Well, not rightist, necessarily, but certainly anti-bureaucrat, anti-government economic control, and anti-union.
Yes, dear readers, I broke down and watched Passport to Pimlico this afternoon – my mood needed a boost as the holiday weekend drags on. That or I’m avoiding reading The Tempest for Monday. A mix of the two?
Passport… is about the accidental rediscovery in 1949 London of a charter granting sovereignty over Pimlico to the Duke of Burgundy — and Pimlico promptly secedes and ends post-War rationing at once (remember, rationing went on in some form until 1954 as class war by economic means replaced total war in Labor Britain). The real villains are Whitehall bureaucrats, and the result is instructive. If I had a category for Little England I’d choose that. As is, Fiction will have to do.
The Titfield Thunderbolt, which I haven’t watched yet (and haven’t seen since I was about 18), is about plucky underdogs standing up the nationalized railway to save their rail connection to London. The Man in the White Suit is about a man (Alec Guiness, a frequent star of these pieces) who invents a wonder fiber that can’t be dirited. The unions and the big manufacturers do their best to stop him — and don’t seem to be unwilling to kill him to do so; the ending is very sad, in a way, as are all of them.
I don’t know (or really care enough) about British film history to know who was behind all this, but I like his plucky politics.
Ealing Studios Comedy Collection: The Maggie, A Run for Your Money, The Titfield Thunderbolt, Whisky Galore!, Passport to Pimlico.
The Alec Guinness Collection: Kind Hearts and Coronets* (1949), The Lavender Hill Mob (1951), The Man in the White Suit (1951), The Captain’s Paradise (1953) (only available in this set), and The Ladykillers (1955). If you liked the Tom Hanks Ladykillers at all you owe it to yourself to see the original.
*”I shot an arrow into the air,/She fell to earth in Berkeley Square.” Worth the price of admission.
[Amazon links do NOT put any money in my pocket.]