10 Great British Movies of 1975

The first live performance of sex guns and to be the first female leader of a main branch by defeating Edward Heath in the conservative leadership competition between Margaret Thatcher England The Political Party presented some clear indicators of controversial cultural forces that shaped British life.

. UN The declaration of the international women’s year and both gender discrimination and the start of equal wage actions were concrete developments that owed to the second wave feminism, but an increasing unemployment rate was terrible news. Football hooliganism was common; The departments in European integration were prominent at both public and government levels. And it snowed in June.

The outputs of Fawlty Towers and at least a good life TV Audiences are some new works for Sitcom Genius to enjoy. And in the cinema, despite the ongoing financial difficulties, really brave and original films were made. Really withdrawal WE financing England Film production has led to some new, creative partnerships until 1975 – Pink Floyd and Led Zeppelin, Monty Python and the Holy Grail or Australian music entrepreneur Robert Stigwood Ken Russell Opera Extravaganza Tommy contributed to financing.

The anarchic spirit of these films clearly reflected a national mood, such as a radical vision brought by some filmmakers to the statements of rural life and British history. Others looked at the classics of English literature or the European Theater for inspiration; Nevertheless, the others were focused on contemporary mother, including the experiences of the black British, which was presented with detail, range and honesty in British cinema for the first time.

The princess of Madhur Jaffrey serves James Mason’s Cyril Sahib in the living room of the Kensington apartment, serving tea and preparing some old film images to watch together. They meet on the birthday of a figure that disappears: Maharaja, the deceased father, where Cyril is a British teacher in India. However, as the conversation progresses and the images appear in front of them, it is clear that the couple has different memories of the past and the man they come to to celebrate.

Merchant Ivory’s 60 -minute film in London with a small budget in just five days is waiting for some themes of his later work. The intelligent script of Ruth Prawer Jhabvala, which contains a thin gay inadequate current, works as a changing social portrait seen from the self -imposed exile position and a double -character work that transformed into a two -expert performance by two expert actors.

Director: Stanley Kubrick

William Makepeace Thacker and Stanley Kubrick’s artistic temperaments may seem quite opposite, but from the old novel 1844, the Maverick director, a picaresque parody of the romantic writing, made a remarkable film that made the high art of Miras.

Ryan OPENIn search of more reserves and social progress, EAL is active as a bandit that paves its way with equal grace through war zones and high society levels. With Ken Adam’s elegant detailed production design and cinematography referring to John Alcott’s 18th century painting, Kubrick creates a significant, magnificent and fascinating contestant from the hero’s adventures.

Social developments for women in the 1970s did not turn into British cinema, which was shocked by the lack of features for women. (The other side of Jane Arden’s brave feminist and experimental 1972 film was a rare sign.) Rich and complex female characters would at least appear on the screen-even if the producers sometimes had to return to 19th century novels or games.

Maggie Smith and Glenda Jackson have appeared on the stage in different productions of Ibsen’s Hedda Gabler in this decade (with Smith Ingmar Bergman). However, Jackson’s performance was taken, as Trevor Nunn brought the world tour Royal Shakespeare Company to the screen in a version that maintains an installed intensity. Jackson is idealized as one of the most challenging heroes of Ibsen, well -supported by a player including Timothy West, Peter Eyre and Patrick Stewart.

Director: Lindsay Anderson

In addition, the transition from the stage to the screen with the cast to the screen with the original 1969 production was David Storey’s celebration for the admirable American Film Theater series.

Ten years after his achievements with this Sporting Life (1963), the focus of the drama, which brought director Lindsay Anderson and Storey together again, is a family reunion: The return of the three sons to celebrate the 40th anniversary of their parents to the mining town. Anderson prefers a Unfussy approach that shows the performances of a very convincing family dynamics. Bates, Brian Cox and James are a trio with a bollam rivet.

Directors: Terry Jones and Terry Gilliam

Transfers TV The film comedy series was the basis of the 1970s British cinema and often quite gloomy. However, Python, who has always been guaranteed, rely on his children, sticking the nonsense of flying circuses to a quest narrative plan. With Terrys Jones and Gilliam’s tasks and the management of them, John Cleese, Graham Chapman, Michael Palin and Eric are empty in a multi -faceted way, this Arthur legend (and many other) was not accepted as a classic at the moment, but he was loved for decades for decades. Later, Idle would inspire the Hit 2005 musical spamalot.

