In search of the UK’s great “city films”: the South, East Anglia and the Midlands

Beachy Head, East Sussex. Image: Wikipedia via Creative Commons.

Earlier this year, in the first blog in this series, I looked at the best city films set in London. Here the search extends outwards – to the urban metropolites of the South, East Anglia and the Midlands. The focus is on films with some combination of local stories, connections and shooting locations.

That first blog outlines the selection method in detail. If you haven’t time to read it, the key things to know are that films must have received a total IMDb score of at least 6.5 from at least 100 votes – if a film is missing from the list it is probably because it does not meet those criteria.

South East

Described by the Guardian as “one of the finest post-war British crime movies and possibly the best depiction of the seaside town on film”, Jigsaw (1962) is about a murder investigation set in and around Brighton. The producers made the film in partnership with the local police and there is extensive footage of Brighton and its surrounds. Despite similarities with the real-life Brighton Trunk Murders of the 1930s, the plot was based on a 1959 American novel.

Brighton is again the location for Smokescreen (1964), yet this time insurance fraud is the crime. In addition to scenes at locations around the city and neighbouring Hove, the rest of the filming was at Brighton Film Studios, which operated between 1949 and 1966 and was the the last of four main film studios in the area. Its closure marked the end of an era, since as early as “1912, when Hollywood was just beginning, film companies in Brighton had already produced hundreds of comedies, dramas and documentaries”.

The Chalk Garden (1964) is based on a play of the same name by Enid Bagnold and, although not a period piece, inspired by Bagnold's own inter-war life at North End House in the village of Rottingdean that borders Brighton immediately to the east. Bagnold (a remarkable woman) lived a well-healed existence and the servants – notably the governess – figure prominently in the tale. Brighton features in the film – including a scene in Preston Park that recruited background players from the Preston Lawn Tennis Club.

The storylines of a couple of 1960s Oxford films centre on that city’s ancient university. The Mind Benders (1963) is a spy thriller involving brainwashing science, while Accident (1967) is about professorial-student relationships. Accident is based on a novel of the same title by Oxford-educated Nicholas Mosley (the eldest son of Sir Oswald). Both films have numerous shots of the university; we’re talking “The Full Morse” here.

A good deal of Quadrophenia (1979) is set either in London or between London and Brighton, but it does also feature the latter’s famous seafront and beach. The film, which is about a young working-class Mod in the mid-1960s, recreates the fights between gangs of Mods and Rockers that marred Brighton and other south-coast towns over holiday weekends during the Sixties.

Fast-forward two decades and Down Terrace (2009), a “Sopranos on Sea”-type dark comedy, is Brighton to its fingertips. It has a handful of local scenes but is more a house-based play than movie. Directed and co-written by Brighton resident Ben Wheatley, it is named after the street in which it was filmed. The other co-writer, who also has a lead role, is Rob Hill, who met Wheatley at the University of Brighton. The house in which most of the filming took place was Hill’s own home in Down Terrace and Hill’s character’s father is played by his real-life father – also a Brighton resident. Wheatley and Hill self-funded the film and did interviews with “local drug dealers and ne’er-do-wells” for the initial script. Several tracks come from local folk singers, The Copper Family. I loved it (as did the British Independent Film awards).


Emulsion (2014), a slick and clever film about a man’s search for his “missing wife”, is a Bournemouth film. Writer-director Suki Singh is a graduate of Bournemouth University’s Film School and still based locally. Despite the town council’s car park featuring heavily a good number of locations in Bournemouth and Poole are shown, including cafes, a local country house, department store, major hotel, police station, converted art deco cinema and Alum Chine suspension bridge. The film’s premiere came through a local Indie Screen scheme whereby Poole’s Lighthouse cinema guaranteed to screen good local indie films. The production company is locally based and, in addition to film-making (e.g. Bournemouth-shot feature, K-Shop), plays a key educational and networking role in the city’s film community. Even the score was by a (London-based) Bournemouth University graduate.

