Made in England: The Films of Powell and Pressburger

This isn't the first time that Martin Scorsese has paid homage to his cinematic heroes, Powell & Pressburger. The BBC has broadcast the legendary New Yorker talking about this brilliant partnership and I'm pretty sure said broadcast awakened my own enthusiasm for their movies. But this, Made in England, is a final, richer expression of love, from a director in his dotage, for his great forebears. It even shows shot by shot examples of where Scorsese believes his own movies are influenced by The Archers' seminal example.

We learn how Powell was an English director who cut his teeth on grand, silent cinema productions made in France, and Pressburger was an emigre Hungarian Jew fleeing the Nazis, his head full of ideas for stories. Their meeting was a meeting of minds and ambition, and it led to a sequence of brilliant masterpieces, mostly appreciated, but not all appreciated, by the audiences and critics. Their films began during wartime and had to receive approval from The Ministry of Information. Scorsese describes how bold P&P were, even in their propagandist projects. He speaks lovingly of the impact P&P movies had upon him and his friends, even when they could only be seen in grainy b/w on television, sometimes cut to satisfy the prudery of the day. There was an undeniable magic to it.

Powell and Pressburger were like the Lennon & McCartney of cinema, a short-lived but mutually inspiring partnership. That's my simile by the way, not Scorsese's.

Made in England shows plenty from their best known movies, and clips from various others I'd never heard of, including a tasty little drama called The Small Back Room. Powell, once his partnership with Pressburger was over, made Peeping Tom, denigrated in its day, acclaimed as a masterpiece more recently. "But when do the English ever appreciate their great men?" asks Powell towards the end of the documentary. It's an old problem. One is not a prophet in one's own country. Even the greatest artists can't guarantee financing when the moneymen are merely bean counters.

I found it very moving, hearing the story of how the young Scorsese went in search of his hero (Powell), rescued him from obscurity, and brought him back into the world of clapperboards, gaffers and script editing. Theirs was a friendship born of mutual respect, as indeed was that of Powell and Pressburger. Love and respect. How much we need these things, ever onward, hither and yon.

Please go and see this movie. Few will. Be one of the few.

From this year, comes this exhaustive love letter from Martin Scorsese (who narrates & gives testimony on camera) about Michael Powell & Emeric Pressburger, master British filmmakers who elevated their medium into art. Using archive interviews w/the pair & copious scenes from their films, their work was exemplified by their use of special effects & otherworldly subject matter which would put their oeuvre far & away ahead of the pack of what their contemporaries were doing which would be a boon of inspiration for Scorsese (his use of color as emotions was a direct lift from their work) during his formative years. For those who only know a handful of their work (The Red Shoes, The Life & Death of Colonel Blimp, A Matter of Life & Death, Peeping Tom & Black Narcissus to name a few), here's your chance to get a more comprehensive picture of what made them so great which w/a tour guide as knowledgeable (his longtime editor Thelma Schoonmaker is Powell's widow) as Scorsese is, you can't go wrong.

The more accurate title is: The Films of Powell and Pressburger: As Told By Martin Scorsese (the credited Director is David Hinton).

Be that as it may, MADE IN ENGLAND is a fairly thorough overview of filmmakers Michael Powell and Emeric Pressburger who collaborated on a series of films spanning from the late 1930s to the early 1970s (their company was called The Archers). The most famous are THE RED SHOES, BLACK NARCISSUS, A MATTER OF LIFE AND DEATH and THE LIFE AND DEATH OF COLONEL BLIMP. There are generous clips from the movies put into context by the ever-present Scorsese. Old filmed interviews as well as personal photos and home movies illustrate their lives and careers - both together and separately. Powell's most known work outside the collaboration were 1940's THE THIEF OF BAGDAD (co-Director) and, most infamously, PEEPING TOM. Many of the excerpts from their films are recently restored, and look smashing.

Scorsese admired their work from afar from an early age, and got to know Powell on a personal level over the Englishman's last two decades of his life (Scorsese's longtime editor Thelma Schoonmaker is Powell's widow). Occasionally, Scorsese stretches the influence of Powell and Pressburger to on his own work with motifs that are cinema staples in general. It's a minor quibble, but it just adds to the impression that this is Martin Scorsese's story as much as it is Powell and Pressburger's.

MADE IN ENGLAND is a solid introduction to Powell and Pressberger's work - now, go see their films!

This documentary commemorates the collaboration between director Michael POWELL and screenwriter Emmerich PRESSBURGER. Between 1939 and 1957 they made numerous films together, and from 1943 onwards they also worked as producers for the film company THE ARCHERS. It is interesting that films such as BLACK NARCISSUS, THE RED SHOES and THE TALES OF HOFFMANN were forgotten between 1960 and 1980 before they were rediscovered as masterpieces of film history. Martin SCORSESE also reminds us of this, having already paid tribute to the almost forgotten film gems of Italian cinema history. It makes you want to rediscover the films of POWELL / PRESSBURGER. BLACK NARCISSUS (1947) with Deborah KERR, David FARRAR and Kathleen BYRON is certainly particularly successful.

