contemplate the loss of the tax incentive,” said Ben Roberts, the chief executive of the British Film Institute. Without it, Britain would become immediately uncompetitive, he added.Most of the growth in production in Britain comes from big-budget TV shows, a staple of streaming channels. Last year, 211 high-end TV productions filmed in Britain, such as “Ted Lasso” and “Good Omens,” and fewer than half of them were produced solely by British companies, according to the British Film Institute. Compared with 2019, the amount spent jumped by 85 percent to £4.1 billion.Buildings and streets in Liverpool were transformed into Gotham City for the filming of “The Batman.”Jonathan Olley/Warner Bros.St. George’s Hall in Liverpool was used in “The Batman.”Francesca Jones for The New York TimesA scene shows Batman jumping off the Liver building, in front of its clock.Francesca Jones for The New York TimesLiverpool already claims to be the second-most-filmed-in city in Britain after London. For a few weeks in late 2020, its streets became Gotham City for “The Batman,” and for years shows, including “Peaky Blinders,” have been shot there. The local authority is courting more TV shows by building four smaller studios.Property developers announced the plan for Littlewoods Studios in early 2018, but the grand ambitions were pushed off course a few months later by a fire in the building. Not wanting to miss out on the rising demand, Ms. Saunders convinced the City Council to spend £3 million building two soundstages adjacent to the site. They opened in October.And then at the end of last year, £8 million in public funding was approved for remedial work on the Littlewoods building to create two more sound stages. Ms. Saunders hopes that adding studios will keep productions in town for longer — occupying hotel rooms, ordering from restaurants and employing local people. The film office has also started investing in productions — so far to the tune of £2 million in six TV shows.Britain is already the largest production location for Netflix outside the United States and Canada. While plenty is filmed on location — such as “Bridgerton,” in Bath, and “Sex Education,” in Wales — Netflix committed to a permanent home in 2019 at the Pinewood Group’s Shepperton Studios in Surrey, just southwest of London, where “Dr. Strangelove” and “Oliver!” were made decades ago. Shepperton is now expanding, aiming to double the number of its soundstages to 31 by 2023, and Netflix plans to occupy much of that new space.“Ted Lasso” was one of 211 high-end TV productions filmed in Britain last year.Colin Hutton/Apple TV+, via Associated PressBut the descent of American streamers on British shores has brought its challenges, too. The industry is rife with stories of production crews leaving jobs for higher-paying gigs, long waits for studios and production costs that outpace inflation.Anna Mallett, Netflix’s vice president of physical production for the U.K., Europe, Middle East and Africa, resists the idea that the streamer’s voracious expansion is squeezing others out of studio space.“I do think there is enough for everyone,” she said. “There’s over six million square feet of production space coming onto the market in the next couple of years.”Amazon plans to move in next door. Last month, Prime Video agreed to lease 450,000 square feet in the new development at Shepperton Studios, including nine soundstages. The streaming service sent a ripple of excitement through Britain last year when it announced that it would film the second season of its “Lord of the Rings” series, “The Rings of Power,” in the country. It will move from New Zealand to the dismay of that country’s officials, who over two decades have offered hundreds of millions of dollars in financial incentives to the franchise.By 2023, Warner Bros. hopes to be underway with its plans to add 50 percent more soundstage space to its studios northwest of London.Warner Bros. was the first major Hollywood studio to set up a permanent location in Britain when it bought in 2010 the Leavesden studios, where it made Harry Potter.“It was a pretty huge leap for Warners to make that investment,” said Emily Stillman, the head of studio operations at Leavesden. After years of piecemeal expansion, the new development, if it gets planning approval, will be the studio’s biggest investment at the site.Away from more renowned studios surrounding London, there is hope that the production boom can bring job opportunities and investment to overlooked areas in Britain. New studios are being constructed out of an old industrial space in Dagenham, in east London, an area once synonymous with the manufacture of Ford cars in the 20th century. In Bristol, the local authority is investing £12 million to add three more soundstages to Bottle Yard Studios in an area that is economically struggling, said Laura Aviles, the head of the Bristol Film Office.A guide leading a tour of filiming areas in Liverpool, which are rapidly expanding as the industry invests in Britain.Francesca Jones for The New York Times“It’s been a struggle” to regenerate the area, she said, “and there are a lot of young people there who could be third-generation unemployed who have struggled to get into work.” The expansion will hopefully entice other businesses to the area.There is a risk that all this demand for studio space could become a blessing and a curse. Despite the skilled work force in the field, there are real concerns about whether Britain can train enough production crew and fill the associated roles to populate all this new studio space. The industry has committed millions of pounds to rapid training programs. Industry leaders hope to bring more people into the field and break the stereotype that the work — most of it freelance — is exclusively for the well off and well connected. This month, Prime Video said it would spend £10 million to fund courses in Britain focused on increasing diversity in the industry and positions in Prime Video-commissioned productions.And there is the fear that smaller independent productions by British filmmakers, who can’t as readily use debt to finance an expansion, will be left behind in this boom. Just 16 percent of the money spent on high-end TV shows in Britain last year went to solely domestic productions.The level of foreign investment “does run the risk of challenging the indigenous, independent sector in terms of its ability to retain talent, crew up, get finance, hire space, use locations,” Mr. Roberts of the British Film Institute said. “We are really alert to that not feeling like a squeeze too far.” More