20,000 Days on Earth (2014) charts 24 hours in the life of Australian- born, Brighton-based singer Nick Cave. It is a curio in that, while the person is real, the day is artificial – made up of arranged but unscripted encounters with famous faces from 20,000 days-old Cave’s life. Many of the encounters take place in a car as Cave drives around the city, mostly away from the town centre and seafront. The film has been called “a great Brighton film, giving a neon noir sheen to Cave’s adopted hometown” and “as much of a love letter to the seaside city as it is to the man that inhabits it”. So, let’s include it.

South West

The film world owes a debt to the city of Bristol in that it gave the world one Archibald Alec Leach – better known by his screen name: Cary Grant. The Bristolian usually vies with the likes of Brando and Bogart for the mantle of greatest male lead in movie history. His upbringing in (and later ties with) Bristol is well captured in last year’s excellent documentary, Becoming Cary Grant.

Grant has long held a fascination for playwright Peter Nichols who, like the film star, grew up in north Bristol. Nichols converted one of his early plays into a challenging and amusing film of the same name, A Day in the Death of Joe Egg (1972). Nichols was rooted in the city, having been born there, educated at Bristol Grammar School, studied acting at the Bristol Old Vic Theatre School and had his first play staged at the Little Theatre (now part of Colston Hall). The play/film, based on Nichols' own experiences, is about how the burden of raising a very handicapped child can damage a marriage. The male lead is a teacher – just as Nichols had been. Funds to write the play came when legendary director-to-be John Boorman, then working at BBC Bristol, persuaded Nichols to write a screenplay for him – one that went on to make money. There are at least a handful of external shots filmed in the city although it remains more play than movie and you only hear a Bristol accent once – a funny department store scene.

Truly, Madly, Deeply (1990), which was also shot in London, and Paper Mask (1990) both show Bristol locations albeit without any great local rootedness. Starter for 10 (2006) is about student life and a University Challenge quiz team at the University of Bristol yet, despite a few good Bristol shots, most of the university scenes were filmed at UCL and the University of Greenwich.

East Anglia

Ipswich has The Angry Silence (1960), a film about strike-breaking and, seen more broadly, an individual opposing a group. It was shot mainly in and around a big local factory (operational as recently as 2005), neighbouring streets and a local primary school. Extras comprised of both local amateurs and many factory staff, one of whom lent their battered (ie realistic) overalls to one of the film’s stars. The lead actor, Richard Attenborough, even visited the factory beforehand to learn to use the machine he worked on in the film, and later hosted a private showing for local extras at the old Ritz Cinema in the Buttermarket. The film still holds up almost sixty years on, yet not everyone took civic pride in it – Ipswich Trades Council voted to boycott it. 

Following a successful online campaign named “Anglia Square not Leicester Square”, the world premiere of Alan Partridge: Alpha Papa (2013) was held in Norwich’s Hollywood Cinema, with Steve Coogan appearing in character as North Norfolk Digital radio station’s own Alan Partridge. Coogan/Partridge greeted fans before being helicoptered to the London premier in Leicester Square! The film has some good shots of Norwich, although many scenes were also filmed on the Norfolk coast, at Sheringham and Cromer beaches, and around London.


Originally created as the master’s project of Norwich-born, -raised and -based director, Kris Smith, who was at the time studying film at Norwich University College of the Arts, I’m Still Here (2013) focuses on a young guy diagnosed with a terminal illness and draws on Smith’s own experience of a loved one in this situation. Smith, who both wrote and directed the film, worked with three locally based actor-filmmakers, and the soundtrack includes local band National Image and locally-based rap artist C.O.L.L. The main shots of the city are at the beginning – including a trip to the Norfolk and Norwich Hospital (yet when a neighbour later drops him at “the hospital” the entrance shown is St George's in south London’s Tooting!). The premier took place at The Curve Auditorium, in Norwich’s Forum complex.

