Quintessentially British

In his accomplished documentary, Frank Mannion invites us to consider what is British to the core.

National treasures (and Judi Dench)

This is a thoroughly entertaining documentary and one made with considerable skill. I had not anticipated having such a very positive reaction to Frank Mannion's film since early comments on it had taken a decidedly critical tone in certain quarters. But those who found it bland or altogether too limited due to its interviewees being mainly white and often aristocratic or rich were, to my mind, asking for a different kind of film from the one that Frank Mannion set out to make. This is not a sociological document reporting on the good and the bad in British society. Rather it is a work that defines itself at the start through a montage sequence in which a number of people give their individual opinions of what can be considered particularly British. When it comes to features that define our character, suggestions that come up include self-depreciation, quiet pride and a civility to others that does not necessarily mean that we are friendly.

Also mentioned here is our sense of history and that plays a great part in what follows as Mannion’s film visits parliament, the Chelsea Flower Show, country houses, museums, Cambridge, businesses in Savile Row, a model village, the Athenaeum club, Lord’s and the Boat Race. All of this fits with what the film promises in its title and it is certainly the case that many of the interviewees, all well qualified in this context, are white and well off and in some cases members of the aristocracy. Some critics seem to be put off by that, so let me stress that especially in the later stages of the film we hear from people who are not white (to take one example, when it comes to classical music in this country the musicians featured are Braimah and Konya Kanneh-Mason). Among the most telling contributions over all are those by Ian McKellen, Lord Chris Smith, Oz Clarke, Lady Carnarvon, Sir Max Hastings and Judi Dench, the latter at one point appearing happily beside an admiring drag queen.

That approach means, of course, that much of the film consists of talking heads, but this is handled most adroitly. Spoken comments are intercut with telling visuals that are relevant to what is being said and never disturb the flow of the words. For that the editor, Charlie Emseis, is to be congratulated and it helps too that Matt Everett’s photography is of a high standard. It is also evidence of the skills on display that nothing goes on for too long and telling details emerge again and again. This quality is illustrated admirably when we have a short sequence with a hatter which, while hardly lasting more than three minutes, incorporates family history linked to Lewis Carroll, a reference to creating hats for Sean Connery to wear as James Bond and a neat reflection concerning Churchill. Frank Mannion himself puts in an appearance being fitted out for a suit and a pair of shoes and this procedure which takes several visits provides a neat running link placed between other footage. These scenes also reveal Mannion to be an engaging figure on screen and someone who when present does not seek to impose himself.

If I have a criticism of this modest but engaging film it relates to its omissions: there is nothing here about pubs, pantomime or even the Last Night of the Proms. But then you can't have everything and 97 minutes seems an apt length. Nevertheless, it does need to be noted that, since the title chooses to refers to what is quintessentially British rather than to what is quintessentially English, one might expect more references to Scotland and Wales than we get. However, although the subject is never commented on directly, what we hear from the interviewees frequently illustrates the British gift for understatement coupled with a dislike of assertiveness. This is perfectly epitomised by Ian McKellen telling Frank Mannion to call him ‘Ian’ and not ‘Sir Ian’, pointing out that the word ‘Sir’ is equivalent to the word ‘Mr.’ and quite inappropriate in a conversation.

However, the neatest touch of all is to be found in the structuring of the film. Initially any real conflicts of opinion crop up only occasionally and in passing (in contrast to others, Ian McKellen deplores the grouse shooting on the Glorious 12th and favours urban life as celebrated by L.S. Lowry over the notion of country life as idyllic). But then far more drastically the last section of Mannion’s film effectively challenges the tone of what has preceded it by revealing the foreign roots of the flag of St. George, celebrating the mixed ethnicity that exists historically in so many of those who are proud to be British and pointing out that when it comes to food and drink much of what we claim as quintessentially British had its origin in other countries. For Frank Mannion, this is a step forward from his 2021 feature film Sparkling - The Story of Champagne. He has given us a pleasurable piece which ultimately is not so much bland as thought-provoking.

MANSEL STIMPSON

Featuring  Lady Carnarvon, Sir Lindsay Hoyle, Oz Clarke, Ian McKellen, Judi Dench, Lord Chris Smith Sean Matthias, Kamil Ozturk, Jozef Rogulski, Braimah Kanneh-Mason, Konya Kanneh-Mason, Sir Max Hastings, Simon Cundey, Emma Elwick-Bates, Nicky Henderson, Neville James, Frank Mannion.

Dir Frank Mannion, Pro Frank Mannion, Screenplay Frank Mannion, Ph Matt Everett, Ed Charlie Emseis, Music James Jones.

Swipe Films/Carlow Castle/Kasiyan Knockberg Enterprises/CBS 1A1 Motion Picture Fund/Rialto Films-Signature Films.  Available on digital platforms.
97 mins. UK. 2022. UK Rel: 12 December 2022. Cert. 12.