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 »
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 »
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 »
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
The censors were not too keen on the scene where Arthur wakes up on Sunday morning in bed with his mistress as the scene directly implies extra-marital sex, a notable first for British cinema. See more »
Nine hundred and fifty four, nine hundred and fifty bloody five. Another few more and that's the lot for a Friday.
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This is one of those types of films that actually lets you forget who the big stars in it really are (a young Albert Finney) - and just lets you enjoy the film for what it is - a classic and gritty British film. I've watched it over and over and seen it again today - and forgot how good - and funny in places it really is.
Director Karel Reisz used his skills perfectly in this - he took places lit and furnished as he found them, let people naturally perform and simply laced together a piece of cinematographic brilliance.
People forget that he also directed such films as The French Lieutenants Woman and produced This Sporting Life, but I personally feel this masterpiece, amongst his early and sadly rare work was the best by far.
If you've not seen this film and claim to be a fan of 1960s British Cinema, you'd better get it into your collection and view it very soon - be prepared for some smiles, some laughs, some hard scenes but, overall, a treat.
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