The short story that inspired the multi-award winning 45 Years (2015), which tells the tale of a retired couple, may have been set in north Wales, but the resultant film was indeed set in Norfolk. It includes a handful of scenes featuring popular Norwich locations and the nearby Norfolk Broads receive a nice profile too. The director, Andrew Haigh, has revealed that a lot of the scenes in Norwich featured genuine passers-by – lead actress Charlotte Rampling “would walk around the city and nobody even looked at her. We had the camera hidden in a van to film some of the scenes, so people wouldn’t see us”. Haigh knew the city well as he was living there at the time of filming while his partner was doing an MA in creative writing at University of East Anglia.

Blinded by the Light, at a cinema near you from 2019, is Gurinder Chadha’s film about the true story of a Bruce Springsteen-mad British Muslim growing up in Luton during the 1980s. The film is based on journalist Sarfraz Manzoor’s 2007 memoir, Greetings from Bury Park. Exact shooting locations are unclear although Manzoor, who is a co-producer and co-wrote the script, has said that “there have been moments on set when I could not stop smiling at the sight of a feature film crew in the middle of Luton”.

East Midlands

Nottingham is the focus of Saturday Night and Sunday Morning (1960), of which the screenplay, about a womanising hard-drinking young factory worker, was adapted by Alan Sillitoe, who was born and raised in the city, from his novel of the same name. The film’s anti-hero works in Raleigh bicycle factory – as Sillitoe himself had when it had been a wartime munition factory. The author’s family home was a main location for the film and his brother had a bit part. Numerous other city locations appear – from the castle to cinemas and pubs (including The White Horse – the setting for the short story that later became the novel). Although the closing scene was shot overlooking a Wembley housebuilding site, a Nottingham firm supplied one of its signs to bring “authenticity”. Not all locals welcomed the film: the then-Tory MP for Nottingham Central denounced it as a “foul libel on the respectful, clean living people of Nottingham”. The work was however deemed the 14th greatest British film in a 1999 BFI survey.

Shane Meadows, who moved to Nottingham from the eastern-most part of the West Midlands when he was 20, has shot several good films in and around his adopted home city. His first feature, TwentyFourSeven (1997), about a youth boxing club, was filmed in Nottingham suburbs and exurbs. A Room for Romeo Brass (1999), about two 12-year-old friends, was shot in Calverton – just outside the city. The relationship between the two boys is semi-autobiographical and based on the childhood relationship between Meadows and co-writer Paul Fraser. Much of Meadows’s This is England (2006), about skinhead youth in the early 1980s, was shot in residential areas of Nottingham. Meadows has used professional actors but has also drawn on local talent – notably from the Television Workshop in Nottingham – for key roles. The Workshop, now a charity, was originally set up by Central Independent Television in 1983 to act as a casting pool for young talent in their Midlands broadcasting region.

Leicester gets a look in with The Girl with Brains in Her Feet (1997), a coming-of-age tale, set in 1972, about a talented, mixed-race 13-year-old athlete at a school on the outskirts of Leicester. The screenplay was written by the late Jo Hodges who, back in 1972, had been a sporty, mixed-race 13-year-old at a school on the outskirts of …. you guessed it, Leicester.

Although it didn’t include lots of Northampton scenes, Kinky Boots (2005) is based on the true story of one of the area’s shoe-making companies managing to stave off closure through switching to producing women’s boots that were large and strong enough for drag queens and male fetish footwear lovers. The company was based a few miles outside Northampton although most of the internal factory scenes were shot at the Tricker’s shoe factory in Northampton itself.

The Unloved (2009) gives a child's eye view of the UK’s government-run care system for orphans and children in danger. Filmed entirely in Nottingham, it offers a handful of shots of the city and is a semi-autobiographical account of the upbringing of the film’s director, Nottingham-born-and-raised Samantha Morton (who has twice been nominated for acting Oscars). The film also gave leading roles to two actresses – Lauren Socha and Molly Windsor – who had attended the Television Workshop.

Oranges and Sunshine (2011) depicts the true story of Margaret Humphreys, a social worker from Nottingham who, in the 1980s, uncovered the horrifying and thankfully discontinued practice of Home Children; the forcible relocation, by misguided charities, of children in care from the United Kingdom to Australia and other parts of the Commonwealth. Humphreys reunited some of the children involved – now adults living mostly in Australia – with their parents in Britain and was awarded a CBE in 2011 for her work. Several Nottingham locations were used in the film although shooting also took place in Australia. The two main young actresses were Television Workshop alumni.

