The Locarno Film Festival, a beloved event in the cinematic calendar, is set to captivate audiences with its 2023 retrospective, “Great Expectations: British Post-War Cinema, 1945-1960.” This curated collection promises to transport viewers back to a pivotal era in British film history, offering a rich tapestry of stories that shaped the nation’s identity. Running from August 6 to August 16, this segment of the festival is more than a nostalgic trip; it’s a deep dive into the social, cultural, and emotional landscape of post-war Britain, as seen through the lens of its cinema. The retrospective, organized in collaboration with the BFI National Archive and Cinémathèque Suisse, with support from Studiocanal, is a must-visit for film enthusiasts and historians alike.
Ehsan Khoshbakht, curator of this cinematic journey, has meticulously selected films that reflect the essence of Britain during this transformative period. His criteria are clear and deliberate: films must be set in Britain, eschewing any fantasy or period pieces, focusing solely on the contemporary narratives of the time. This approach excludes iconic films like “The Third Man,” opting instead for works that mirror the daily struggles and hopes of the British people. Khoshbakht’s selection is not just about showcasing classics; it’s about telling a story of resilience and rebirth. Through 45 films, the retrospective answers a simple yet profound question posed by Humphrey Jennings’ 1945 documentary, “A Diary for Timothy”: what’s next?
Post-war Britain was a nation in flux, grappling with the aftermath of conflict. The films selected for “Great Expectations” delve into themes of rebuilding and renewal, reflecting the collective consciousness of a society navigating rationing, black markets, and the physical scars of war. Muriel Box’s “The Happy Family” exemplifies this spirit, chronicling the renovation of London’s South Bank in anticipation of the 1951 Festival of Britain. These films, while Avoiding direct depictions of the war, cannot escape its shadow, weaving its impact into the fabric of everyday life. From the comedy of rebuilding to the intrigue of crime thrillers like Basil Dearden’s “Pool of London,” the retrospective offers a diverse genre palette, showcasing the versatility of British studio filmmaking.
The selection process was as thoughtful as the films themselves. Khoshbakht divided his choices into thirds: a mix of major classics, lesser-known works by renowned directors, and British B-movies. This blend ensures a comprehensive view of the era’s cinema. Alexander Mackendrick’s “Mandy” (1953), about a deaf girl’s journey, and Charles Crichton’s “Hunted” (1952), a past winner at Locarno, highlight recurring themes of childhood and the quest for a better world. These stories often feature children navigating a world in flux, symbolizing hope and the search for direction in a changing Britain.
The retrospective also uncovers the international influence on British cinema, revealing a paradox of openness amidst insularity. Filmmakers like Joseph Losey and Edward Dmytryk, fleeing the Hollywood Blacklist, brought new perspectives to British shores. This cultural exchange enriched the industry, as seen in films like Dmytryk’s “Obsession” (1949), which explores darker themes of jealousy and revenge.
The closing film, Michael Powell’s “Peeping Tom” (1960), is a controversial choice, notorious for its violent reception upon release. This film, a chilling exploration of voyeurism, marks the end of an era in British cinema, symbolizing the shift from collaborative studio filmmaking to a more individualistic approach. Its inclusion serves as a poignant reflection on changing times and tastes, challenging notions of ‘good taste’ in cinema.
In collaboration with the BFI, the retrospective offers a treasure trove of restored classics, supported by a companion book of essays and images. This partnership ensures that the films are presented in their best possible form, preserving their historical significance for future generations. The Locarno Film Festival’s “Great Expectations” is not just a celebration of British cinema; it’s a window into a nation’s soul during a time of profound change, inviting audiences to reflect on the past and its enduring influence on the present.
