Features rare archival material from the personal collections of Powell, Pressburger and Scorsese.Features rare archival material from the personal collections of Powell, Pressburger and Scorsese.Features rare archival material from the personal collections of Powell, Pressburger and Scorsese.
- Awards
- 5 nominations
Michael Powell
- Self
- (archive footage)
Emeric Pressburger
- Self
- (archive footage)
Brigitte Bardot
- Self - Actress
- (archive footage)
- (uncredited)
Neva Carr-Glynn
- Self
- (archive footage)
- (uncredited)
David Frost
- Self
- (archive footage)
- (uncredited)
Deborah Kerr
- Self
- (archive footage)
- (uncredited)
Jerry Lewis
- Self
- (archive footage)
- (uncredited)
James Mason
- Self
- (archive footage)
- (uncredited)
Arthur Miller
- Self
- (archive footage)
- (uncredited)
Helen Mirren
- Self
- (archive footage)
- (uncredited)
Marilyn Monroe
- Self
- (archive footage)
- (uncredited)
Queen Elizabeth II
- Self - Her Royal Highness
- (archive footage)
- (uncredited)
Storyline
Did you know
- ConnectionsFeatures The Four Horsemen of the Apocalypse (1921)
Featured review
I'm a long-time admirer of the films of Michael Powell and Emeric Pressburger and so it seems is Martin Scorsese as he amply demonstrates in this warm and informed tribute to the duo. The first film of theirs I ever recall seeing was the wonderfully imaginative "A Matter of Life and Death", still one of my all-time favourites but of course there are so many other movies in their canon to admire and here Scorsese takes us through each of them in a linear fashion as well as imparting the usual biographical information about them.
I'm not quite sure why his commentary couldn't just have been done by voiceover which would have saved us the numerous static, cutaway shots to Marty sat in a cinema seat gazing intently at us as if the fourth wall was the movie-screen itself, other than to show us that it was indeed the renowned Mr Scorsese strewing pearls of wisdom our way, reinforcing his presence in so doing. I've not pegged him as being self-aggrandizing before so I'm going to discount that possibility too but I guess the producers thought it might have helped sell the movie a bit more when you can see as well as hear the esteemed contemporary director doing his stuff. Maybe I'm being too severe on him, in not conceding the personal nature of the project to him and also given he was personal friends with Powell for the last 16 years of the latter's life...
Another carp would be Scorsese unnecessarily referencing his own movies to the point where we're shown clips from his own films supposedly inspired by P & P. I'm not that big a fan of Scorsese's work and didn't appreciate him leveraging his own movies into the narrative to perhaps shine some unrequired reflected glory onto the Archers own productions, believe me, they don't need it. And just one more moan for the road, I didn't often hear him mention by name many of the wonderful actors employed in the various films.
Anyway, once I got past all the "All about Marty" vibes, I was able to really enjoy revisiting these marvellous films, some of among the best ever in the medium and you can tell he's watched each and every one of them and written every word he speaks. There are welcome archive interview clips of Michael and Emeric as well as some of Powell's home movies - especially the endearing man-about-town clip of him at an advanced age in contemporary Hollywood and numerous stills photos of the two. The clips from the movies themselves are judiciously selected and aptly analyzed by Mr S.
I guess if the actual presence of the mighty Marty caused a few more people to catch this fine documentary then I suppose I can park my aforementioned reservations.
I just hope the viewers next move was to hunt down a Powell and Pressburger film and not one by Scorsese as they'd be far better off if they did the former.
I'm not quite sure why his commentary couldn't just have been done by voiceover which would have saved us the numerous static, cutaway shots to Marty sat in a cinema seat gazing intently at us as if the fourth wall was the movie-screen itself, other than to show us that it was indeed the renowned Mr Scorsese strewing pearls of wisdom our way, reinforcing his presence in so doing. I've not pegged him as being self-aggrandizing before so I'm going to discount that possibility too but I guess the producers thought it might have helped sell the movie a bit more when you can see as well as hear the esteemed contemporary director doing his stuff. Maybe I'm being too severe on him, in not conceding the personal nature of the project to him and also given he was personal friends with Powell for the last 16 years of the latter's life...
Another carp would be Scorsese unnecessarily referencing his own movies to the point where we're shown clips from his own films supposedly inspired by P & P. I'm not that big a fan of Scorsese's work and didn't appreciate him leveraging his own movies into the narrative to perhaps shine some unrequired reflected glory onto the Archers own productions, believe me, they don't need it. And just one more moan for the road, I didn't often hear him mention by name many of the wonderful actors employed in the various films.
Anyway, once I got past all the "All about Marty" vibes, I was able to really enjoy revisiting these marvellous films, some of among the best ever in the medium and you can tell he's watched each and every one of them and written every word he speaks. There are welcome archive interview clips of Michael and Emeric as well as some of Powell's home movies - especially the endearing man-about-town clip of him at an advanced age in contemporary Hollywood and numerous stills photos of the two. The clips from the movies themselves are judiciously selected and aptly analyzed by Mr S.
I guess if the actual presence of the mighty Marty caused a few more people to catch this fine documentary then I suppose I can park my aforementioned reservations.
I just hope the viewers next move was to hunt down a Powell and Pressburger film and not one by Scorsese as they'd be far better off if they did the former.
Details
- Release date
- Country of origin
- Language
- Also known as
- Meydin İngiltere: Powell ve Pressburger Filmleri
- Production companies
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $7,083
- Opening weekend US & Canada
- $7,083
- Jul 14, 2024
- Gross worldwide
- $71,043
- Runtime2 hours 11 minutes
- Color
- Aspect ratio
- 1.85 : 1
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What is the Brazilian Portuguese language plot outline for Made in England: The Films of Powell and Pressburger (2024)?
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