Nottingham was also the location for the Weekend (2011), which was named in 2016 by a BFI survey as the second best LGBT film of all time (Carol took first place, since you ask). The plot centres upon a casual encounter that shows signs of developing. The only real connection to the area, aside from locations including the Goose Fair, is that funding came from EM Media and the region’s now-closed development agency (EMDA).

Given that we are including villages just a mile or so outside Nottingham, A Boy Called Dad (2009), about a teenage father, also merits inclusion. An East Midlands production company raised the £1m needed to start shooting – obtaining funds from the former Regional Screen Agency, EM Media. North Wales and Merseyside locations also feature however.

West Midlands

Nativity! (2009), a film about a nativity play competition, is the stand-out Coventry (and West Midlands) film. Spon Street, various city landmarks and, in particular, the bombed-out St. Michael’s Cathedral can be seen in the film, which was written, directed and produced by Coventry-based Debbie Isitt, herself a product of a two-year Coventry Performing Arts Service course, and premiered at the city’s SkyDome Arena. The multi-talented Isitt even does the music along with her long-term partner Nicky Ager. Nativity! drew on Isitt’s memories of her primary school in Birmingham, which resurfaced when her own daughter (who appears in the film) reached the same age. The other children in the film, almost none of whom had agents, were recruited from schools around Birmingham and Coventry. In 2008, BBC Coventry and Warwickshire followed the filming and, to complete the local angle, Coventry’s Belgrade Theatre even played a part in production. It’s an enjoyable feel-good Christmas film suitable for all ages.

The absence of a film from Birmingham is the elephant (not) in the room; the world is surely due a great Brum film? That said, there have certainly been good films from the city and these are outlined in the spreadsheet referred to below.

Scoring

Overall the films from the South, East Anglia and the Midlands offer some additional perspectives on England to those in the films featured last blog. Through watching them we see a nation with vibrant seaside towns, attractive provincial cities, ancient and redbrick universities, factories, and the post-industrial landscape left behind when these closed.

Anyway, once again I have used my “highly scientific” method to score those films. The full list of scores, complete with further details on all films, is available here. The top-scorers, for each region, are:

  • East – I’m Still Here (Norwich): 10.5 points
  • East Midlands – This is England and Saturday Night and Sunday Morning (both Nottingham): 9 points each
  • South East – Down Terrace (Brighton): 12 points
  • South West - A Day in the Death of Joe Egg (Bristol): 7 points
  • West Midlands – Nativity! (Coventry) 11.5 points

The next installment will look at the best city films from the three regions that make up the North of England.

The author, a Brit based in Washington DC, is founder of The New Barn-Raising a project to promote international exchange on ways to sustain parks, libraries, museums and other community and civic assets. You can find him on Twitter at @newbarnraising.

 
 
 
 

How China's growing cities are adapting to pressures on housing and transport

Shenzhen, southern China's major financial centre. (Photo by Daniel Berehulak/Getty Images)

In the last 40 years, the world’s most populous country has urbanised at a rate unprecedented in human history. China now has over 100 cities with populations greater than a million people, easily overshadowing the combined total of such cities in North America and Europe. 

That means urban policy in China is of increasing relevance to planning professionals around the world, and for many in Western nations there’s a lot to learn about the big-picture trends happening there, especially as local and national governments grapple with the coronavirus crisis. 

Can Chinese policymakers fully incorporate the hundreds of millions of rural-to-urban migrants living semi-legally in China’s cities into the economic boom that has transformed the lives of so many of their fellow citizens? The air quality in many major cities is still extremely poor, and lung cancer and other respiratory ailments are a persistent threat to health. Relatedly, now that car ownership is normalised among the urban middle classes, where are they going to put all these newly minted private automobiles?


