Bruce Pritchard is paralysed mysteriously after his Brothers wedding. Rejected by his family, he is placed in a nursing home. Angry and depressed, he finds hope with a nurse. Can Bruce find a life outside the home?
Junie Moon's face has been disfigured by ill-gotten burns, and depends on her friends and her with to cope. She, Warren, and Arthur leave the hospital - they yearn for independence - and ... See full summary »
A young film director is turning a movie with his friend Christa (reminds us of the real-life relationship between Garrel and Nico). In the film-within-the-film there are two couples, one ... See full summary »
Charlie Bubbles, a writer, up from the working class of Manchester, England, who, in the course of becoming prematurely rich and famous, has mislaid a writer's basic tool - the capacity to feel and to respond. Now he must visit his estranged wife and son, whom he has set up on a farm outside his native city. His journey accidentally becomes an attempt to reestablish his connections with life, people, and his own history. Written by
This was a very personal project for Albert Finney, who made his debut as director with it and made it for his own company, Memorial Enterprises. He got fairly lavish backing from an American company, Universal, who were trying to set up a system for making films in England, but then had the greatest difficulty in getting the finished film shown. He made the film in 1966, but, although advance word on it was very positive, and the film eventually won awards as well as rave reviews, it was not shown in either the US or Britain until 1968; its American opening was well over six months in advance of its British one. Finney did his best to promote the film in several countries, but it was written off as a box-office failure. He hoped to direct in films again, and announced a film to be called "The Girl In Melanie Klein" in the early 1970s; but he never made it and never directed another film. See more »
Amazing! I wish Mr Finney had directed more films...
I think it's a classic existentialist movie, very much of the European school. Man can never be truly happy or satisfied, with what he's got or with what he gets even if all his ambitions and dreams come true.I think Albert Finney has done an amazing job. It takes true guts and real skill to make a film like this and 'get life' out of it without resorting to fist fights, car chases and shootouts. I love the small moments, like where he puts the eyelashes on his sons lip to make a 'moustache', or when his wife takes the tea cup and his acting when he reaches for it. Billie Whitelaw looks super-sexy in the film and her performance is beautiful. Her gaze at him when he's tucked in bed said more than a million lines of dialogue could. I wish Mr Finney had directed more films, if his debut as a director was this good, imagine what would have come after a few more films. Aah we'll never know...
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