A selection of the best low-budget British comedy films including Withnail and I, and Comfort and Joy.
By Bradley Simpson
This look at 10 low-budget British comedy films traverses through a diverse landscape of movies, each offering a unique blend of comedy, drama, and social commentary
From Maxine Peeke’s captivating portrayal in Funny Cow, navigating the challenges of stand-up comedy against the backdrop of northern England’s working men’s clubs, to the darkly humorous take on terrorism in Chris Morris’s Four Lions, these films push the boundaries of storytelling and audience expectations.
As we explore the quirky humour of Mike Leigh’s Nuts in May and the biting satire of Armando Iannucci’s The Death of Stalin, we witness filmmakers skilfully intertwining laughter with deeper themes of societal norms, personal struggles, and the human condition. Join us on this cinematic journey, where comedy meets tragedy, and the absurdity of life takes centre stage.
Funny Cow
Dir. Adrian Shergold (2017)
Maxine Peeke shines in Funny Cow, portraying a female stand-up comedian grappling with the challenges of navigating the comedy circuit in working men’s clubs across northern England during the 1970s and 1980s.
While the film’s portrayal of casual bigotry and racism is uncomfortable to witness, it serves as a poignant reminder of an era we hope, albeit perhaps fancifully, has passed for good.
As much a kitchen sink survival story as a comedy, Funny Cow encapsulates the quintessential British sensibility of skilfully intertwining humour with uncompromising bleakness.
Attack The Block
Dir. Joe Cornish (2011)
Attack The Block, depicting an alien invasion and the residents of council flats fighting back, carved its own niche in 2011, with its talented cast and crew subsequently moving on to greater heights, underscoring the film’s lightning-in-a-bottle quality.
Writer-director Joe Cornish, also known for 2019’s The Kid Who Would Be King, not only captured a uniquely British sensibility to approach the science-fiction genre with humour but also showcased the talents of Jodie Whitaker (pre-Doctor Who fame) and John Boyega (pre-Star Wars).
Prevenge
Dir. Alice Lowe (2016)
Alice Lowe’s directorial debut, accomplished in just 11 days of filming, is a testament to efficiency and skill. Over the course of a brisk ninety minutes, Lowe’s penchant for comically absurd scenarios permeates a stylised stage reminiscent of influences such as Argento, Lynch, and her collaborator Ben Wheatley, with whom she co-wrote and starred in Sightseers.
Prevenge stands out for its delightful subversion, both in narrative structure and thematic exploration, as it flips the classic revenge trope on its head, presenting it as both revelation and twist, while ingeniously transforming the life-giving biology of a pregnant woman into an instrument of death.
Nuts In May
Dir. Mike Leigh (1976)
In Nuts In May, originally aired on BBC television as part of its Play for Today series in 1976, Mike Leigh showcases his talent for delightfully quirky storytelling.
Alison Steadman and Roger Sloman lead the cast as a well-meaning couple embarking on a camping holiday. Steadman’s innocent, childlike wonder serves as a charming counterpoint to Sloman’s headmaster-like precision, resulting in a dynamic that is both odd and endearing.
Leigh skilfully mines humour from the contrasting personalities of the campsite’s other inhabitants, whose various agendas and approaches to leisure disrupt the couple’s peaceful retreat, adding layers of complexity to their idyllic getaway.
Sightseers
Dir. Ben Wheatley (2012)
Director Ben Wheatley, along with writers-actors Steve Oram and Alice Lowe, masterfully blend elements of romance, buddy comedy, domestic melodrama, and slasher horror in this twisted and original lo-fi comic adventure. Seamlessly intertwining genres, they skilfully play on our sympathies while tickling our funny bone.
In a unique amalgamation reminiscent of Nuts in May meets Natural Born Killers, the film admirably marries comedy with horror, showcasing how romance can thrive amidst the backdrop of serial homicide, highlighting the filmmakers’ ability to weave together disparate elements into a cohesive and captivating narrative.
The Death Of Stalin
Dir. Armando Iannucci (2017)
Armando Iannucci’s biting satire achieves a delicate balance between historical accuracy and daring creative license, portraying a tale of political chaos and power struggles among ministers in the aftermath of Stalin’s death.
The stellar ensemble cast, featuring Steve Buscemi, Jeffrey Tambor, Rupert Friend, Michael Palin, Andrea Riseborough, Simon Russell Beale as Lavrentiy Beria, and Jason Isaacs as Georgy Zhukov, alongside memorable supporting performances from Olga Kurylenko and Paddy Considine, brings vibrant energy to their roles.
With razor-sharp dialogue co-written by David Schneider, Ian Martin, and Peter Fellows, Iannucci’s wit is so potent that it should come with a warning: “Do not watch while drinking, as uncontrollable laughter may result in projectile spillage.”
Another Year
Dir. Mike Leigh (2010)
In Another Year, writer-director Mike Leigh skilfully navigates the complexities of light and dark, comedy and tragedy, to explore themes of marriage, togetherness, friendship, and love, while acknowledging the inherent challenges of life’s journey.
Gerri and Tom, portrayed by Ruth Sheen and Jim Broadbent, embody a long-married couple seemingly enjoying a comfortable and loving life. However, against the backdrop of their stability, their circle of friends and family grapple with life’s traumas, finding solace and support within Gerri and Tom’s nurturing home and friendship, where vulnerabilities are laid bare like open wounds.
Four Lions
Dir. Chris Morris (2010)
Finding humour in terrorism may seem inconceivable, but with Chris Morris at the helm, anything is possible. Four Lions delights in flipping our expectations, revealing the absurdity and folly inherent in the subject matter.
The film satirises flawed idealism, portraying unplugged fundamentalist factions interpreting religious scripture on a whim, and highlighting the futility of their actions.
This dark comedy serves as a biting contemporary social commentary, simultaneously funny and provocative, challenging audiences to confront uncomfortable truths with laughter.
Comfort And Joy
Dir. Bill Forsyth (1984)
In Scotland, radio DJ Alan Bird, portrayed by Bill Paterson, becomes embroiled in a conflict between rival families vying for control of Glasgow’s ice cream market. Directed by Bill Forsyth, renowned for works like Local Hero and Gregory’s Girl, this film stands as arguably his finest. It’s a beautifully melancholic and whimsically life-affirming story, following a down-on-his-luck Glaswegian who, abandoned by his girlfriend, unwittingly becomes entangled in the city’s ice cream war.
Withnail And I
Dir. Bruce Robinson (1987)
Considered the quintessential Brits-on-holiday film, Bruce Robinson’s seminal classic Withnail and I remains a cult favourite. Drawing from Robinson’s own experiences as an out-of-work actor amidst the squalor of Camden Town, fuelled by alcohol, the movie follows two unemployed Londoners as they escape to the countryside for a much-needed respite.
Mixing comedy with tragedy, Withnail and I offers a caustic, unapologetic, and inherently truthful portrayal of this fringe element of London’s evolving cultural and societal landscape. Its brilliance lies in Robinson’s sparkling dialogue and standout performances, notably Ralph Brown’s spaced-out drug dealer and Richard E. Grant’s perennially drunk Withnail.
The HOBBLEDEHOY 