Yan Song is the director of the University of North Carolina, Chapel Hill’s Program on Chinese Cities and a professor in the school’s celebrated urban planning department. She’s studied Chinese, American, and European cities for almost 20 years and I spoke with her about the issues above as well as changing attitudes towards cycling and displacement caused by urban renewal. This conversation has been edited for length and clarity.

American cities face very different challenges depending on which part of the country they are in. The Rust Belt struggles with vacancy, depopulation, and loss of tax base. In coastal cities housing affordability is a huge problem. How do the challenges of Chinese cities vary by region?

Generally speaking, the cities that are richer, usually on the eastern coastal line, are facing different challenges than cities in the western "hinterland." The cities that are at a more advantaged stage, where socio-economic development is pretty good, those cities are pretty much aware of the sustainability issue. They're keen on addressing things like green cities.

But the biggest challenge they face is housing affordability. Cities like Beijing, Shanghai, Shenzhen, and Hangzhou are trying to keep or attract young talent, but the housing prices are really, really high. The second challenge is equity. How do you provide equal, or at least fair, services to both the urban residents and the migrants who are living in the city, to alleviate some of the concerns around what the government is calling “social harmony?” 

Then the cities in the hinterland, typically they are resource economies. They are shrinking cities; they're trying to keep population. At the same time, they are addressing environmental issues, because they were overly relying on the natural endowments of their resources in the past decades, and now they're facing how to make the next stage of economic transition. That's the biggest divide in terms of regional challenges.

These urban centers rely on migrant workers for a lot of essential services, food preparation, driving, cleaning. But they live tenuous lives and don't have access to a lot of public services like education, health care, social insurance. Are Chinese policymakers trying to adopt a healthier relationship with this vast workforce?

The governments are making huge efforts in providing basic services to the migrants living in the city. They're relaxing restrictions for educational enrollment for migrants in the cities. In health care as well as the social security they are reforming the system to allow the free transfer of social benefits or credits across where they live and where they work [so they can be used in their rural hometown or the cities where they live and work]. 

In terms of health care, it's tough for the urban residents as well just because of the general shortage of the public health care system. So, it's tough for the urban residents and even tougher for the migrants. But the new policy agenda's strategists are aware of those disadvantages that urban migrants are facing in the cities and they're trying to fix the problem.

What about in terms of housing?

The rental market has been relaxed a lot in recent years to allow for more affordable accommodation of rural-to-urban migrants. Welfare housing, subsidised housing, unfortunately, skews to the urban residents. It's not opened up yet for the migrants. 

The rental market wasn't that active in previous years. But recently some policies allow for more flexible rental arrangements, allowing for shared rentals, making choices more available in the rental market. Before it was adopted, it’s prohibited to have, for example, three or more people sharing an apartment unit. Now that’s been relaxed in some cities, allowing for more migrant workers to share one unit to keep the rates down for them. You see a little bit more affordable rental units available in the market now.

I just read Thomas Campanella’s The Concrete Dragon, and he talks a lot about the scale of displacement in the 1990s and 2000s. Massive urban renewal projects where over 300,000 people in Beijing lost homes to Olympics-related development. Or Shanghai and Beijing each losing more homes in the ‘90s than were lost in all of America's urban renewal projects combined. It didn't sound like those displaced people had much of a voice in the political process. But that book was published in 2008.  How has policy changed since then, especially if people are more willing to engage in activism?

First of all, I want to make a justification for urban renewal in Chinese cities, which were developed mostly in the ‘50s and ‘60s. At the time, [in the 1990s] the conditions weren’t good and allowing for better standards of construction would inevitably have to displace some of the residents in older settlements. In my personal opinion, that wasn't something that could be done in an alternative way.  

Still, in the earlier days, the way of displacing people was really arbitrary, that's true. There wasn't much feedback gathered from the public or even from the people affected. In the name of the public interest, in the name of expanding a road, or expanding an urban center, that's just directed from the top down. 

Nowadays things are changing. The State Council realized they needed more inclusive urban development, they needed to have all the stakeholders heard in the process. In terms of how to process urban development, and sometimes displacement, the way that they are dealing with it now is more delicate and more inclusive.

