Jane, a young French woman, pregnant and unmarried, takes a room in a seedy London boarding house, which is inhabited by an assortment of misfits. She considers getting an abortion, but is unhappy with this solution. She falls into a relationship with Toby, a struggling young writer who lives on the first floor. Eventually she comes to like her odd room, and makes friends with all the strange people in the house. But she still faces two problems: what to do with her baby, and what to do with Toby.Written by
John Oswalt <email@example.com>
Opening credits: The events and characters depicted in this photoplay are fictitious. Any similarity to actual persons living or dead is coincidental. See more »
When Toby is in Jane's room for the first time, he picks up a bottle of wine, trying to get her to offer him some. He crosses the room and sets the bottle down on the mantle to the right of a vase, but, in the next shot, the bottle is on the left of the vase. See more »
You can't afford it.
I *know* I can't afford it. I can't afford *any* of the bloody decencies of life. I can't afford to take you out, I can't afford to buy you a proper Christmas present, I can't afford even to be able to tell you not to worry.
Look, I'm 28 years old, and I'm still living hand to mouth like a bloody tramp. I've been writing for ten years, I've written five stinking novels that nobody wants to wipe their behinds upon, and now you tell me I can't even afford a bottle of ...
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One of the best of the so-called "kitchen-sink" films, THE L-SHAPED ROOM is nearly perfect. The set decoration probably deserved an award for the way it evokes, with poetry, the incredibly realistic environment of a down-and-out London rooming house. As many commentators have noted, this film avoids clichés and gives us real-seeming characters played by gifted actors. There is not a single weak link in the cast, with Tom Bell, Avis Bunnage, Brock Peters, Cicely Courtneige among others providing so many memorable moments. At the heart of the film is Leslie Caron in an award-nominated performance that is not likely to be forgotten by anyone who sees it. This is a performance that elicits true feeling, done with a kind of invisible artistry, so it seems completely real. Bryan Forbes, one of Britain's finest directors of the period, paces the film well, relying on Caron and others to fill what may have been longueurs with true meaning. The only criticism is the use of the Brahms First Piano Concerto in the soundtrack. The surging romanticism, while appealing in itself, doesn't fit very well with the mood of the film, apart from a couple of quiet scenes. It's certainly not a big problem, only it seems an odd musical choice. A deeply affecting, unforgettable film.
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