Screenwriter Jake Armitage (Peter Finch) and his wife Jo Armitage (Anne Bancroft) live in London with six of Jo's eight children, with the two eldest boys at boarding school. The children ...
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At his mother's funeral, stuffy bank clerk Henry Pulling (Alec McCowen) meets his Aunt Augusta Bertram (Dame Maggie Smith), an elderly eccentric with more-than-shady dealings who pulls him ... See full summary »
Louis Gossett Jr.
Elderly Mrs. Ross lives alone in her meager flat, scraping by on government assistance even as she claims to have great wealth. After finding stolen money she is victimized, making it necessary to find her support in her declining years.
After yet another smash-and-grab goes wrong, a bungling trio of small-time crooks flash an idea of using a fire engine as a getaway vehicle. But they keep being mistaken for genuine firemen and it starts to become a flaming nuisance.
Dominick DiNapoli has always been a big kid who loved eating. It was his favorite thing. Then his cousin dies from health complications due to a lack of exercise and improper diet. ... See full summary »
Screenwriter Jake Armitage (Peter Finch) and his wife Jo Armitage (Anne Bancroft) live in London with six of Jo's eight children, with the two eldest boys at boarding school. The children are spread over Jo's three marriages, with only the youngest being Jake's biological child, although he treats them all as his own. Jo left her second husband Giles (Richard Johnson) after meeting Giles' friend Jake, the two who were immediately attracted to each other. Their upper middle class life is much different than Giles and Jo's, who lived in a barn in the English countryside. But Jo is ruminating about her strained marriage to Jake, with issues on both sides. Jo suspects Jake of chronic infidelity, she only confronting him with her suspicions whenever evidence presents itself. And Jo's psychiatrist believes that Jo uses childbirth as a rationale for sex, which he believes she finds vulgar. These issues in combination have placed Jo in a fragile mental state. They both state that they love ...Written by
Anne Bancroft's British accent comes and goes throughout the film. See more »
What are you sniggering for? Think it's funny I suppose because I tell the truth for once.
That I'm capable of fancying somebody else. I'm a perfectly normal man and I'm capable of fancying somebody else.
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Virtuoso film-making highlights a brutally satiric examination of modern marriage
The Pumpkin Eater, which for many years was my favorite movie, is a neglected masterpiece of the British New Wave. I'm not sure whether its lack of recognition is attributable more to its misanthropic point of view or to Jack Clayton's sparse filmography (he never developed the immediately recognizable personal style required for elevation to the auteur pantheon). It didn't help that initial reviewers badly misunderstood the film -- Dwight Macdonald thought it was a typical "women's film", meant to provide erotic titillation! On the other hand, feminist critics probably weren't eager to defend a film that could be interpreted as anti-abortion propaganda (also a misreading). Perhaps a more mature feminism will reclaim this film.
Admittedly, the movie is difficult to understand on a first viewing -- both because of its intricate flashback structure and its complexities of tone and attitude. It took me several viewings to fully sort out the plot, and several more to realize what I was actually seeing -- a very, very black comedy. In this respect it's worth placing with the darkest works of Evelyn Waugh or Henry Green.
The film catches its participants at the top of their form: Pinter never wrote a better screenplay, Anne Bancroft (arguably) never gave a better performance, Peter Finch certainly didn't, and Maggie Smith and James Mason are deliciously evil in supporting roles. There are too many marvelous moments to list them all, but watch especially for the zoo scene between Bancroft and Mason (who are clearly having a great time) and for the slyly-written scene where Finch learns that his wife is pregnant -- again.
So why is it no longer my favorite movie? My admiration for its technique is unabated, but as I get older I find the film's nasty tone harder and harder to take. There's not an admirable human being in the whole movie -- they're all foolish, duplicitous, or vindictive. I can't live with these people, much as I've enjoyed eavesdropping on them over the years.
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