Animated intermediate, random Swashbuckling, a fatal rabbit, ‘ni!’, ‘Classic British acting’ from Chapman, extremely creative insults from the French, and one intermediate (epic scattering Slintineting, Pennnesting.

Sometimes the pressure, which was listed as 1976, actually made a premiere at the 1975 London Film Festival, but it probably delayed its release due to concerns about its content. West London is the first feature of Herbert Norville, the hero of Ové, written with Sam Selvon, who documented the political awakening of Tony. Tony, the young son of Trinidadian immigrants, was disappointed with limited expectations and was positioned between the integrationist suitability of his parents and his brother’s black power.

The first feature made by a black director in the UK should always be guaranteed in the film history of the film as a feature that offers a family drama of inter -generation tensions in the context of a wider social criticism. Happily, the last restoration and re -publication of the film brought him to a new generation, and strengthened his reputation as a classic that influenced and encouraged the developing black British cinema in an indelible way.

Director: David Gladwell

Alan Clarke’s visionary return of the rural cinema of the 1970s, which was open to Peter Hall’s akerfield (1974) from Fena (1974), reached another of the Odder Apeks formed in the rhythms of Gladwell’s ambassador’s memories and fantasies. Gladwell, a successful editor like Lindsay Anderson, creates a portrait of a flowing and related Suffolk village, like Hall’s film, in this case, although he has more amazing and outé images, such as Hall’s film.

Although the label ‘folk fear’ label, which is often added to the film, is not a perfect harmony, Requiem is far from a stagnant nostalgic reverie for a village.

From the exit of the modest royal court to the global cult phenomenon… Jim Sharman’s film makes full cinematic justice to Richard O’BRien’s magnificent musical, fear of parody, sci -fi and a mixture of surplus derived from the film at midnight. Dr. Frank-N-Furter and his Motley team, Flunkies and strange experiments, all-American innocents looking for shelter on a stormy night occupied by Susan Sarandon and Barry Bostwick, are set to a score that mixes all Hybrid songs.

Tim Curry is in the greedy form that shimmerly – and not always as sweet as he claims – Rocky Horror did not age a little with the “transvestite”, and a destructive queer remains as a destructive pleasure 50 years after his premiere. “Give yourself for absolute pleasure, Dr says Dr. Franc. This is the only good thing to do while watching this movie.

Never a sagging, Ken Russell’s 1970s, especially in the 1970s, the two films were only published in 1975. Although Lisztomania has undoubtedly their glory, the better work of the two is Tommy, adapted from the Who’s Rock Opera song cycle. Although there was a reluctance to rock, Russell has turned the material into a dazzling visual show with some arrays to make even rocky fear docile.

Watching the age of your hero Vesic Tommy, the birth of traumatized young people from “Pinball Wizard” to Religious Guru, is a fantasia in the after -war and increasing commercialization. In this context, as well as caricaturizing, an extraordinary Ann-Margret, like Tommy’s mother (a bow, Tina Turner’s acid Queen) and Tommy’s mother, reaches all kinds of things that he can never do on the screen. Russell’s Brio, who was the Fatual music by the exciting music, carries the audience in a breathless way in an ecstatic final.

Directors: Kevin Brownlow and Andrew Mollo

Winstanley and Kevin Brownlow and Andrew Mollo bring a vital, extremely rich but deceived British historical period. The settlement, which was previously established by Gerrard Winstanley in St George’s Hill in Surrey, as an example of collective farming on common land, has a historical but symbolic importance that was strongly echoed with the construction moment and counter -cultural ideals of the film.

Winstanley adapted David Caute’s comrade Jacob, 1961 novel, in a way that does not completely satisfy the author’s hero’s contradictions and religious passion. However, Brownlow and Mollo’s film Brownlow and Mollo’s film continues to be a deep exciting connotation of his British past, as well as the narrative sections based on improvisation elements and Winstanley’s writings.