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.
Cool, sophisticated Tolen (Ray Brooks) has a monopoly on womanizing - with a long like of conquests to prove it - while the naïve, awkward Colin (Michael Crawford) desperately wants a piece... See full summary »
Black and white, gay and straight, mothers and daughters, class, and coming of age. Jo is working class, in her teens, living with her drunk and libidinous mother in northern England. When mom marries impulsively, Jo is out on the streets; she and Geoffrey, a gay co worker who's adrift himself, find a room together. Then Jo finds herself pregnant after a one night stand with Jimmy, a Black sailor. Geoffrey takes over the preparations for the baby's birth, and becomes, in effect, the child's father. The three of them seem to have things sorted out when Jo's mother reappears on the scene, assertive and domineering. Which "family" will emerge?Written by
The parade Jo and Geoffrey watch is called the Whit Week Walk, which dates back to 1821. See more »
The scene where Jo says goodbye to Jimmy for the last time is shot at Barton Swing Bridge, on the Manchester Ship Canal. Jimmy walks through the closing barriers to the end of the bridge and is next seen on the ship, but there isn't a way for Jimmy to get off the bridge and onto the ship as the far end of the bridge hangs over the canal. Jimmy would have had to fall 15 feet whilst leaping around 20-30 feet to make it to the deck of the ship. Quite an achievement in those boots. See more »
I dreamt about you last night - fell out of bed twice!
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There are several aspects about this film that I find absolutely clever. First, the way of representing characters' feelings through acting rather than speaking. Helen, Jo or Geoffey's faces give away more than they could say. Helen is a masterpiece of selfishness only by looking at the way she puts on lipstick or combs her hair or lits a cigarette. She's so self-concerned, she never allows Jo into her own body space. At the same time Jo becomes more and more despondent, tragically aware of her mother's lack of love (the acme when she throws away Peter's chocs in Blackpool) and her bent shoulders speak out for her. She carries the weight of being unwanted. Then, the dialogues never convey a proper explanation of things; the characters never explain themselves clearly or are able to articulate a description, crying out for their own feelings. The people in this film don't even know theirs, they haven't got the means to express them and it's up to the watchers to understand everything. Probably that's why I felt so overwhelmed while watching it. I really felt the public was called to read through the lines of such a powerful representation of life.
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