Britishness Analysis Essay Example

insecurities, but notes that these representations contribute to discussions about Britishness. However, recent films have attempted to offer a more honest and fair depiction of Britain, and have also achieved international success. Professor Linda Colley highlights that Great Britain and the United Kingdom are composite states consisting of diverse cultures and nations. This statement contradicts past representations of Britain, which have typically depicted a homogeneous, white, upper-class society in films like Chariots of Fire, Howards End, and A Room with a View. Recent films aim to more realistically depict the multicultural society and class variation in Britain, though few have been both representative and successful.

Although films like Trainspotting, East is East, Billy Elliot, and The Full Monty have received recognition for their attempts to represent a more diverse Britain, they also contradict the traditional "heritage films." The British film industry struggles to finance more daring projects due to limited resources, while more mainstream productions such as Four Weddings... and Bridget Jones' Diary thrive with larger budgets and well-known actors.

Representing something unconventional in smaller British films can be challenging due to financial constraints. The British film industry often chooses the "safe" option to ensure profitability. According to Brian Tufano, one problem with British cinema is the lack of a distinct voice, resulting in a loss of identity between Hollywood and Europe. I concur with these views as British films appear to lack a unique identity, which may partially be attributed to inadequate funding. Alternatively, producers may be too eager to appeal to American audiences, potentially shifting the blame for this issue.

It appears that the British film industry has a tendency to replicate successful genres, as

evidenced by the proliferation of similar films following the success of Trainspotting in the mid-90s. However, the success of that film also led to an opportunity for emerging filmmakers, including Guy Ritchie, who produced a fresh and unique hit with Lock Stock and Two Smoking Barrels. This was followed by Snatch, which achieved international success thanks to Ritchie's directing skills and the presence of Brad Pitt in the cast. Despite this, other producers attempted to cash in on the gangster film trend with movies like Love, Honour and Obey and Honest (starring three members of All Saints), which seemed like a desperate attempt to follow in Lock Stock's successful footsteps.

On the other hand, when British producers eagerly sought American money and lacked originality by jumping onto the success of others, the outcome was dire. Honest was removed from many British screens and Love, Honour, and Obey failed. However, it's worth considering whether internationally successful British films owe their success to the involvement of prominent "Hollywood" figures. Four Weddings and a Funeral would likely not have achieved such success without featuring Andie McDowell as an actress.

The portrayal of Notting Hill in the film of the same name was criticized, partly due to its poor representation. The fact that the film featured Julia Roberts, the most sought-after actress at the time, did not help matters. Conversely, in smaller films like Trainspotting, the narrative takes precedence over casting big-name stars. This approach allows audiences to focus entirely on the story. While Love Actually boasted mainly British actors, it also had cameos from several well-known Americans, including Billy Bob Thornton, Denise Richards, and Claudia Shiffer. American actresses are often

cast in the role of a stereotypical "English woman" due to their superior drawing power. For example, Bridget Jones' Diary starred Texan actress Renee Zellweger, while Gwyneth Paltrow headlined Sliding Doors and Emma. In The Hole, Thora Birtch played a young English girl.

Despite the fact that a British actress might be equally or even more capable of performing these roles, they are often overlooked due to financial reasons, as such performances might not attract large audiences. The issue of British identity persisted and in the 1990s, films began to challenge traditional portrayals of heritage, although only achieving national success. Brian McFarlane observed that films including Bhaji on the Beach, Beautiful People, and East is East raise awareness that British life is not limited to WASP, middle-class, Southern England, a reality that took years for British cinema to accurately represent. Although these films may not have achieved global recognition, they were successful in Britain for portraying a truthful image. It seems that such films are too genuine for international markets, but nationally they succeed by portraying experiences many British people can relate to and understand.

On an international level, there is a desire for charming English voices and picturesque countryside. Despite the infrequent success of smaller films like The Full Monty and Billy Elliot, the recent international success of Love Actually showcases these quintessential British representations, similar to Four Weddings... The film boasted a star-studded cast. However, Michael Radford notes that British cinema is essentially suburban, safe, cozy, and anonymous. Although this statement holds true and sells well, it may not accurately represent Britain. Taking risks to branch out into new territory is too risky, which is

why heritage films and their representations will likely continue to dominate cinema for the foreseeable future. Nationally, British audiences can appreciate heritage films and their significance while also recognizing movies that present slices of real life.

The discussion will persist indefinitely. Unless the American market, which is more dominant globally, becomes receptive to these "risky" small movies, or until the British government recognizes the potential of the British film industry and provides financial support, the conventional portrayal of Britain will remain unchanged.