| Vass Anderson | ... | Canteen Manager | |
| Madelenine Athansi | |||
| Allister Bain | ... | Hopkins | |
| David Baldwin | ... | Leroy | |
| Kim Benson | ... | Job Centre Girl #1 | |
| John Bleasdale | ... | Policeman #1 | |
| Richard Bremmer | ... | Policeman #2 | |
| Sean Chapman | ... | Barry Giller | |
| Catherine Clarke | ... | Job Centre Girl #2 | |
| Frankie Cosgrove | ... | Viv Parker | |
| Sharon Courtney | ... | House Parent | |
| Noel Diacomo | ... | Solicitor | |
| Jim Dunk | ... | Chef | |
| Virginia Fiol | |||
| Christopher Fulford | ... | P.C. Anson | |
| Brian Hayes | ... | Man on Stairs #1 | |
| Ava Hrela | |||
| Geoffrey Hutchings | ... | Superintendent | |
| Eric Kent | |||
| Hyacinth Malcolm | |||
| Jean Marlow | ... | Job Centre Woman | |
| Cathy Murphy | |||
| Garry Patrick | (as Gary Patrick) | ||
| Maurice Quick | ... | Magistrate | |
| Eric Richard | ... | Harry Parker | |
| Terry Richards | ... | Errol | |
| Tim Roth | ... | Trevor the Skinhead | |
| Jirí Stanislav | ... | Man on Stairs #2 | |
| Bill Stewart | ... | Peter Clive | |
| Steve Sweeney | ... | Job Centre Youth (as Stephen Sweeney) | |
| Joan Ware |
Directed by | |||
| Alan Clarke | |||
Writing credits(in alphabetical order) | ||
| David Leland | writer | |
Produced by | |||
| Patrick Cassavetti | .... | associate producer | |
| Margaret Matheson | .... | producer | |
Original Music by | |||
| The Exploited | |||
Cinematography by | |||
| Chris Menges | |||
Film Editing by | |||
| Stephen Singleton | |||
Production Design by | |||
| Jamie Leonard | |||
Costume Design by | |||
| Monica Howe | |||
Production Management | |||
| Guy Travers | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Richard Dobson | .... | second assistant director | |
Art Department | |||
| Celia Barnett | .... | assistant art director | |
Sound Department | |||
| Tony Bell | .... | boom operator | |
| Clive Gardener | .... | assistant dubbing editor | |
| Tony Jackson | .... | sound mixer | |
Costume and Wardrobe Department | |||
| Daryl Bristow | .... | wardrobe supervisor | |
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| This Is England | Scum | Pink Floyd The Wall | Gunaah | To Sir, with Love |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb UK section |
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From the minute Made in Britain kicks off, with a 17-year-old Tim Roth with skinhead and a swastika tattoo between his eyebrows, slouching into the juvenile court to the strains of The Exploited, the energy never flags. Clarke's patented loping Steadicam follows Trevor (Roth) as he goes from assessment centre to job centre to sniffing glue with a fellow ne'er-do-well to stealing a car and throwing bricks through a Pakistani's front window, seemingly bent on pushing the system to its limits. Trevor doesn't give a f***, and in an amazing second act, set entirely in a basement room, he tells the authorities what he thinks of them: "I'm a star, mate. I'm in exactly the right place at the right time."
Trevor is hateful - he's racist, bullying, utterly selfish and dangerous, but he's also so bright and eloquent that the main feeling on watching the film is wonder at a society that could possible have produced people like this. David Leland, who wrote the film, speculated years later that Trevor would probably have gone on to work in the Stock Exchange in the late Eighties - he might well have been one of the well-heeled cronies of Gary Oldman's Bez in Clarke's 1988 football hooliganism film, The Firm. In the depressed and fearful Britain of 1982, Trevor's manic energy and contempt has no outlet - once Thatcherite policies had helped to boost the British economy, his disbelief in "society" would have been totally at home on the stock market. As Thatcher famously remarked, "There is no such thing as society", and Made in Britain shows how she caused such a state of affairs to come about.
It's also very funny, in a sick kind of way.