Saturday Night and Sunday Morning (1960)

Director:

Karel Reisz

Writers:

Alan Sillitoe (novel)
Alan Sillitoe (screenplay)

Release Date:

3 April 1961 (USA)

Genre:

Drama | Romance

Tagline:

Saturday night you have your fling at life...and Sunday morning you face up to it!

Plot:

A rebellious, hard-living factory worker juggles relationships with two women, one of whom is married to another man but pregnant with his child.

Plot Keywords:

Abortion | Day In Title | Kitchen Sink Realism | Based On Novel | Independent Film

Awards:

Won 3 BAFTA Film Awards. Another 4 wins & 3 nominations

Cast

Albert Finney	...	Arthur Seaton
Shirley Anne Field	...	Doreen
Rachel Roberts	...	Brenda
Hylda Baker	...	Aunt Ada
Norman Rossington	...	Bert
Bryan Pringle	...	Jack
Robert Cawdron	...	Robboe
Edna Morris	...	Mrs. Bull
Elsie Wagstaff	...	Mrs. Seaton
Frank Pettitt	...	Mr. Seaton
Avis Bunnage	...	Blousy Woman
Colin Blakely	...	Loudmouth
Irene Richmond	...	Doreen's Mother
Louise Dunn	...	Betty
Anne Blake	...	Civil Defence Officer

Runtime:

89 min

Country:

UK

Language:

English

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

Hong Kong:I | UK:PG (re-rating) | UK:X (original rating) | Canada:14+ (Ontario) | Finland:K-16

Filming Locations:

ABC Cinema, Nottingham, Nottinghamshire, England, UK

Company:

Woodfall Film Productions

Trivia:

Albert Finney learned to use a lathe during filming.

Quotes:

Brenda: Of all the liars, you're the biggest I've ever known.
Arthur Seaton: I always was a liar, a good 'un and all.
Brenda: Liars don't prosper.

Movie Connections:

Referenced in Harry Saltzman: Showman (2000) (V)

Soundtrack:

Lily of Laguna

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.