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In. Saturday Night and Sunday Morning Hide Spoilers. MartinHafer 23 March After all, the acting was excellent, the direction very good and the script really did a good job of showing the life of a completely selfish man. From a psychological point of view, it's an exceptional portrait of an antisocial personality who is rather functional within society and not in prison.
However, at the same time, who wants to watch the life of a sociopathic man for two hours? After a while, you realize that he is indeed despicable and beyond redemption--and you really could care less about him. Because of this, I honestly wonder how many people will stick with this film until the conclusion--especially when, as in real life, the film ends without any major positive change in Arthur Seaton's personality--he's still self-absorbed, uses people and behaves like a jerk.
The future, though not shown in the film, seems all too grim for those coming in contact with Seaton. At least in TOM JONES, you liked him and underneath the bravado Tom was basically a decent person and there is some redemption for this rogue by the time the movie concludes. Was this review helpful? But I will say it is certainly a tribute to Finney as an actor and to his charisma that he kept the audiences interested in such a lout of a character that he portrayed. Burton's Jimmy Porter was a lout himself, but someone capable of looking at the wider world and caring about it.
His best scene in Look Back In Anger was him standing up to the market supervisor on behalf of an Indian merchant who was being discriminated against. But our protagonist Arthur Seaton could give less of an atom of human waste product about the wider world. He's stuck in a dull factory job and takes it out on the world. He lives only for the weekend when he's out carousing with his mates at the local pub and carousing with Rachel Roberts who is married to one of his supervisors at the job. Things change a bit when Finney meets up with Shirley Anne Field who's a pretty young thing and doesn't have an inconvenient husband around.
He's keeping them both, but then Roberts gets inconveniently pregnant by Finney. There's some indication in the end that Finney might readjust his attitude on life in general and the opposite sex in particular under the tutelage of Field. Still I really haven't much hope for him. Rachel Roberts turns in a fine performance as a woman used and abused by a truly sexy lout of a man.
And Finney despite the repellent nature of his character will keep you glued to the big screen or small. Saturday Night and Sunday Morning is another of the 'kitchen sink' dramas that were all the rage at the turn of the s, and it's also an 'angry young man' film to boot. Albert Finney takes the lead role of a maladjusted young bloke who's got two women on the go at the same time; one of them is an older unhappily married woman and the other is more his age. I find films like this invaluable these days for their insight into working class life during the era.
A grimy and industrial Nottingham is brought to vibrant life here and if Finney isn't a very likable character at all then at least he's thoroughly entertaining Black adult wives women sunday morning.
A decent supporting cast keep the atmosphere of realism going, and the production has a good sense of pace. I found the ending a little lacklustre but otherwise this is decent stuff. SnoopyStyle 2 July Arthur Seaton Albert Finney is a bored machinist in a factory during the work week. He drinks his weekends away and has an affair with older Brenda who is his co-worker's wife. He's also pursuing young beauty Doreen but she resists him.
Albert Finney is great as the angry young man. He's irresponsible. He's bad and yet he is so charismatic. This is a great British film about the lower class in a long tradition of great British cinema. What once was shocking is now so tame. I don't know if that was ever a quote or official concept - unless you count the Parable of the Leopards - but it describes the plot of Karel Reisz's "Saturday Night and Sunday Morning". This is one of the many British movies from the early '60s focusing on the working class, with an angry young man as the protagonist; these were known as kitchen sink dramas.
The movie opens with an announcement from the British Board of Censorship that no one under the age of 16 will be allowed to see the movie the same message opened Stanley Kubrick's "Lolita". The subject matter was extramarital sex, and in some scenes, the characters debate whether or not to "have" the baby I guess that they weren't actually allowed to say abortion. This plus usages of what was considered profanity at the time essentially got the movie the equivalent of an R rating by today's standards it's PG.
