By admin 
The veil has been lifted on the first trailer for "Think of England," an audacious and thought-provoking satirical WWII drama from the critically acclaimed BAFTA-nominated writer and director Richard Hawkins, whose previous works include "Theory of Flight" and "Everything." This upcoming film, inspired by a persistent and intriguing wartime urban myth, posits that Winston Churchill’s U.K. government, in a bid to bolster flagging troop morale during the darkest days of World War II, secretly commissioned the production of pornographic films. While the film first premiered in the cinematic hub of Tallinn, it is now poised to make its much-anticipated U.K. debut at the prestigious Glasgow Film Festival on March 6th, promising a bold and potentially divisive cinematic experience.
The narrative of "Think of England" unfolds against the starkly beautiful and isolated backdrop of the Orkney Islands during the summer of 1943. With the colossal undertaking of the Normandy landings looming on the horizon, and soldiers on the front lines grappling with escalating desperation and dwindling hope, the film centers on an unconventional ensemble of characters. Each individual has been handpicked for their unique, and perhaps unexpected, skillsets, brought together for a mission shrouded in the utmost secrecy. Their clandestine task: to produce explicit adult films, artfully designed to serve as a potent, albeit unorthodox, morale booster in the crucial lead-up to invasion. As each assignee grapples with the profound weight of their conscience, the subtle currents of coercion, and the ever-present specter of fear, the darkly satirical story embarks on a profound examination of societal moral boundaries. It probes the fundamental questions of who defines these lines, who is tasked with enforcing them, and, most compellingly, what happens when these ethical boundaries are irrevocably crossed under the immense pressure of wartime exigency.
The film’s commitment to authenticity and its adherence to the philosophical underpinnings of Ted Hope’s NonDe movement, which champions independent and artistically driven filmmaking, are evident in its stellar cast. Leading the charge is Ronni Ancona, known for her versatile performances in "Big Impression" and "EastEnders," who takes on the role of Agnes Dupré, the film’s meticulous wardrobe and makeup artist. The central figure of Holly Spurring is brought to life by Natalie Quarry, a rising star whose previous work includes the beloved "Call the Midwife." As the conflicted Corporal Evans, audiences will see the compelling performance of Jack Bandeira, who has garnered attention for his roles in "The Gold" and "Andor." Adding gravitas and dramatic weight to the ensemble is Olivier award-winner John McCrea, celebrated for his role in "Everybody’s Talking About Jamie," who portrays Captain Anthony Clune. The rich tapestry of characters is further enhanced by the contributions of Ben Blähm, whose nuanced acting has been lauded in "Better Call Saul," Oscar Hoppe, a standout in "All the Light We Cannot See," and Ollie Maddigan, known for his poignant performance in "The Olive Boy."
Produced by the esteemed father-daughter duo Nick and Poppy O’Hagan for Giant Films, "Think of England" is not merely a historical drama; it is explicitly described as a "controversial film about cinema itself." The filmmakers aim to delve into the very nature of moving images and their profound capacity to "historically tested, challenged, and redrawn the boundaries of what audiences are willing to see." By firmly rooting its narrative within the specific socio-historical context of World War II, the film astutely "shines a light on the institutional misogyny and homophobia of the era." Simultaneously, it allows its anachronistic and unlikely characters to serve as powerful conduits, "gesture toward a more tolerant future." This narrative strategy serves as a potent reminder, urging contemporary audiences to "continually question the sensibilities and censorship of any age, including our own," fostering a critical dialogue about evolving societal norms and the ever-present specter of moral gatekeeping.
The very premise of "Think of England" taps into a rich vein of historical speculation and cultural anxieties surrounding wartime propaganda and the manipulation of public opinion. During World War II, governments on all sides engaged in extensive propaganda efforts, utilizing film, radio, and print media to shape narratives, demonize enemies, and bolster national spirit. The idea of using sexually explicit material, however, represents a radical departure from traditional propaganda tactics, suggesting a desperate, perhaps even morally compromised, approach to achieving strategic objectives. While the direct commissioning of pornographic films by the British government remains an urban myth, the film’s exploration of this concept allows for a potent allegory about the lengths to which authorities might go in times of extreme duress. It invites viewers to consider the ethical compromises inherent in warfare and the complex relationship between state power, public morality, and the persuasive force of media.
Richard Hawkins’ directorial approach, as suggested by the film’s description and his previous work, likely employs a sharp, incisive wit to dissect the inherent absurdities and hypocrisies of the situation. Satire, at its best, uses humor to expose uncomfortable truths, and in the context of a global conflict where life and death were daily realities, the notion of using pornography as a morale booster offers fertile ground for dark comedic exploration. The film’s setting on the Orkney Islands, a remote and strategically important location during the war, adds a layer of isolation and pressure to the characters’ predicament. This geographic isolation can be interpreted as a metaphor for the moral isolation experienced by those tasked with such a controversial endeavor, separated from the broader societal norms they are expected to uphold.
The choice to focus on an "eclectic group of characters, each selected for their own unique skillset" suggests a deliberate move away from traditional military archetypes. This allows for a more nuanced exploration of individual responses to the moral dilemma. The wardrobe and makeup artist, the leading lady, and the corporal – these roles suggest a diverse range of perspectives, from those involved in the aesthetic creation of film to those directly confronting the realities of war. Their struggles with "conscience, coercion, and fear" will likely form the emotional core of the film, humanizing the often-abstract discussions of morality and censorship. The film’s engagement with themes of misogyny and homophobia is particularly significant. World War II was a period of significant social upheaval, but traditional patriarchal structures and prejudices remained deeply entrenched. By highlighting these issues within the film’s narrative, Hawkins is not only reflecting the historical reality of the era but also drawing parallels to contemporary societal challenges, urging a critical re-evaluation of our own biases and prejudices.
The film’s connection to Ted Hope’s NonDe movement is a crucial indicator of its artistic intent. The NonDe movement, often associated with independent and experimental filmmaking, emphasizes artistic integrity, creative freedom, and a commitment to challenging conventional cinematic narratives. This suggests that "Think of England" will likely eschew conventional Hollywood storytelling in favor of a more daring and perhaps unconventional approach, prioritizing artistic vision over commercial appeal. This aligns with the film’s described nature as a "controversial film about cinema itself," suggesting a meta-cinematic exploration of how films shape our perceptions and push the boundaries of what is considered acceptable or desirable.
The very act of making a film about the creation of pornographic films during wartime raises profound questions about the role of art and media in society. It forces us to confront the uncomfortable truth that even in the direst of circumstances, human desires and impulses persist, and that the lines between propaganda, entertainment, and exploitation can become blurred. "Think of England" promises to be a film that not only entertains but also provokes, challenges, and ultimately, compels us to look inward at our own moral compasses and the ever-evolving landscape of censorship and societal acceptability. The unveiling of the trailer is just the first step in what is sure to be a significant cultural conversation, one that the Glasgow Film Festival audience will be among the first to engage with. The film’s promise to "shine a light on the institutional misogyny and homophobia of the era" while simultaneously allowing characters to "gesture toward a more tolerant future" suggests a complex and layered narrative that seeks to both critique the past and offer a hopeful, albeit hard-won, vision for the future. The question of how moving images have "historically tested, challenged, and redrawn the boundaries of what audiences are willing to see" is a timeless one, and "Think of England" appears poised to offer a compelling and unforgettable exploration of this enduring cinematic and societal dynamic.