Tag Archives: Pressure

Pressure (Anthony Maras, 2026)

The biggest surprise at my screening of PRESSURE (Anthony Maras, 2026) at Cineworld was the elderly woman in a wheelchair vaping huge clouds of smoke and a smell I initially thought was some kind of bubble gummy perfume. I was too stunned to think much of it other than admire her brass.

As to the film itself, about the impact meteorological predictions had on the scheduling of D-Day, the vast stakes in that decision, and the pressure that in turn placed on those making it, I liked it very much. It’s all rich browns and golds, with a nostalgic dimension, including singing of hymns at chapel, iconic images of England – the rolling hills, the stately homes, the variable weather – and, as a finale ,whether the protagonists’ wife lives and whether the child was safely born which could have been overegging but isn’t. But for the scene of the D-Day landing, it’s mainly filmed in medium-length shots and close-ups, an intimate focus on a great historical event. The main thrusts invites a comparison to current events – unlike the orange one’s thoughtless and impetuous war on Iran – this is measured, debated, down to the last detail, even to what is predictable about the weather. It’s a film that valorises facts, data, knowledge, method, argument, debate, discipline; and in which the loss of life is integral to the decision making. The film doesn’t make a direct comparison to current events but the juxtaposition inevitably arises.

The acting is admirable: Andrew Scott reliably excellent and nuanced – the sound he makes at the hospital near the end is so expressive and moving. Brendan Fraser surprised as Eisenhower; he is so physically unlike the pictures of the eventual President, but ends up utterly convincing; Kerry Condon is believable as Kay Summersby, Eisenhower’s no-nonsense, unflappable but sympathetic private secretary (and lover); and I adored Damian Lewis as ‘heigh-ho old chap’ bullyish Montgomery; it’s a turn but excellently done.

I enjoyed it much more than I thought and was surprised to be so moved.

Jose Arroyo

Thinking Aloud About Film: Pressure (Horace Ové, 1976)

In last week’s discussion of Med Hondo’s SOLEIL Ô (1970), we asked what was being done in Britain in this period? The answer is Horace Ové’s PRESSURE (1976), the first British feature film made by a black filmmaker. It’s a more inward looking film then Hondo’s  or ALI IN WONDERLAND (Djouhra Abouda, Alain Bonnamy, France/Algeria, 1975) or MANDABI (Ousmane Sembène, 1968), in that it focuses on racism and familial, social, and inter-generational relations in Ladbroke Grove, rather than making explicit links to colonial regimes or international revolutionary movements. It’s also less formally experimental than the other films and, perhaps because of that, more accessible. We discuss this film in relation to the above and also Sidney Poitier’s work in the US (BUCK AND THE PREACHER, 1972) plus trace links through this work to the Sankofa film collective, the films of Isaac Julian and those of Steve McQueen, particularly the latter’s SMALL AXE (2020), which seems to be having an ongoing cultural conversation with PRESSURE, our favourite of this grouping of films. It can be seen on BFI Player and is also available on DVD. The podcast may be listened to below:

 

 

The podcast can also be listened to on Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT

and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546

 

Click on the hyperlink  to the Barbican interview between Ové and John Akomfrah, and the source of the Barry Norman quote Richard refers to in the podcast.

Richard also adds the following:

‘ this is a connection few people will have made . I was digging around for information on his children’s series “The Latchkey Children” – this is the most detail I can find although its mainly about the original novel rather than the TV series http://markwestwriter.blogspot.com/2013/12/the-latchkey-children-by-eric-allen.html “The group later expands to five with the arrival of Duke Ellington Binns, who helps Froggy escape from bullies and slowly becomes his friend – Binns likes England well enough but misses – and talks often of – his hometown Port Of Spain, in Trinidad. ” And like Pressure it’s also about learning the power of protest … “The Latchkey Children of the title are a gang of kids (who are around 11 years old or so), most of whom live on the St Justins Estate on the Thames Embankment and meet in the park after school. Their focal point is an old tree so when the council decides to get rid of it – and replace it with a concrete railway engine (“but that’s for kids!”) – the children decide to mount a protest. The story follows them on this protest – and in various adventures along the way.”

Also – Duke in the TV show is played by Ian Roberts in his first acting role, he later changed his name to Kwame Kwei-Armah, and he’s apparently said that the money from doing this show funded his – I guess otherwise he would have perhaps left school at 16 and so wouldn’t now be running the Young Vic…

José Arroyo and Richard Layne