A rebellious youth, sentenced to a boy's reformatory for robbing a bakery, rises through the ranks of the institution through his prowess as a long distance runner. During his solitary runs... See full summary »
In Northern England in the early 1960s, Frank Machin is mean, tough and ambitious enough to become an immediate star in the rugby league team run by local employer Weaver. Machin lodges ... See full summary »
Part of the British 'Free Cinema' movement, which included Lindsay Anderson's 'Every Day Except Christmas' (daily life at Covent Garden fruit/vegetable market) and 'O Dreamland' (a ... See full summary »
Arthur, one of Britain's angry young men of the 1960s, is a hardworking factory worker who slaves all week at his mindless job for his modest wages. Come Saturday night, he's off to the pub for a loud and rowdy beer session. With him is Brenda, his girlfriend of the moment. Married to a fellow worker, she is nonetheless captivated by his rugged good looks and his devil-may-care attitude. Soon a new love interest Doreen enters and a week later, Brenda announces she's pregnant. She tells Arthur she needs money for an abortion, and Arthur promises to pay for it. By this time, his relationship with Doreen has ripened and Brenda, hearing of it, confronts him. He denies everything, but it's obvious that their affair is all but over. Written by
British rock band the Arctic Monkeys were heavily influenced by this film. The title of their debut album "Whatever People Say I Am, That's What I'm Not" is a direct quote from the movie, and many of the songs were inspired by Albert Finney's character. Also the art design of the album was influenced by the realist images of British working class neighborhoods and night life in "Saturday Night and Sunday Morning". See more »
Nine hundred and fifty four, nine hundred and fifty bloody five. Another few more and that's the lot for a Friday.
See more »
The movie that first gave me an impression of 'cinema verite'
In 1960, in a small Black Country town, I went to see this movie, with a male friend, at our local fleapit - it was a revelation. I found myself in a cinema that was a real setting for what appeared on the screen, for there Albert Finney was, not represented, was the working class bloke that sat in the picture house near to me.
Equally I knew that, on leaving, I would see his aunt (Hilda Baker) in the local chippy, and that Norman Rossington would be cycling to some nearby canal to fish. Indeed when Ben (my friend) and I left we went to our local for a quick pint and, I swear,we both had the uncanny feeling of being part of the film.
Time has passed and the working class East and West Midlands have change completely so it may not have such resonance for a new generation but if you want to know what a good slice of England looked and sounded like in the 1950s you should see it: it's better than any documentary. Indeed it is a great film.
40 of 45 people found this review helpful.
Was this review helpful to you?