Despite success on the field, a rising rugby star senses the emerging emptiness of his life as his inner angst begins to materialize through aggression and brutality, so he attempts to woo his landlady in hopes of finding reason to live.
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 »
Jane, a young French woman, pregnant and unmarried, takes a room in a seedy London boarding house, which is inhabited by an assortment of misfits. She considers getting an abortion, but is ... 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
Matching the mood of the times, this film transformed British cinema and was much imitated...
English history has been full of rebel heroes but the screen tradition really came to fruition during the late Fifties and early Sixties when England's postwar generation was in revolt
In the theater, this revolt took the form of the "kitchen sink drama" and the era of the Angry Young Men In the movie industry, it was the era of "Free Cinema," an attempt by young filmmakers to break away from established subjects and standard treatments
This raw melodrama deals with Arthur Seaton (Finney), a working class young man who rejects the misery and grind of his home and factory, but whose only possible rebellion takes the form of a cynicism towards authority and a cheerful indulgence in sexual encounters with various ladies of the town His rebellion, though limited, is nevertheless genuine and the film's situation in a working class milieu is, for the habitually middle and upper class conscious British cinema, a much needed step forward...
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