Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Forumrxes Yo, there's no way for me to review this film without saying, take your *insert ethnicity + "ass" here* to see this film,like now. You have to see it in order to know what you're really messing with.

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

Tim Kidner They say that the Ealing era was the British film industry's finest hour. Today, they are certainly dated but in an inventive, often very funny way. Not quaint, nor sloppy, nor nostalgic. As such they are all very watchable (& enjoyable)"Passport to..." to my mind, is the best that depicts the street level London directly after the War, with the close-knit community rallying round, but with that 'spirit' that saw them through the Blitz. So, there's wheeling and dealing, pushing their luck, practical jokes and a broad humour that's infectious. The story is absolute mumbo-jumbo nonsense with the subliminal message mocking the bureaucratic minefield that was necessary in shaping a devastated Britain - and London. Job's worth petty rules fly in the face of common sense. To my mind, this is the best Ealing that snapshots a time and a place - many of the scenes are shot out in the bombed-cleared areas rather than the studio. The cast are a ragbag of the well-knowns of the time and many, many extras from young ruffians to bowler-hatted officials. It's fun and can be watched many times over. This must be at least my sixth.It must have seemed like a breath of fresh air at the time - years of the Ministries commanding everyone in that 'proper', clipped voice, about every little detail - which they all knew they had to dutifully do. And now, we can all have a 'right larf'! at their expense.

italianredbird54 My cable TV has what's called the Arts channel, which is a "catch-as-catch-can" situation sometimes, sometimes films, sometimes short clips of films or ballets, and I came into this just as the bar scene came on, where they tear up their coupons. Excellent, exquisite, Ealing wins again, my wartime-Glasgow-raised mother would love this, should I ever find a copy of it. Some of Britain's best artists, from Mr Holloway to Wayne and Radford and the delicious Miss Rutherford, having a wonderful time gently sticking it to the Home Office. Loved the last scene, where as soon as they are "back in England!" the temperature plummets and it rains...

John O'Neill Pleasant story of the community of Pimlico in London who, after an unexploded WW2 bomb explodes, find a Royal Charter stating that the area they live in forms part of Burgundy.This movie works because it appeals to the fantasy a lot of us have about making up our own rules and not having to listen to THEM. A solid cast of British stalwarts, especially Stanley Holloway, makes this more believable.There are some very nice moments in the film, such as when the people have ran out of supplies and other Londoners on the other side of the barricade start throwing food and other things over to them.Even though you always knew Pimlico would become part of the UK again, the people of PImlico and as a consequence the viewer doesn't mind when this happens, leaving a nice happy feeling.It's amazing to think that these low budget movies from a small studio in London still remain so popular over fifty years later. The producers must have got something right.

tedg I believe that what separates modern nations from the old model — and affiliations that aren't nations — is in the consistency of the national narrative. These days that is molded in cinematic terms.The much-celebrated sound bite phenomenon only works because as a shortcut it refers back to that narrative. All sound bits are cinematic. If we want to understand ourselves, we need to understand the stories we've joined.That's why I'm spending a bit of time with films that define what it means to be British. I'm not British myself, so It should be a bit easier to see. I write this shortly after terrorist attacks in London, an event which forces the UK to snap back to references of who they are. I saw this on a double bill with a quintessential Battle of Britain movie. You can see there that the whole enterprise is designed to convey a short list of characteristics. War movies are seldom about war and always about who we are.This is different. Possibly no collection of films define the Brits more than Ealing comedies. And I think this is the clearest.The setup concerns a small suburb of London. Ordinary folks... that's important.By some plot device, they become non-Brits in the midst of Britain. They cling to this, as one says they fight so hard to be non-British because they ARE British.As this unfolds, what we see is self-evaluation of what it means to belong and what the characteristics of the group are. I could list what I saw, but that's boring.Much more interesting is that everything I saw was a mild version of what we'd see later with the "Goon Show" and Monty Python. The "Minister of Silly Walks" bit seems pretty tight.Slight fun. Important. InsightfulTed's Evaluation -- 3 of 3: Worth watching.