Award winning director Lindsay Anderson (If..., O Lucky Man!) subverts the mockumentary genre and presents to the audience a detailed and humored account of what truly means to be Lindsay ... See full summary »
Despite success on the field, a rising rugby star senses the emerging emptiness of his life as his inner angst begins to materialize through aggression and brutality, so he attempts to woo his landlady in hopes of finding reason to live.
George and Betty, a middle-class English couple, have just moved into a big Edwardian house in London and are throwing a party to celebrate. Unfortunately, after ten days none of their ... See full summary »
Jimmy is a self-loathing and frustrated musician who works at a candy shop. He takes out his rage on his long suffering wife and his business partner and best friend, who lives next door. ... See full summary »
In World War II Germany, two young men, one, an ardent Nazi, and the other, a secret anti-Nazi, are in love with the same woman, the daughter of a wealthy banker. The two join the Army, and... See full summary »
Clever fortune-hunter Edward Bare (Sir Dirk Bogarde), with a penchant for murder, does in his elderly, supposedly rich, wife, and manages to get away with it. After an investigation results... See full summary »
Mick Travis (Malcolm McDowell) is a reporter who is about to shoot a documentary on Britannia Hospital, an institution which mirrors the downsides of British Society. It's the day when Her Royal Highness Queen Elizabeth I is to visit the hospital to inaugurate a new wing, where advanced (and sinister) scientific experiments led by Professor Millar (Graham Crowden) will take place. Everybody in the hospital, from the cooks who refuse to cook, to the painters who couldn't care less to get their job done, to an African cannibalistic dictator (à la Idi Amin Dada Oumee) who demonstrators want expelled from the hospital and tried, will contribute to making Her Royal Highness Queen Elizabeth I's visit (and Mick Travis' life) a true nightmare.Written by
Dragomir R. Radev <email@example.com>
At 1:16:05, Dr Millar chops off a certain character's head with a meat cleaver and then raises the cleaver to show it spotlessly clean. See more »
[deep, monotone voice]
What... a piece... of work... is a man... How noble... in reason... How infinite... in faculty... In form and moving... how express and admirable... In action... how like... an angel... In apprehension... how like... a god.
[the giant brain starts repeating itself like a stuck record]
How like... a god... How like... a god... How like... a god... How like... a god.
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Fulton Mackay's character was billed as Chief Superintendant; the correct spelling is Superintendent. See more »
"Britannia Hospital" was not exhibited (although advertised) in Panamá in 1982, so I didn't have a chance to see the last part of the Mick Travis trilogy, created by Lindsay Anderson and David Sherwin. In the early 1990's I found a video copy of the film, but not until now have I seated to watch the film, after enjoying two Ealing comedies ("Kind Hearts and Coronets" and "The Man In the White Suit") that surprised me one more time for the pleasant way that social and political issues are usually treated in British cinema. (MILD SPOILERS) Social issues are all over "Britannia Hospital", the most saddening conclusion I have ever seen of a character, though luckily not affecting the admiration I have for the two previous films. "if...." (1968) introduced Mick (Malcolm McDowell) as a rebel in a public school; in "O Lucky Man" (1973) he was a young man seeking a job in the capitalist world, and in this final appearance, Mick has returned from the USA and apparently works as a spy -with a mini video camera- for an American TV station (represented by Mark Hamill, completely stoned inside a mobile unit) in the coverage of the anniversary of Britannia Hospital (metaphor of the United Kingdom) and the launching of a sinister Frankenstein-type project, while the workers are on strike, militants demand the exit of an African dictator from the hospital, with his wives, children and staff, and Her Royal Highness is on her way to the festivities. The riot takes place, but what is really violent is the way Mick is dispatched. In the previous films, there were elements of fantasy handled beautifully, even in a poetic way, but this time writer David Sherwin turned the story into a Stuart Gordon fest, which Anderson relished with a scene right out of "Re-Animator". This impression is so strong, that it casts a dark shadow over the final sequence when the Genesis project (which recites Shakespeare) is presented to all. Many familiar faces were welcome (Alan Bates, Joan Plowright, Graham Crowden, Jill Bennett, Liz Smith, Vivian Pickles, Marsha A. Hunt, and Robin Askwith), but it's a pity that Anderson and Sherwin decided to end the trilogy in such an extreme and rude fashion.
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