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		<title>The Small Back Room</title>
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		<dc:creator><![CDATA[Jeremy Clarke]]></dc:creator>
		<pubDate>Tue, 28 May 2024 22:46:15 +0000</pubDate>
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					<description><![CDATA[<p class="wp-block-paragraph">Directors – Michael Powell, Emeric Pressburger – 1949 – UK – Cert. PG – 106m</p>



<p class="wp-block-paragraph">*****</p>



<p class="wp-block-paragraph"><em>In London d</em><em>uring World War Two, a back room boffin and bomb disposal man struggles with alcoholism</em> – 4K restoration played at BFI Southbank on Tuesday, May 28th prior to release on Blu-ray, DVD and Digital on Monday, June 3rd</p>



<p class="wp-block-paragraph">This black and white, post-war era drama isn’t the first film that comes to mind when people think about Powell and Pressburger – it was made immediately after what today are regarded as three of their best colour features – <em>A Matter of Life and Death</em> (1946), <em>Black Narcissus</em> (1947) and their arguable masterpiece <em><a href="https://jeremycprocessing.com/the-red-shoes/">The Red Shoes</a></em> (1948). And that was preceded by one of their finest black and white works, <a href="https://jeremycprocessing.com/i-know-where-im-going/">“<em>i know where i’m going!”</em></a> (1945).</p>



<p class="wp-block-paragraph">In many ways, <em>The Small Back Room</em> couldn’t be more different. There’s a marvellous sense of whimsy about those films, even if the later ones are intense and savage in places. Like <em>Black Narcissus</em> and <em>The Red Shoes</em> – and, for that matter, Powell’s late solo masterpiece <em><a href="https://jeremycprocessing.com/peeping-tom/">Peeping Tom</a></em> (1960), an intensity lies at the heart of <em>The Small Back Room</em>.</p>



<figure class="wp-block-image size-full"><img fetchpriority="high" decoding="async" width="800" height="644" src="https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644.jpg" alt="" class="wp-image-15394" srcset="https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644.jpg 800w, https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644-300x242.jpg 300w, https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644-768x618.jpg 768w" sizes="(max-width: 800px) 100vw, 800px" /></figure>



<p class="wp-block-paragraph">Gone are the light, airy spaces of the earlier films, their sense of the outdoors expanse (and, in <em>The Red Shoes</em>, the expanded landscapes of the eponymous ballet sequence within the film).&#8230; <a href="https://jeremycprocessing.com/the-small-back-room/" class="read-more" target="_blank">Read the rest </a></p>]]></description>
										<content:encoded><![CDATA[<p class="wp-block-paragraph">Directors – Michael Powell, Emeric Pressburger – 1949 – UK – Cert. PG – 106m</p>



<p class="wp-block-paragraph">*****</p>



<p class="wp-block-paragraph"><em>In London d</em><em>uring World War Two, a back room boffin and bomb disposal man struggles with alcoholism</em> – 4K restoration played at BFI Southbank on Tuesday, May 28th prior to release on Blu-ray, DVD and Digital on Monday, June 3rd</p>



<p class="wp-block-paragraph">This black and white, post-war era drama isn’t the first film that comes to mind when people think about Powell and Pressburger – it was made immediately after what today are regarded as three of their best colour features – <em>A Matter of Life and Death</em> (1946), <em>Black Narcissus</em> (1947) and their arguable masterpiece <em><a href="https://jeremycprocessing.com/the-red-shoes/">The Red Shoes</a></em> (1948). And that was preceded by one of their finest black and white works, <a href="https://jeremycprocessing.com/i-know-where-im-going/">“<em>i know where i’m going!”</em></a> (1945).</p>



<p class="wp-block-paragraph">In many ways, <em>The Small Back Room</em> couldn’t be more different. There’s a marvellous sense of whimsy about those films, even if the later ones are intense and savage in places. Like <em>Black Narcissus</em> and <em>The Red Shoes</em> – and, for that matter, Powell’s late solo masterpiece <em><a href="https://jeremycprocessing.com/peeping-tom/">Peeping Tom</a></em> (1960), an intensity lies at the heart of <em>The Small Back Room</em>.</p>



<figure class="wp-block-image size-full"><img loading="lazy" decoding="async" width="800" height="644" src="https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644.jpg" alt="" class="wp-image-15394" srcset="https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644.jpg 800w, https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644-300x242.jpg 300w, https://jeremycprocessing.com/wp-content/uploads/2024/05/SmallBackRoom_SPD-1255040-800-x-644-768x618.jpg 768w" sizes="auto, (max-width: 800px) 100vw, 800px" /></figure>



<p class="wp-block-paragraph">Gone are the light, airy spaces of the earlier films, their sense of the outdoors expanse (and, in <em>The Red Shoes</em>, the expanded landscapes of the eponymous ballet sequence within the film).&hellip; <a href="https://jeremycprocessing.com/the-small-back-room/" class="read-more" target="_blank">Read the rest </a></p>]]></content:encoded>
					
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