Michael Grigsby

They're young, unemployed and on the march - from Glasgow, Liverpool and Swansea to London.

No synopsis available yet.

A young boy's first trip to sea on a Grimsby deep-sea trawler.

Director Michael Grigsby's portrait of a Britain largely forgotten in the 1990s - the entertainers in social clubs, and the people they entertain.

The working day of enginemen at Newton Heath locomotive sheds, Manchester. They discuss the impact of dieselisation on their jobs.

The working day of enginemen at Newton Heath locomotive sheds, Manchester. They discuss the impact of dieselisation on their jobs.

This day in the life of a 1950s Abingdon School in Oxfordshire.

When teacher Tony Scannell decides he wants to be ordained as a Catholic Priest his decision has wide ranging effects on his family and loved ones.

Documentary on the village of Witton Park in Durham that has been under the threat of extinction for 27 years but which the villagers are determined to rebuild.

Three young Texans try to adjust to small-town life after experiencing the emotional toll of combat in the jungles of Vietnam.

No synopsis available yet.

In 1970, British director Michael Grigsby made one of the first films about soldiers returning home from the battlefields of Vietnam. Over forty years later Grigsby returns to Texas with fellow filmmaker Rebekah Tolley, to the stories of veterans David, Dennis & Lamar

This film portrait of Abingdon School in Oxfordshire is doubly fascinating: a glimpse into 1950s public school life and the juvenilia of a great filmmaker. Pupil Michael Grigsby (1936-2013) headed the school photographic society and was the driving force behind this film and its companion piece Ut Proficias. He went on to become one of our greatest film and television documentary makers.

Impressions of a typical weekend in Blackburn in the early 1960s.

Impressions of a typical weekend in Blackburn in the early 1960s.

Impressions of a typical weekend in Blackburn in the early 1960s.

State of the Nation documentary concerning 1980s Britain.

Docmentary about deep sea fishing community in North West England. This place was run very much as if it was in Victorian England. It was a one company town – all fishing – and if anybody stepped out of line they were chopped, they were sacked. As a result the working conditions, the money etc. were appalling and nobody dare say anything because if they spoke out: no job; and they weren’t given any explanation.

Docmentary about deep sea fishing community in North West England. This place was run very much as if it was in Victorian England. It was a one company town – all fishing – and if anybody stepped out of line they were chopped, they were sacked. As a result the working conditions, the money etc. were appalling and nobody dare say anything because if they spoke out: no job; and they weren’t given any explanation.

For the Eskimos of Pond Inlet - a new village in North Baffin Island in which they have been settled by the Canadian Government – the life of the semi-nomadic hunter has given way to that of wage-labourer, in what appears as a pre-fabricated 'township'. Although hunting provides an important supplement to the Eskimos' income, it is now a part-time activity, and since 1975 (ten years after the start of the government's housing programme) nobody has lived all year round in hunting camps. For the older inhabitants of Pond Inlet, the old way of life is still vivid (in 1935 only 37 Eskimos lived in the village) and their reminiscences and recollections form part of a powerful statement about the present situation. These statements take the form of monologues, or comments addressed to friends and family about the effects of fifty years of contact with whites.

A large family in London's East End is celebrating a birthday party. Children and grandchildren from this extensive family have come to the party from all over England. At the party the family members talk about hope and dreams for their children. The past and present lives of various relatives are compared with each other, while fragments from radio-programmes from the fourties and the fifties draw an emotional and historical line. Set against this archive material are fierce images of modern day family life in urban England in the year 1993. This makes the film a collage of dreams, memories and images of present-day life.