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Sunday, Bloody Sunday (Bilingual) [Import]

4.8 out of 5 stars 10 customer reviews

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Product Details

  • Actors: Peter Finch, Glenda Jackson, Murray Head, Peggy Ashcroft, Tony Britton
  • Directors: John Schlesinger
  • Writers: David Sherwin, Ken Levison, Penelope Gilliatt
  • Producers: Edward Joseph, Joseph Janni
  • Format: Closed-captioned, Color, DVD-Video, Letterboxed, Subtitled, Widescreen, NTSC, Import
  • Language: English, French
  • Subtitles: English, Spanish, French
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.66:1
  • Number of discs: 1
  • MPAA Rating: R
  • Studio: Fox Video (Canada) Limited
  • Release Date: Sept. 16 2003
  • Run Time: 110 minutes
  • Average Customer Review: 4.8 out of 5 stars 10 customer reviews
  • ASIN: B00009Y3NL
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Customer Reviews

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Top Customer Reviews

Format: DVD
This civilized movie, of autumnal sadness, is such an actors' film.
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 ›
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Format: VHS Tape
This film follows the fascinating relationship between three Londoners--a 50 plus homosexual man, a 40ish straight woman, and the 20 something young man they are both in love with. The idea is a fascinating one, and the screenplay examines and analyses the nature and limitations of this kind of love.
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.
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Format: DVD
While I concur with many of the reviews posted here, there is not enough praise bestowed on the sublime Glenda Jackson, who remains the great lost actress of her generation. Though the recipient of two Oscars ("Women In Love", "A Touch of Class") and two other nominations ("Sunday.." and "Hedda"), as well as a criminal snub for the landmark "Stevie", Ms. Jackson seems to be little remembered today. It seems inconceivable now, since in the early Seventies, only Jane Fonda and Vanessa Redgrave could be considered her equals. For me, her Alex in "Sunday, Bloody Sunday" is my favorite of her rich performances. She is conflicted with her obviously unsatisfying affair with her bisexual (and, more importantly, shallow) lover, unfulfilled at her job, and basically adrift, just marking time in her life. The simple, yet powerfully suggestive emotions Jackson offers do much to help us identify strongly with her character. Who hasn't felt that, at times, their life is merely counting days, waiting for weekends which ironically do little to feed our spiritual or emotional needs? And the pattern continues, which to me is what the somewhat cryptic title implies. So much pressure is put on "the weekends" to make us happy that we can easily just wish our lives away, as Alex seems to. Its hard to find the final straw which Alex finds to salvage her life and begin again without this crippling relationship, but Jackson's brilliantly layered performance is a wonder throughout. Mr. Finch received many plaudits and is very respectable, but seems to be playing it safe here. His Dr. Hirsch is supposed to be the emotional, reasonable center of the movie, but Finch is a bit too reserved; the events don't seem to really happen to him at all.Read more ›
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By A Customer on Feb. 23 2002
Format: VHS Tape
AH YES! All of the above is in this one - and what a cast!
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!]
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