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<\/a><\/div>\nIf I had to pinpoint my two favourite directors in the game, it would be Michael Powell and Emeric Pressburger.\n<\/p>\n
They need no introduction. The Red Shoes<\/i> and A Matter of Life and Death<\/i> are iconic, their masterpieces, and the BFI Southbank airing a retrospective to commemorate The Red Shoes<\/i> meant that I got the chance to see their work, and Black Narcissus<\/i>, on the big screen \u2013 a real spectacle of timeless proportions. The wartime drama of The Life and Death of Colonel Blimp<\/i> that succeeds in giving life to a comedic parody of a figurehead of war propaganda stands next to a group of nuns slowly losing their mind in an isolated location of some of the most iconic films of all time; and Made in England<\/i> explores the birth of that partnership and the influence of their work on the filmmakers around them. They are \u2013 as you quickly learn from the passionate love that Martin Scorsese has for this duo, your favourite filmmaker\u2019s favourite filmmaker \u2013 as they pass down their craft to the next generation of movie directors.\n<\/p>\n
Made in England<\/i> is a perfect behind the scenes retrospective with Scorsese delivering an intro where he talks about always wanting to know who gave the order to \u201cCut\u201d the film between Powell and Pressburger, especially when they made their Archers company. It seems to be Powell \u2013 his work outside of the partnership with the iconic horror film Peeping Tom<\/i> is also given a hefty amount of focus, moreso than Emeric Pressburger, and the film could easily have been a biopic about Powell as much as it is about Powell and Pressburger. But the partnership between the two icons is instantaneous and you see why they had so much in common and got on so well \u2013 I\u2019d love to have anything sort of that level of trust that they have in each other.\n<\/p>\n
David Hinton does a good job at allowing Scorsese to sit back and talk; and there are few directors more engaging than Scorsese at making you care about the craft of film. After all, his editor, Thelma Schoonmaker, played a key role in shaping Scorsese\u2019s influences. The sheer amount of red in Raging Bull<\/i> is a direct result of The Red Shoes<\/i>, but in the friendship between Powell and Scorsese you see Powell not afraid to tell Scorsese that it is too much red. The best documentary should have you wanting to watch anything about its subject and even though I watched all of the Powell and Pressburger films last year, not only does it leave me itching to return to them, it also leaves me itching to return to Scorsese\u2019s iconic work, and I could\u2019ve used a longer length to touch on how his work beyond Raging Bull<\/i> draws from Powell & Pressburger, as I\u2019m sure there\u2019s more there.\n<\/p>\n
Of course Made in England<\/i> wouldn\u2019t be complete without a jab at Winston Churchill, \u201ca wonderful leader, but a terrible film critic\u201d, [doubts about his wonderful leadership exist], and the archive footage of Powell and Pressburger themselves put them on the spot for their courageous battle against censorship and the power of free speech during wartime. Few filmmakers have been bolder, courageous \u2013 and few would die for their art. Michael Powell is one of these such men and there is no greater reward than a deep dive into their filmography.<\/p>\n
Made in England<\/i> is released in cinemas from May 10 across the UK and Ireland.<\/b><\/p>\n<\/div>\n
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