In the end, the movie does a good job hinting at the day-to-day lives of the UK's working class, as the protagonist Albert Finney in his star-making role toils away as a machinist during the day and lives a carefree life outside of that kind of like John Travolta's character in Black adult wives women sunday morning different Saturday-titled movie. I recommend it. Basically, set in 's Nottingham, young factory machinist Arthur Seaton BAFTA winning and nominated Albert Finney is hardworking and only gets paid modest wages, he is angry at many things in his life, including his parents, and he does not to stay living in drudgery like all around him.
The wages he earns he spends at weekends on drinking and having fun, he is having an affair with the wife of an older co-worker, Brenda BAFTA winning Rachel Robertsand he also starts a relationship with single and nearer his age Doreen Gretton Shirley Anne Field. Arthur's personal life takes a drastic turn on Saturday night when Brenda tells him she is pregnant with his child, Arthur asks for advice from Aunt Ada Hylda Baker about an abortion, but this does work out and Brenda decides to keep the child and face the consequences.
Brenda's husband finds out about the affair with Arthur and being pregnant with his child, and following this he gets his brother and a fellow soldier to try and catch him and give him a severe beating, they chase him through a town carnival. After these Brenda returns to her normal life with her husband and the children, Arthur recovers and returns to working at the factory, but he knows he cannot see his mistress or to be born child again, and in the end Arthur and Doreen discuss their future, i.
Bull, Elsie Wagstaff as Mrs. Seaton and Frank Pettitt as Mr. Finney gives a great performance as the young man struggling against authority and responsibility, Roberts is terrific as the older woman who causes a big dilemma, and Field is good as the young woman unaware about his disregard. You have to keep in mind that pregnancy between a young and older person was controversial in the 's, and of course abortions Black adult wives women sunday morning illegal, so there are engaging issues to keep you watching, a powerful and most interesting classic drama.
Very good! Atmospheric, startlingly mature adaptation of Alan Sillitoe's novel by the author regarding Arthur Seaton, a ish working-class Brit employed at the local factory and still living at home, who is 'knocking about' with a co-worker's wife while despairing against marriage and the TV-watching rut his parents have slipped into. Just as he begins courting a local lovely with mother-troubles of her own, he finds out his married playmate is pregnant.
Prickly film has fine moments of both tension and schoolboy humor, propelled by Albert Finney's flawless central performance. Highly-influential in its time, and still powerful today, the picture employs a confrontational tone with acerbic dialogue, never lapsing into fake pathos or dreary ruminations. It is ripe and alert and alive. It's impossible to believe that Albert Finney was ever that young, but he was - 24 in this film - robust and handsome.
He plays a factory worker who hates his job and lives with his family. His life revolves around his weekends, when he drinks himself into oblivion and sees his married girlfriend Brenda Roberts. Roberts is married to one of his co-workers. One day, he meets the beautiful Doreen Shirly Anne Field and starts to court her. Then Brenda becomes pregnant with his. This film was considered quite shocking at the time of its release because of its frank sexual situations and the freely-discussed topic of abortion. These themes aren't shocking anymore, but one reason for that is the introduction of them in films like this.
Shot in black and white, it gives the viewer a picture of life in a bleak factory town, portrayed very realistically by director Karl Reisz. The actors are these people, they're not merely playing them. This is especially true of Finney, who sports a low-class accent and epitomizes the "angry young man" so prevalent in the late '50s.
Finney's performance as a young man who takes out his work-week aggression on women, booze and mischief, is as revolutionary as Dean's or Brando's was in American cinema. Finney is ably backed up by the supporting actors. One wonders if he'll ever grow up sufficiently. She's going to have her hands full. The dialect is very authentic and difficult to understand at times - I actually used my closed captioning. The dialect adds to the whole atmosphere of "Saturday Night and Sunday Morning," another of the rebel movies but in a class all by itself.
Albert Finney plays an arrogant, young man who still lives with his family and has a dead end job in a factory. He thinks he's got everything under control and doesn't want a life like his parents. Unfortunately, that just might happen. The movie is short 90 min and fast-moving and always interesting.
