A juvenile offender (Sir Tom Courtenay) at a tough reform school impresses its Governor (Sir Michael Redgrave) with his running ability and is encouraged to compete in an upcoming race, but faces ridicule from his peers.
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, reveries of his life and times before his incarceration lead him to re-evaluate his privileged status as the Governor's prize runner.
According to Cinematographer Walter Lassally, when production began, all of the "spade work" had already been done, including all of the decisions about where and how to shoot the movie, and all of the technical details of the cinematic approach, because they had figured out most of that on the previous movie he made with Tony Richardson, A Taste of Honey (1961). "So we went into Loneliness with relatively little preparation, except for the things that were demanded by the subject itself." See more »
Early in the movie, when the new boys are in the van on the way to the borstal, they are shown in handcuffs and chains; when they emerge from the van, the restraints are gone. However, one of their guards is heard referring to removing their restraints after they pass through the outer gate. See more »
Running was always a big thing in our family, specially running away from the police. It's hard to understand. All I know is that you've got to run, running without knowing why, through fields and woods. And the winning post's no end, even though the barmy crowds might be cheering themselves daft. That's what the loneliness of a long distance runner feels like.
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I caught this film late at night on cable, and it is the first movie I've seen with Tom Courtenay in it, who is excellent (Either by coincidence or design, King Rat was on only a few nights later).
I'd never heard of this film before, but I was immediately transfixed by its look; something here is remarkable about the way black and white is used to further the overall feel and design of the film.
Having never been to the UK, I don't have a really good sense of how time passes there; to an American, England appears to age barely at all as seen through the cinema. But the themes here and the use of silence and the overall look of the film convey a society in the midst of change; as much as there is here that reminds one of the 1950s, there is an overwhelming 60s theme here about conformity and authority and society which is inescapable. I found myself cheering a bit at the end in the same way I cheered for Paul Newman in Cool Hand Luke; here, as in that film, is the story of an individual who refused to be "broken."
I'd definitely rate this film as a key 1960s film, black and white, and yet thoroughly modern and not at all dated. A lot of care was put into this film from the performances to the camerawork, and while it is not something that would keep you on the edge of your seat, it is certainly a compelling story, compellingly told.
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