Britain Unveiled: Locarno 2025 Spotlights Post-War Cinematic Gems

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In August, the Locarno Film Festival will feature a British theme for its upcoming retrospective: “Great Expectations: British Post-War Cinema, 1945-1960.” This means that the festival will showcase a variety of films produced in Britain during the years following World War II and up until the early 1960s.

The retrospective segment plays a significant role in the film festival’s schedule and is often a favorite among attendees due to its unique appeal. It features newly restored films and hard-to-find screenings of elusive prints, with previous seasons focusing on directors like Douglas Sirk or studios such as Columbia Pictures, which marked their centenary last year through ‘The Lady with the Torch’ retrospective.

1945-1960 British Post-War Cinema’s “Great Expectations” exhibition is a joint venture by the Locarno Film Festival, BFI National Archive, and Cinémathèque Suisse, with Studiocanal providing support. The curator behind the previous edition, Ehsan Khoshbakht, returns this year to oversee “Great Expectations.” In an exclusive interview with EbMaster, he discusses the film selections and guidelines that shaped his choices.

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“Great Expectations: British Post-War Cinema, 1945-1960,” a collaboration between the Locarno Film Festival, BFI National Archive, and Cinémathèque Suisse with Studiocanal’s support, is being organized by Ehsan Khoshbakht. Having managed the previous edition, he returns this year to present “Great Expectations.” In an exclusive conversation with EbMaster, he shares insights about the films chosen and the criteria that influenced his selections.

What are the criteria for selection?

a) Only those filmed exclusively in Britain, omitting films like “The Third Man” that are not set there.
b) Excluding any that have supernatural or fictional elements, such as horror and fantasy films.
c) Focusing only on movies made after 1945, excluding period pieces and World War II films.
d) Avoiding British New Wave films that often depict everyday life in a realistic, sometimes gritty manner (often referred to as “kitchen sink” dramas).

What you end up with is a collection of movies portraying the essence of Britain and its people from 1945 to 1960.

What is the state of British cinema in the aftermath of the war? 

A Diary for Timothy” by Humphrey Jennings – a 1945 documentary, poses an essential query: What’s next? What will be our course of action moving forward? The entire film serves as a response to this question. It narrates the tale of Timothy, an imaginary character, unfolding through 45 films. Despite not depicting war directly, the backdrop of war is present in every frame: dialogues between characters, rationing, black markets, and bomb sites. The documentary raises another question – How will we rebuild these cities? Muriel Box offers an answer in “The Happy Family,” which centers around the renovation and urban planning of the South Bank before the Festival of Britain.

Does not having fantastical elements mean we’re going to get a lot of social realism? 

Definitely not a description that applies. Instead, these films are quite stylish and showcase the grandeur of the British studio system and genre filmmaking. “The Happy Family” falls under the comedy genre. There are numerous crime thrillers, such as Basil Dearden’s “Pool of London” and Ralph Thomas’s “The Clouded Yellow,” the latter being the father of renowned British producer Jeremy Thomas. We also have Hammer films before they delved into horror with “Whispering Smith Hits London,” directed by Francis Searle, which will be the world premiere of its 4K restoration.

How did you choose what to include? 

I made some adjustments in the distribution. Here’s a breakdown: One third will be dedicated to major classics such as “Passport to Pimlico.” Another third will feature lesser-known films directed by renowned directors, like Alexander McKendrick’s “Mandy,” a 1953 movie about a young deaf girl. And the remaining third will consist of British B movies – modest, well-made films from Britain.

Children seem to pop up throughout this program.

Indeed, “Hunted,” directed by Charles Crichton, holds significant significance for me as it was awarded the Best Film at Locarno in 1953. Similar to other films, such as “Hunted” and “I Know Where I’m Going,” we see another Timothy and Mandy growing up amidst the remnants of post-war times. Interestingly, “I Know Where I’m Going” starts with a shot of a young girl moving along the floor, signifying her determination. Much like this child, our protagonist also has a clear destination in mind. This film series presents a recurring theme: the north-south axis and the travels between these regions predominantly undertaken by children. Each character is on a quest for a brighter future.

Not all these filmmakers are British. 

During this time, one of the intriguing contradictions is that British cinema may seem closed-off from an external perspective. However, there’s a continuous influx of exceptional talents, starting from Central and Eastern Europe, then even from Hollywood, moving to this country due to the Blacklist. Today, we’re presenting Edward Dmytryk’s “Obsession.

What made you choose the infamous “Peeping Tom” as your closing film? 

The film titled “Peeping Tom” drew intense criticism from British critics, much like many films of its kind. It was considered an affront to good taste by studio filmmaking standards. This is a distinctly British phenomenon that isn’t found in other nations. One might wonder what constitutes good taste; it seems to be a recurring theme in reviews, with criticisms such as “this film lacks taste.” “Peeping Tom” delves into the realm of cinema and signifies the end of various aspects in British cinema. Michael Powell’s independent venture marks the end of a particular form of collaboration that has been prevalent throughout this program, including partnerships like the Bolton brothers, Launder and Gilliat, and the Boxs.

In our previous review, we had the collaboration with Columbia Pictures, which made for a strong partnership. What about this new project? Who will be joining us as a partner this time?

In partnership with the British Film Institute (BFI), I’m working on this project. The bulk of the film prints will come from the BFI National Archive. The BFI has been incredibly helpful, particularly James Bell and Josephine Botting. Additionally, we’re planning to publish a book featuring an array of essays, all newly written, by some of our nation’s finest writers. This book will be adorned with still images and photographs from the BFI’s collection.

This interview has been edited and condensed for clarity.

Switzerland’s Locarno Film Festival takes place over Aug. 6-16.

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2025-03-10 13:47