IMDb > Sunday Bloody Sunday (1971)
Sunday Bloody Sunday
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Sunday Bloody Sunday (1971) More at IMDbPro »

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Sunday Bloody Sunday -- Trailer for Sunday Bloody Sunday

Overview

User Rating:
7.1/10   3,009 votes »
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Director:
Writer:
Penelope Gilliatt (screenplay)
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Contact:
View company contact information for Sunday Bloody Sunday on IMDbPro.
Release Date:
8 September 1971 (USA) See more »
Genre:
Tagline:
It's about three decent people. They will break your heart.
Plot:
Divorced working woman Alex and well-to-do Jewish family doctor Daniel Hirsh share not only the same... See more » | Add synopsis »
Plot Keywords:
Awards:
Nominated for 4 Oscars. Another 13 wins & 5 nominations See more »
User Reviews:
Hasn't altogether held up, but it hasn't disintegrated either See more (43 total) »

Cast

  (in credits order) (complete, awaiting verification)

Peter Finch ... Dr. Daniel Hirsh

Glenda Jackson ... Alex Greville

Murray Head ... Bob Elkin

Peggy Ashcroft ... Mrs. Greville
Tony Britton ... George Harding
Maurice Denham ... Mr. Greville

Bessie Love ... Answering Service Lady
Vivian Pickles ... Alva Hodson
Frank Windsor ... Bill Hodson
Thomas Baptiste ... Prof. Johns
Richard Pearson ... Patient
June Brown ... Woman Patient
Hannah Norbert ... Daniel's Mother
Harold Goldblatt ... Daniel's Father
Marie Burke ... Aunt Astrid
Caroline Blakiston ... Rowing Wife
Peter Halliday ... Rowing Husband
Douglas Lambert ... Man at Party

Jon Finch ... Scotsman
Kimi Tallmadge ... Lucy Hodson
Russell Lewis ... Timothy Hodson
Emma Schlesinger ... Tess Hodson
Carl Ferber ... Hodson child (as Karl Ferber)
Patrick Thornberry ... Baby John Stuart Hodson
Robert Rietty ... Daniel's Brother
Liane Aukin ... Daniel's Sister-in-Law
Robin Presky ... Daniel's Nephew
Edward Evans ... Husband at Hospital
Gabrielle Daye ... Wife at Hospital
George Belbin ... Next door Neighbour

Richard Loncraine ... Bob's Partner
Royce Mills ... Bob's Partner
Monica Vasileiou ... Travel Agent
John Rae ... Airline Doctor
Ellis Dale ... Chemist
Joe Wadham ... Lorry Driver
Henry Danziger ... Cantor
Ann Firbank ... Party Guest
Derek Gilbert ... Party Guest
William Job ... Party Guest
Nike Arrighi ... Party Guest (as Nikki Arrighi)
Francis Ghent ... Party Guest

Donald Sumpter ... Party Guest
Rohan McCullough ... Party Guest
Barbara Markham ... Party Guest
Robert Wilde ... Party Guest
Esta Charkham ... Barmitzvah Guest
Hilary Hardiman ... Barmitzvah Guest
Simon Joseph ... Barmitzvah Guest
Gideon Kolb ... Barmitzvah Guest
Martin Lawrence ... Barmitzvah Guest
Mercia Mansfield ... Barmitzvah Guest
Reuben Elvy ... Barmitzvah Guest
Jovey Douben ... Barmitzvah Guest
rest of cast listed alphabetically:
Henry Gilbert ... 1930s Flashback Rabbi (scenes deleted)

Helen Lindsay ... (scenes deleted)
David Webb ... Restaurant Owner (scenes deleted)

Cindy Burrows ... (uncredited)

Daniel Day-Lewis ... Child Vandal (uncredited)
Petra Markham ... Designer's Girlfriend (uncredited)
John Warner ... Party Guest (uncredited)
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Directed by
John Schlesinger 
 
Writing credits
Penelope Gilliatt (screenplay)

Ken Levison  uncredited
David Sherwin  screenplay (uncredited)

Produced by
Joseph Janni .... producer
Edward Joseph .... associate producer
 
Original Music by
Ron Geesin 
 
Cinematography by
Billy Williams 
 
Film Editing by
Richard Marden 
 
Casting by
Miriam Brickman 
 
Production Design by
Luciana Arrighi 
 
Art Direction by
Norman Dorme 
 
Costume Design by
Jocelyn Rickards 
 
Makeup Department
Betty Glasow .... hairdresser
Freddie Williamson .... makeup artist
 
Production Management
Hugh Harlow .... production manager
 
Second Unit Director or Assistant Director
Michael Green .... third assistant director
Simon Relph .... first assistant director
Nigel Wooll .... second assistant director (uncredited)
 
Sound Department
David Campling .... sound editor
Gerry Humphreys .... sound re-recording mixer
Alan Jones .... assistant sound editor
Eddy Joseph .... assistant sound editor
Simon Kaye .... sound recordist
 
Camera and Electrical Department
David Harcourt .... camera operator
 
Editorial Department
Mary Kessel .... assistant editor
 
Music Department
Douglas Gamley .... musical director
Douglas Gamley .... composer: additional music (uncredited)
 
Other crew
Marilyn Clarke .... production coordinator
Ann Skinner .... continuity
Lee Bolon .... location manager (uncredited)
Edna Tromans .... publicist (uncredited)
 

Production CompaniesDistributors
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Additional Details

Also Known As:
"Bloody Sunday" - Belgium (English title) (imdb display title)
See more »
Runtime:
110 min
Country:
Language:
Color:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Certification:
Argentina:16 | Australia:R | Australia:M (TV rating) | Canada:R (Manitoba) | Canada:R (Ontario) | Canada:18+ (Quebec) | Finland:K-16 | France:-16 | Netherlands:18 (orginal rating) | Norway:16 | Peru:18 | Sweden:15 | UK:15 | USA:R | West Germany:18
Company:

Did You Know?

