Talk:Made in Britain

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Plot Section
What's the deal with this plot section? That's not a plot, that's practically the entire film described scene by scene. A plot is described in a few sentences. —Preceding unsigned comment added by 84.155.253.222 (talk) 18:34, 15 September 2009 (UTC)

Ye I think someone lost the plot there. 79.67.127.216 (talk) 15:47, 14 January 2010 (UTC)

I concur. Still now in 2020, this plot synopsis is far too long and involved. Should be about halved. Laodah 19:20, 29 March 2020 (UTC)

"White Power Skinhead"
I'd like to know what exactly makes the character Trevor a 'White Power Skinhead,'. Having a Swastika tattoo on his forehead doesn't count. Calling South Asian immigrants 'Pakis' doesn't count either, nor does the usage of the 'N' word.

During the Skinhead revival of the late 70s-early 80s, you had two essential Skinhead subcategories. Not in terms of politics, but style & over all views. The "Traditional" Skinhead who identified with the views, music & fashion of the late 60s Original Skinheads, & then the 'New Breed,' who took the skinhead style & exaggerated it by shaving the head all the way down in most cases, wearing higher boots, braces around the ass, tighter jeans, bomber jackets, etc. Punk influenced in both style & ideology.(Being left wing or a member of the NF at this time did not make one there own type of skinhead subclass, as niether of those two had thier own fashion developed styles, even adherents to the more Traditional Style could have been NF members or vice versa).

They(Oi! Boys, Bald Punks, Punk Skins, what have you) aimed to be more anarchistic than the Punks themselves, & typically sided with the punks over the Traditional Skinheads & The Teddy Boys. The Trads called them Boneheads due to the grade in which they cut their hair (the origin of the term now used to describe Racist Skinheads), & saw them as little more than "Bald Punks" listening to Classless, "Thug Rock".

Just like punk they wanted to shock the public at large, espicially because punks were finally being accepted by the media & society. Just like punks, they used the swastika for shock purposes, even going as far as to get it tattooed on one's face. They knew most viewed them as fascist, & Sieg Hiels became common place. They saw no future, they were vandals, nihilists & hooligans. Acting out. It wasn't uncommon at that time to ascribe the word N***** to West Indians, even if you had friends who were black. It was Thatcher's England, all that was avialable was Shit Jobs & The Dole. It's no surprise members of this more nationalistic, hopeless & bitter mentality ended up becoming racist skins & contributing to the numbers, but as it stands, everything aforementioned happening at that time, does not necessarily make them a "White Power" Skinhead. (See Nick Knight's book 'Skinhead' to verify & cite what I just described)

So, if the character Trevor in the film Made in Britain isn't stated as being a BNP member, or a National Front member, or talking about the Aryan Race or White Power, despite how racist, nihilistic, hopeless & self destructive he may be, I don't see why the claim he is a White Power Skinhead remain in the article unless someone can cite it was the director's intent to portray a racist young biggot's life & not just the life of a kid who happens to see no Future.

HorseRipper (talk) 05:20, 4 November 2010 (UTC)


 * I agree with this point, punks and skinheads were similar, other than a choice on which stance to take, usually based on personal things, not group ideals. If a kid doesn't fit in (and I know this from my own experience, and chose punk which was just as happy to choose me), they'll figure out who they are by dropping themselves into whatever seems to give them a chance to find out the way they want it. The LAST thing they'll take is some groupthink stuffing itself down their necks before they are ready to take anything from anyone. Organised politics was one of the most distrusted forms of human activity, whoever it was, or whatever they stood for. And Trevor felt realistic to many punks as well as skinheads because he got it, he just chose to be more offensive and reactionary than most. He wasn't there to serve anyone's 'agenda', not even his own. All he had was what most of us have, something no-one can take away unless they kill, and even then, they don't get it. At that age, we know we can experience and interpret the world our way, and defy others to prevent that. It's not easy to philosophise about, but people ARE aware of this, even when nothing seems worth living for. It's basically what was meant in that Sex Pistols line "Don't know what I want, but I know how to get it". Not knowing whether to build, or destroy whatever shit we find ourselves in first, but learning to command that choice. 86.144.136.50 (talk) 19:18, 20 October 2012 (UTC) (Not sure how to reply, so adding this as an edit..)


