Many of the most celebrated British films of the immediate post-war
period (1945-55) seem to be occupied with "getting on" with life and
offering distraction for postwar audiences. It is the time of the
celebrated Ealing comedies, Hue and Cry (1946) and Kind Hearts and
Coronets (1949), Dickens adaptations, and the most ambitious projects of
the Archers. While the war itself is rarely mentioned in these films,
the war and the conditions of postwar society lie at the heart of
understanding them. While various studies have focused on lesser known
realist films, few consider how deeply and completely the war affected
British film. Michael W. Boyce considers the preoccupation of these
films with profound anxieties and uncertainties about what life was
going to be like for postwar Britain, what roles men and women would
play, how children would grow up, even what it meant - and what it still
means today - to be British.