Trivia:
Kenyatta, the name of the Hodson family's doomed dog, is a reference to Jomo Kenyatta, the first prime minister and president of Kenya. See also the trivia for Running on Empty (1988).See more »
Quotes:
Daniel:I think we ought to lose some weight.
Middle-aged patient:Why do doctors always say we? As if it were *your* pain!
See more »
Movie Connections:
Featured in Indie Sex: Censored (2007) (TV)See more »
Soundtrack:
Auf Flügeln des Gesanges (On Wings of Song)See more »

FAQ

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19 out of 29 people found the following review useful.
Hasn't altogether held up, but it hasn't disintegrated either, 25 June 2005
Author: Chris Knipp from Berkeley, California

I'm surprised at the viciousness of some of the current reviews of this film by people in a position to "guide taste" of DVD viewers and such. Viewers' comments vary from "a bloody masterpiece" to "a worthless piece of junk." This is largely a generational matter. Looking back at it from the 21st century, it's dated. For those who lived through those years and saw it then, it may be one of their favorite films. It obviously reads in some ways as awfully Seventies now -- which seems to mean slow and meandering, lacking in passion, focused on self-indulgent people. How pleased we are with what we have become, and how condescending toward what had looked like the cutting edge social and sexual attitudes three decades ago.

The really self-indulgent one is Elkin (Murray Head) of course. He's a tiresome self-satisfied little boy-man with a pageboy bob and a dick and good cheekbones where a heart and mind and personality should be, a young man whose youth is one of his few real advantages; who uses indecisiveness as a pretense of freedom. Why do these two grown up and interesting people, Dr. Daniel Hirsh (Peter Finch) and Alex Greville (Glenda Jackson) put up with him, knowing they're sharing him with each other? This is the weakness of the piece at its core. If they're really such grown up and interesting people, why are they so stuck and so needy that they don't give Bob Elkin the gate? Doesn't the fact of the two older people's knowing acceptance of "half a loaf" mean they don't have much passion about him -- or much respect for themselves? Or is this Penelope Gilliatt's curious sense of what bi-sexuality means -- dividing your sexuality between two people, who therefore have to accept half a lover? I did indeed see the film when it was new, and it seemed unusually grown up in the way it embraced doing what you don't want to do and getting by with very little -- which in this glossy John Schlesinger London looked pretty nice anyway. It was quietly thrilling to have homosexuality dealt with so calmly in a non-ghettoized context. The movie still has that meaning for me and will never lose it.

My father went to see the film with me -- a second time for me -- when I told him about the beauty of the Jewish bar mitzvah ceremony and I was moved that my father, who often seemed prejudiced, took the sexual contents so calmly and was even enthusiastic about the film. Sunday Bloody Sunday resonated with me then, not for anything that was resolved by it but simply for ideas and emotions that were brought up and taken seriously. It still resonates with me. It's not like having to be satisfied with half a loaf is no longer something that happens in life.

And the bar mitzvah is still there, totally unnecessary, and absolutely glorious. It's thrilling. It was the moment when I realized Schlesinger had a gift for making life look good. When you watch this sequence it makes you fall in love with religion; if you're not Jewish, you wish you were. But though it provides a "demonstration" that Dr. Hirsh really is Jewish, that that's a part of him as well as being gay and being a caring but elegant Harley Street doctor, it's still a rather gratuitous sequence -- though it sings too much for me to care. I wasn't wrong to talk it up to my father, and he wasn't disappointed. He pretended to be anti-Semitic. Well; not when he watched that scene.

I still like the final moment when Hirsh looks at the camera and says he misses him. Here Schlesinger probably is being indeed very autobiographical. He's talking about something that happens to older gay men; to anyone who has an affair with a younger man. You've got to take your lumps. This is an utterly mundane and yet rarely seen moment in film. I still like it, even though I cringe when I watch Murray Head's character go through his irresponsible dance back and forth between the two people who are so much better than he is -- or ought to be. Come to think of it, I had done much the same sort of thing, or was about to do so in a year or so.

Penelope Gilliatt if you read her New Yorker reviews that alternated with Pauline Kael's in those days had a very meandering style in whatever she wrote, and I was impressed by the fact that she could be so much herself in a glossy Schlesinger movie. It seemed that everybody was getting away with something in a quiet way and carrying it off with style. Now it's obvious that the film lacks energy and passion. This is a moment of backlash against the Seventies, which look particularly dated to us from 2005. Under John Schlesinger's glossy polish there now seems to lie a timid heart. In a sense this may be, as people like to say, Schlesinger's most personal film, but that doesn't make it his best. His oeuvre begins too look rather mediocre now, alas, but I would hope people can go back to enjoying it for the pleasures it has to offer.

Sunday Bloody Sunday still has splendid, thought-provoking and touching performances, and if it's a time capsule, that's a value too.

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Perhaps groundbreaking in its time for exhibiting gay content... mmenke-1
Murray Head IForgotMyMantra
Glenda Jackson's hair luv_imdb
What it's really about cherns-2
Was this ahead of it's time? dioniscerda
HELP! Music From Trailer ChetMan
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