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Sunday, Bloody Sunday (Bilingual) [Import]
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Top Customer Reviews
Especially when those actors are Peter Finch and Glenda Jackson.
It is a pleasure to watch them at their craft. John Schlesinger has
directed Penelope Gilliatt's script with an eye for rich detail, and
such seemingly minimal emotions of the leads that comes through
the performances so perfectly, as delicately formed and precise as
snowflakes. They feel deeply, do Daniel (Finch) and Alex
(Jackson). Though they must not let on. It would be bad form to.
That they both love Bob (Murray Head) seems a conundrum. But
Daniel and Alex are of an age when there might be no one else,
save Bob, who is one of those curious, mercurial people who can
go from person to person, without caring one bit, beginning,
during, after. He literally feels nothing, save the rudimentary ( the
word is full of them) but he is perhaps seen by Daniel and Alex as
what they want him to be. Such is love. They recreate him from his
vagueness. And of course they must not be jealous of Bob's other
lovers. Such as Bob always require that, and consider otherwise to
be so bloody selfish.
He doesn't intentionally hurt anyone. He uses people as things, so,
to him, they are replaceable. When he is the replaceable one, if only
they could see it. He is not worth their integrity, and intelligence
and complexity of heart. Yet, when one loves, one cannot think of
him or her without making them, perhaps, mythic. To someone
else, they would be just another person, for others see them as
ordinary. This, the film explores with such finesse and grace.Read more ›
It all sounds great, but there are definate problems in the execution. Firstly, the film is long and somewhat slow-moving, which is a fairly minor complaint. More importantly, the character with whom we are supposed to identify the most, and certainly the one with the most screen time, is Glenda Jackson's Alex, and she proves to be the most frustrating of the three. Her possessive need to have Bob to herself is understandable as a concept, but Jackson fails to make it seem reasonable, and the character comes accross as selfish, especially as Peter Finch's Daniel seems to pose very little threat, and to be able to subsist on only occasional visits from the beloved Bob. It's easy to see why Bob loves the older doctor, it is less apparant what he sees in Alex, who never seems to be much fun. She should be a little more likable if we are to be caught up in the film.
PETER FINCH [possibly at his greatest - pre-'Network'] and GLENDA JACKSON. It's all very elegant, and quite upper-class.
The story? Written by PENELOPE GILLIATT [The New Yorker film critic] , it's about Alex [Jackson] as the vibrant divorcee, Daniel [Finch] the handsome, middle-aged professional bachelor with one common iterest - 'Bob' the young man who moves into their respective lives, all connected by a somewhat erratic telephone service. As the tag line states: "It's about three decenet people - they will break your heart". The dialogue is witty and wry - look for the party sequence with Peter Finch and a somewhat tipsy friend's wife - HIS comment as 'wife' disrobes ....... priceless.
FINCH is very moving in the closing monologue - as he concludes towards the end "we were something" all of this augmented with music by Mozart. Alonely life ......
It's actually post 'swinging London' but still quite contemporary - even in today's climate.
Companions? "Jules & Jim" and "Small Circle of Friends".
[Trivia? Danie Day-Lewis makes his debut in this film as one of the children. Finch and Jackson were previously teamed in the period "BEQUEST TO A NATION" with Margaret Leighton - another rare menage!]
Most recent customer reviews
One could take Penelope Gilliatt's script untouched, recast it with today's contemporary actors and make a film that would resonate as strongly today as it did forty years ago. Read morePublished on March 21 2011 by Trevor Street
The film is quite dreary - a man trying to decide if wants to poke or be poked. But the location shots are suberb. Read morePublished on May 13 2004
This tale of an unconventional love triangle looks better and better three decades after its release. Read morePublished on Dec 7 2001 by klavierspiel
Despite John Schlesinger's often ham-fisted and glitzy direction, Sunday Bloody Sunday remains a humane and triumphant celebration. Read morePublished on Jan. 5 2000
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