 * The Trevor character in the film Made in Britain was clearly a racist skinhead, not just a generic skinhead. That is very obvious by his words and actions in the film. One doesn't need to be a member of a political group like the National Front or British Movement to be a white power skinhead.Spylab (talk) 22:06, 22 October 2012 (UTC)


 * He wasn't about 'power' of any kind, but powerlessness. He was helpless, and he knew it, he was a nihilist. And he was alone. He was racist, but only as a form of rejection, one of many forms he had. He made no attempt to organise any kind of power. The white supremacists (skinheads or otherwise) who did that were holding down jobs, organising with others to some political or violent end. The entire potrayal here is not of a 'white power skinhead'. Look to the movie 'American History X' if you want a portrayal of that. Even 'Romper Stomper' is a portrayal of a more organised skinhead culture than 'Made In Britain', which is entirely based on a single nihilistic individual with no power whatsoever, and no chance of getting any by his course of action or even his intent. More to the point, it portrays an individual who is more than smart enough to know this, but still does not care. 31.51.85.128 (talk) 23:04, 21 May 2016 (UTC)

Locations, filming time, etc...
Any word about what time of year this was filmed, and where? I'm interested in finding out more of when, where, how it was made, but can't find much except repeated mention of the Steadicam, and a release date of Feb 1982. There's a LOT more to making an interesting movie than that, like the motivations, the obstacles to making it, how long it took, and especially the conditions in which it was made, like weather, time of year, how big the crew was, what they used, had to put up with, etc. I hope that someone who knows more about this film's history can either point to it, or add some of it here. A little of it can be deduced from watching it carefully, but not a lot. 86.144.136.50 (talk) 19:01, 20 October 2012 (UTC)

External links modified
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External links modified
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Partly the real Trevor:

Back in the day, myself then a terrible juvenile delinquent found that allegedly quite a bit of my casework with Bromley social services and my incarceration into Redhill's Royal Philanthropic School was captured on Channel 4's older name for Dispatches - 20/20 Vision, episode titled "Every Mothers Son" which was broadcast in 1984 because Bromley social services refused to allow it to be broadcast until I was 16 years and 3 months old and was broadcast in January of 1984.

Elements such as fouling of the files did happen, that was at a childrens home in Orpington, the education officer "speech" was also pretty much as it was in reality and I remember so well the chalkboard in the education centre at Chislehurst, even the beasting in Battersea police station was by and large accurate and I doubt there was a South London police station or west end police station I hadn't graced with the police by and large preferring to giving you a sorting out in the cells rather than do the paperwork in regards to a minor.

I found it ironic that the lead for this (Roth) grew up just over the border in Lewisham from where I grew up that being just outside the infamous Downham estate and I was pretty well known in Bromley, Lewisham etc. To clarify I never stole a car, in South London if you couldn't find a car for scratch money you just were not trying hard enough, glue sniffing was a major thing brought up extensively in 20/20 Visions documentary.

When I bunked off school, I spent my days down a scrapyard of a friend of a friends father and I learnt a lot about cars and built up the infamous keys on a coat hanger that basically gave you a free pass in any car of that time. Scrapyards were an absolute gift for cheap cars, if you went up to the foreman and paid scrap value and he would sort you out a "goer" for a few pounds.

It was a bone of contention that several friends ended up in Latchmere house (where I was taken from, from Battersea police station after a royal beasting prior being sent to the Philanthropic being held at Bromley police station until I was sent down) or Feltham for TDA or taking and driving away and I was ever so careful not to buy a stolen car. See back then, if you joyrode a car, as long as you took it back and left it as is so to speak it was very difficult to pin a theft or tda charge and back then in Thatcher's Britain times were hard, things were stolen just to survive and a chap with a magic set of open anything keys was a popular bloke.

What amused me most is the start at what appears to be Bromley magistrates who grew very tired of me and signed the care order to Redhill without hesitation.

Redhill, or the Philanthropic did what no other could do. They reined me in, they caged me and they met violence with violence and punishment but rewarded good behaviour with extra privilege and so I worked my way out from the hard secure unit, into the semi secure unit and then into the open house. I often absconded and my reward was returning to the secure unit so in the end they did start to get through to me of how to escape the place for good which I did in Nov 1983 when my care order ended.

I suspect my "informer" was my late mother, the reporter in the Channel 4 programme, not many people knew about the whole police station thing and she was at that time transitioning from Fleet St into radio and television journalism but had drifted in and out of drama and screenwriting.

79.74.147.114 (talk) 00:24, 19 October 2020 (UTC)