Britain’s First Socialist Film?

(and where you can watch it for free!)

by Christopher Draper

I GREW UP addicted to TV and loved “Robin Hood”, “Play for Today”, “Boys from the Blackstuff” and “The Monocled Mutineer” but kicked the habit long before the emergence of shopping channels, Ant & Dec and Jeremy Kyle. If Britain’s Got Talent it’s not evident from TV – the opium of the people.

Radical Cinema

RADICAL director Ken Loach was on telly in the 1960’s but as the medium grew increasingly idiotic shifted to cinema, where for decades he’s almost single-handedly kept alive the fragile flame of Britain’s socialist film culture. Loach wasn’t our first socialist director yet so little regarded is political cinema in Britain that lefties are more able to identify radical foreign film makers like Eisenstein, Vigo or Bunuel than any British pioneer.

Socialists and Film Makers

THERE were four decades of film making in Britain before in 1933 a trio of iconoclastic activists created the Socialist Film Council (SFC) with the intention of producing politically conscious films for public showing. The leading lights were Rudolph Messel (1905-1958), Raymond Postgate (1896-1971) and George Lansbury (1859-1940) with Messel the prime mover. Postgate was a writer and founder member of the British Communist Party and as a left-wing dissident, he was one of the first to resign in 1922 for refusing to follow the Moscow line. During WWI Postgate had been expelled from university, gone on the run and been gaoled for conscientious objection. George Lansbury was President of the Socialist Film Council and leader of the Labour Party, a role he’d accepted in 1931 when Ramsey MacDonald “ratted”, allied with the Tories, formed a “National Government” and imposed savage cuts and the “Household Means Test” on the unemployed.

As a Labour activist and accomplished amateur film maker Rudolph Messel was a key player in bringing socialist politics to the big screen. Like Postgate he’d enjoyed a privileged upbringing but was much slower to embrace socialism. At Oxford he’d participated in the notorious “Hypocrites Club” whose membership included Evelyn Waugh, Terrence Greenidge, Anthony Powell, Tom Driberg and Roger Hollis. In 1924 Messel and fellow hypocrite Greenidge jointly produced an amateur film entitled, “Big Dog”. The club was closed down by the University authorities the following year after staging an outrageous “Nuns and Choirboys” event. Messel’s friendship with Greenidge endured and in 1926 the pair jointly produced and directed “Next Gentleman, Please!” featuring their hypocritical associates in a film exhibited in Oxford’s “Super Cinema”. During the 1926 General Strike Messel, still firmly enamoured of the louche lifestyle, pitched in on the government side but educated by the experience he moved ever closer to socialism and developed a particular interest in Soviet film making. After visiting Hollywood in 1927, the following year he wrote “This Cinema Business”, described by his publisher, Ernest Benn, as “the first comprehensive and serious study of the Film in our language”. In 1929 and 1931 Messel stood unsuccessfully as a Labour parliamentary candidate and in 1932 was a member of a prestigious Fabian Research Bureau group that enjoyed a two month long “fact-finding” tour of the Soviet Union.

Socialist Film Council

RAYMOND Postgate and novelist Naomi Mitchison accompanied Messel touring Russia and on their return all three contributed chapters on their observations to a compendium volume, “Twelve Studies in Soviet Russia” edited by Margaret Cole and published by Gollancz. They also collaborated in producing the Socialist Film Council’s first film “The Road to Hell”, written by Postgate and directed by Messel. The film depicts the devastating effects of the National Government’s austerity policies upon a working class East End family. The novelist Naomi Mitchison, in the words of the Daily Herald critic “acted beautifully” in the role of the mother of the family. Postgate played the role of the father. Messel also appeared in the guise of a drunken playboy while fellow “hypocrite” Terrence Greenidge played the part of Freddy, the family’s elder son. Daisy Postgate, Raymond’s wife, and George Lansbury’s daughter, played Freddy’s girlfriend. With many of the domestic scenes filmed in Lansbury’s 39, Bow Road home it all made for an accomplished though economical production. Premiered in London on Friday 28 July 1933, Lansbury himself attended the show and a couple of months later introduced the film to delegates attending the Labour Party’s annual conference in the White Rock Pavilion, Hastings. Although the film was generally well received where shown it proved impossible to secure a general release. Cinemas were dominated by Hollywood and ultimately controlled by local authority licensing committees eager to ban Socialist Film Council films as did Birmingham Council in 1935.

Watch “The Road to Hell”

DESPITE Lansbury’s influence the labour movement gave little material support to the SFC and although it managed to complete one more film this spark of socialist cinema would have been extinguished if it had relied entirely on the organised labour movement. Fortunately a few isolated though determined and largely forgotten individuals did successfully produce politically radical films into the 1960’s when Ken Loach memorably lit the “Big Flame”. I’ll post more on these overlooked directors and studios in future NV posts but for now watch and be inspired by “The Road to Hell” on the British Film Institute website (no charge or registration required!)

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