Released four years earlier, Ealing's first colour film is an unabashed celebration of post-war optimism, community spirit, the glories of rural England, and the romance of the railways.

"Why can't you scientists leave things alone?" Cinema in the 1950s often focused on the dangers caused by experiments that went horribly wrong. But Ealing's The Man in the White Suit isn't a sci-fi movie about marauding giant ants, or a cautionary tale about the nuclear arms race.

This week, BFI Palgrave MacMillan release Ealing Revisited, a new collection of essays on what is, arguably, the most iconic and best loved studio in British cinema history.

It's a tragedy that Ealing has no cinema of its own, as this is the neighbourhood of London that has created some of the most treasured British films.

And so, it came to an end. Not with a whimper, but with a bang: Passport to Pimlico, one of the best known 'Ealing comedies', one of the films that (it is claimed) speaks for the whole of the studio's output and thematic interests, and one of the films that first sparked my love of Ealing many years ago.

Nowhere to Go was the second-last Ealing film produced and, suitably, is also the second-last film to be viewed and written about for this challenge.

His Excellency is one of those films that is difficult to love, partly because it often fails to deliver a coherent experience or meaning: it has moments of jingoism and anti-foreigner attitudes that feel alien to a 21st century audience, yet also goes to great pains to mock the British patriarchal attitude to 'the colonies'; it mocks socialism yet offers a partial celebration of unionism and collective action; ridicules military might but ultimately relies on it to resolve narrative issues; celebrates a particular 'northern' personality within Britain but dilutes that through the imposition of upper class knowledge and restraint.

The idea that the mother-child relationship was a recurring one in Ealing might seem a strange observation, even coming from the man who ran the studio between 1938 and 1959.

Mandy is a film that can be defined in various ways.

When British Military Intelligence realise William Potts (Will Hay) is the double of German spy Mueller, Potts reluctantly agrees to take on Mueller's identity and position at the German university where inventor Professor Hoffman (Frank Pettingell) is working on a secret new bomb.