There are three great brand names in the British cinema — Ealing comedies,Hammer horror and Gainsborough melodrama — but the third group has never achieved much of a reputation in the US. That’s most likely because these racy costume dramas, which starred a rotating cast of Margaret Lockwood (above), James Mason, Phyllis Calvert, Stewart Granger and Patricia Roc — were heavily censored when they were released here (and in the case of “The Wicked Lady,” also above, heavily reshot to impose more decorous necklines on the leading ladies). The Criterion Collection, through the company’s no-frills Eclipse label, has now released a judicious selection of three of the most rousing Gainsborough melodramas, presented uncut: Leslie Arliss’s “The Man in Grey” (1943), Arthur Crabtree’s “Madonna of the Seven Moons” (1945) and, by common consent the greatest Gainsborough of them all, Arliss’s “Wicked Lady,” with Margaret Lockwood (best remembered here as the virginal heroine of Hitchcock’s 1938 “The Lady Vanishes”) as a 17th century adventuress who becomes bored with her aristocratic husband (after having stolen him from her best friend) and takes to the road in male garb as a highwayman. It’s overheated, highly entertaining stuff, with, particularly in the case of “Wicked Lady,” some catty dialogue that would make Joseph L. Mankiewicz jealous, and a transgressive feminist subject that clearly had great appeal to the unexpectedly independent women of World War II Britain. A review here, in the New York Times.