Martin Scorsese has been trying to get people to know and like the films of Michael Powell and Emeric Pressburger since the 60s when he was a film student at NYU. He actually discovered his first Archer films as a child, seeing The Tales of Hoffman on television and The Red Shoes in theaters with his father, but it wasn't until he became a success himself with the release of Mean Streets that he discovered that Michael Powell was still alive. Searching out the retired, English filmmaker at his small cottage in Kent, Scorsese is the singular force behind the rediscovery of Powell's films decades after he had made his pair of Australian films, and this documentary is probably the furthest that appreciation is going to reach.

Told by Scorsese who narrates the entire documentary, the story of Michael Powell in particular and his professional relationship with Emeric Pressburger is cast through the lens of Scorsese's own experience, opening with him as a child and his appreciation of some 19th century opera on television. Interspersed, Scorsese covers basic biography of Powell and Pressburger individually before really digging into their careers.

The documentary really is a primer for audiences, an introduction to the strange, otherworldly visions of the Archers who, as Scorsese put it, were experimental filmmakers in the British studio system. Having just gone through all of it (except for Pressburger's Twice Upon a Time, his only sole directing credit that I couldn't find a copy of anywhere), I got swept away in Scorsese's telling. I can't talk about how it would affect the uninitiated, but I have to assume that the strange sights and Scorsese's descriptions of their techniques, effects, and influence, especially on his own work, would interest those newly discovering the works of the British and Austro-Hungarian team.

It's interesting to note the differences of opinions that Scorsese and I have about the work. For instance, Scorsese considers The Red Shoes to be one of the greatest films ever made while I think it is merely very, very good. Or that he calls Gone to Earth a gothic masterpiece and I found it rather dull. Or that he considers both Oh...Rosalinda! And Ill Met by Moonlight to be disappointments, but I found them quite competent entertainments. Which is to say that while our opinions differed, I still loved hearing him talk about all of it.

If I have disappointments, it's that he skips over some professional details that I need answers to (I'll have to just read Powell's autobiography to get them, I think), namely around how Powell managed to pull together the production of The Queen's Guards after the horrendous reaction to Peeping Tom, or how The Boy Who Turned Yellow exists at all. It's understandable that Scorsese's focus is on Powell's successes rather than his failures, namely the artistic successes since he spends a goodly amount of time talking about Peeping Tom, a personal favorite of his. Still, with Scorsese's personal connection to Powell, a few seconds to talk about these things that concern me and no one else on the planet would have been nice.

It was interesting to hear of Powell's influences beyond what I found to be the obvious of Lubitsch (like in His Lordship) and Hitchcock (like in Crown v. Stevens and several others) to his earliest work with Rex Ingram, including clips from The Four Horsemen that emphasized the otherworldly approach to cinema that obviously Powell reformed in his own way through what he called "compositional film", the combination of sight and sound with an emphasis on synching the action on screen to the music, something he started with Black Narcissus and embraced fully across the entirety of the film with The Tales of Hoffman. It's a term that I couldn't have come up with myself but which fits this kind of idealized form of Powell's work rather completely.

I also really liked how Scorsese and the documentary's director, David Hinton, were able to include a fair number of clips from Scorsese's own work to highlight the influence of Powell's approach to making movies, Scorsese emphasizing the use of movement within a frame and editing to music. The largest clips come from Raging Bull, but the parallel between the obsessive characters like Lermontov in The Red Shoes or Mark in Peeping Tom with some of Scorsese's own characters like Travis Bickle in Taxi Driver or even May from The Age of Innocence helps deepen the connection between the two men's work.

And, of course, there's the actual personal connections starting with the energetic young director of Mean Streets searching out Powell in the English countryside, glad to hear that anyone would be interested in his films at all, much less a rising New York director from America. It continues on with Scorsese helping him find work in Los Angeles, the marriage between Powell and Scorsese's editor Thelma Schoonmaker, and ending with behind-the-scenes clips of Powell on the set of The King of Comedy as Scorsese talks about how Powell, the older, more mature, creative voice in his life was able to help him through tough times. He never talks about Powell's death, almost making it feel like Powell is still alive in some way, and it seems appropriate considering how Scorsese's entire efforts around Powell are to bring the man and his work alive to a world that had forgotten and abandoned him.

Really, the personal touch from Scorsese is what gives the film that wonderful emotional connection. There's talking about how Powell and Pressburger's work was great, and then there's Scorsese talking about a friend whose work he greatly admired.

This is a wonderful documentary and introduction to the work of The Archers for those who haven't seen it, and it's also a wonderful bit of catharsis for those who have.