There are problems--the overall depression wears one down and Black adult wives women sunday morning accents are at times indecipherable. Still, worth seeing. Just don't expect an uplifting film. This is not the same as saying that in it wasn't perhaps a breath of fresh air and maybe even 'daring' but in there's an awfully big 'so-what' factor to be overcome. For one thing it's referential; within one reel Arthur Seaton Albert Finney is saying 'no one's going to grind ME down' a low-budget version of Bogie's 'I stick my neck out for nobody' in Casablanca and just as Bogie keeps on saying this so does everyone here echo Arthur and tell us that he'll get his in the end, there's even a fade out shot of him walking away from camera with Shirley Anne Field that replicates Bogie and Claude Rains at the end of Casablanca.
Then there's the scene in the pub where he first meets Shirley Anne Field and they seem to be doing their damnedest to outdo Cary Grant and Roz Russell in His Girl Friday but someone should have told them that machine-gun dialogue isn't really applicable to a working-class pub in Nottingham. I've always found Finney to be vastly overrated - and I've seen him on both stage and screen - and here he comes across as just an inarticulate lout both a chauvinist and a Me-generation disciple before either male chauvinist pigs or Me-generations had been identified as such.
Students taking Film Studies at university will probably always have to deal with it in context but fortunately I'm not one of them. It handles basically all of the same themes and even the main character is comparable actress Shirley Anne Field is also in both movies by the way. But by saying this I'm not claiming "Saturday Night and Sunday Morning" is a bad or unoriginal movie.
On the contrary really! It's a special little movie, that is being simplistic and minimal in every way. Perhaps somewhat inspired by the more European movies from France and Italy, that are being like a random slice of life and follow one main Black adult wives women sunday morning who goes by his life on his very own way but not without paying the price for it. Yes, it's a drama but it is being one that is very realistic with its approach, events, characters and emotions. I think it helped this movie that it had a fresh director at the helm.
Czechoslovakian born Karel Reisz had shot some documentaries in the past but this movie was his first ever attempt at directing a motion picture. It shows but in a very refreshing way. He approaches some crucial sequences brilliantly, which also provides the movie with some powerful, effective but also beautiful looking moments. I'll admit that I only knew and had seen actor Albert Finney as an old man and in his newer movies.
Even though I have always liked him a lot, I never seen any early movies with him, till this one. It's great to see him as Black adult wives women sunday morning young 24 year old in this movie, playing a typical rebellious, post-WW II, British young bloke, who is working hard and enjoying his free time with chasing down women. It's funny how not much later after this movie he started playing old men already, that's why you probably will also have some difficulties recognizing him in this movie. You will probably recognize his voice before you'll recognize his face.
This are the type of movies I often like watching and this movie is one fine genre example! Uriah43 10 May In short, he's not a very likeable person. To that extent, he not only lives with his parents but also has a complete disdain for marriage and essentially lives for the weekend. So when he's not getting drunk with what few friends he has he's spending the rest of his time with a married woman named "Brenda" Rachel Roberts whose husband "Jack" Bryan Pringle works with him.
Then, to make matters even more complicated, one day Arthur meets an attractive young woman by the name of "Doreen" Shirley Ann Field and things quickly spiral out of control from that point on. Now rather than reveal any more I will just say that this was an okay film for the most part but in all honesty, since I didn't care much for any of the characters, it was difficult for me to really enjoy this film to any great degree and for that reason I have rated it accordingly. One of the more infamous 'kitchen sink' dramas that is actually an extremely well made and involving story of life at a certain level at the end of the 50s and beginning of the sixties.
Controversial and shocking for many at the time for its openly admitted sexual scenes and matter of fact approach to abortion then illegal. Finney is great, almost larger than life but just about grounded, growling at his dad for watching too much TV, dutifully giving his mum a good chunk of his pay packet and giving the girls the eye. Oh and working bloody hard in the factory Raleigh Bicycle Works, Nottingham as he wonders if there could be some other love, other than the daily grind.
Fabulous use of local locations plus a few London ones and a most vivid picture of working class life just before it all began to change for some. Masterful direction and control of cast that helps Shirley Anne Field produce her most endearing performance.Black adult wives women sunday morning
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