The unexpected death of her husband sends a woman and her seven children, ages 2-14, into emotional turmoil and financial crisis in 1967 Dublin. She is forced to borrow money from a ...
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The unexpected death of her husband sends a woman and her seven children, ages 2-14, into emotional turmoil and financial crisis in 1967 Dublin. She is forced to borrow money from a ruthless loan shark to make ends meet. She faces her dismal existence by selling fruits and vegetables at an open air market where she spends time with a best friend who gives her encouragement. Wishing to escape her existence, if only for a short time, she dreams of finding enough money to attend an upcoming Tom Jones concert. She realizes her dream by accepting her first date with a French baker. Her kids pool their money so she can buy a new dress. Of course, eventually the family has to face the loan shark, but this is a movie where obstacles are maybe too easily overcome. Written by
John Sacksteder <email@example.com>
During the filming of the movie, Anjelica Huston was "arrested" on Dublin's Moore Street. She had been convinced by some of the street stall owners to try doing her sales pitch for real. As a joke someone informed the local beat Garda that there was someone selling on Moore Street without a trader's licence. Not recognizing Anjelica Huston, the officer in question detained her. He saw the funny side of it when it was revealed who she was and what she was doing and let her go. See more »
The movie is set in 1967 but the car that Tom Jones uses at the end of the movie to visit Agnes is a 1971 Lincoln Continental. See more »
We're here for a good time, not a long time. And having a friend like you is as good as it gets.
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Poetry, compared to other recent movies about working-class women in Ireland
This is an excellent picture of the life of working-class women on the housing estates ('projects' to Americans,probably as true now as in the 'sixties, as well as being a very good movie for women actors. The men are cyphers but the women and children are real enough. The colour is almost real (compared to Angela's Ashes), the dialogue believable, the dress and make-up accurate, in fact the design of the whole piece is convincing and satisfying visually and its sentimentality is not so sweet as to stick to back of the teeth. Anjelica Huston is unselfish. I have my doubts about Tom Jones' scenes at the end, but nothing's perfect. I find it growing on me as I look back on it.
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