BFI Short Films: Beginnings

Amelia and the Angel; Ken Russell, 1958; This is a terrific little piece, genuinely innovative, using the image in ways embarrassingly rare among British filmmakers. Undoubtedly a part of some kind of new-wave, this is playful, with street shooting and an emphasis on character, childlike simplicity. It adopts impressionist images, giving us a sense of interiority similar to earlier French work. The sharp constrasts, the casting shadows gives it a legacy in some of the European Poe-like adaptations, bit it quickly changes to more fairytale registers, moving out of focus. O.K, some of the symbols are a little heavy handed, but generally it is nicely ambiguous, the dancing adults and dog are well portrayed curios. Notice also the sound and image disjunction, again showing the non-reliance on narrative, drawing attention to the fine images. In taking real care for the form, a better path for British film.
Boy and Bicycle; Ridley Scott, 1956; This film shows some good inventiveness, angled camera shots and a concern for objects. However, it quickly reveals that it really only has 3 camera moves. This makes it predictable and a little mawkish, heightened by the awful modernist voiceover. There are a few good evocations of feeling, but this is not too great.
The Burning; Stephen Frears; 1967; A Straight narrative, which is fitfully interesting for the character of the boy, but one would really rather read a book. It is generally dull, not taking much care for the medium. Note also the poor use of space for narrative purposes, characters walking int places where nothing should exist. Fine for stylish films, this just hems in the supposedly socially conscious narrative.
I’m British But....; Gurinder Chadha, 1989
Where’s the Money Ronnie!; Shane Meadows, 1996