Can you give me an example of what that looks like?

For example, [consider] hutong in Beijing, the alleyway houses, a typical lower-density [neighbourhood] that needs to be redeveloped. In the past, a notification was sent to the neighbours: “You need to be replaced. You need to be displaced, we need to develop.” That's it. 

Nowadays, they inform all different sorts of stakeholders. They could include artists' associations, nonprofits, grassroots organisations that represent the interests of the local residents. Then they [the citizens groups] could say what they really want to preserve. “This is what we think is really valuable” and that will be part of the inputs in the planning process. Some of the key elements could possibly be preserved. They  [the authorities] also talk about the social network, because they realized that when they displace people, the biggest loss is the social network that they have built in the original location. So, it's not only conserving some of the physical environment, but also trying to conserve some of the social network that people have.  


(STR/AFP via Getty Images)

Speaking of urban renewal, there was a big emphasis in the ‘90s and 2000s on highways. A lot of auto-oriented development in Beijing, following more of a Los Angeles than New York model. There's this quote I saw from Hong Kong architect Tao Ho, during the 1990s development of Pudong in Shanghai, warning against replicating “the tall buildings and car-oriented mentality of the West." 

In the ’90s or the first decade of the 21st century, most cities in China were still making mistakes. When I was a student, in the late '90s, I was translating for the American Planning Association. At the time, Beijing was still taking out the bike lanes and the planners from APA were telling them: “No, don't do that. Don't make that mistake." 

In the past decade, that's not occurring anymore. It has been happening [adding bike lanes] for a couple of years in Beijing, Shanghai, Shenzhen. More attention has been given to improving the service quality of green transportation, upgrades to buses, the bike lane system, and so on. 

As China got richer, bikes became a symbol of poverty and, like you said, urban planners began removing bike lanes. Cities like Nanjing and Shanghai considered banning bikes from the central city entirely. 

For a long time, bike lanes were abandoned and the road surface was more devoted to the car. But in the past few years this has been changing, more road space has been given to bus rapid transit and to bike lanes. The attitude giving precedence to the private car is giving way.

Another thing they are trying to do is behavioural change, teaching younger generations that biking is cool, creating a new set of values that's more sustainable. In some major cities, you see educational campaigns, posters around the cities, [saying] bicycling is really cool. 

A recent paper you worked on looked at air quality in Chinese cities and found they are still struggling. The paper cited a study suggesting “that Chinese cities face the worst air quality across different cities around [the] world based on an extensive research of 175 countries.” Your paper recommends transit-oriented development and significant green outdoor space. Is that something you see policymakers adopting?

Yes, definitely, although with regional variations still. The eastern and southern cities are seeing more policies toward transit-oriented development. They are adapting smart technology too. For example, Hangzhou, which is the model of smart cities, the tech tycoon Alibaba installed sensors on every single traffic signal there. Then they were using technology to change the light, so when they detect a higher volume of traffic, they streamline the green lights and the red light wouldn't stop the cars, so there are less carbon emissions at the intersections. They showed that there was a reduction of up to 15% emissions. 

What about in terms of parking policy? How are policymakers trying to deal with the influx of cars in these cities? Are there parking minimums like in many American cities?

I was visiting Hangzhou in December, their “Smart City” headquarters there. They were trying to use technology to let people know where there's parking, so they don't have to drive around, which increases carbon emissions. In other cities, like Shenzhen, they were increasing the parking fee in the downtown by 50 yuan, or seven US dollars an hour. That's pretty high in the context of Chinese cities. It was 10 or 20 yuan before. So, just increasing the parking cost in the downtown area so that you discourage people from driving.

What are you working on now?

My new research is still on air quality. We had a really cool collaboration with a counterpart of Google Street Map. In China, that’s Baidu StreetMap. We asked the company to install another sensor on their cars when they take pictures. We added a sensor for air quality. So, we will know at a street level what are the current emissions by geolocation, by time. That will be really cool when we have all that data. 

Jake Blumgart is a staff writer for CityMetric.