Year of Release: 1971
Director: John Schlessinger
Starring: Glenda Jackson, Peter Finch, Murray Head, Peggy Ashcroft, Tony Britton, Maurice Denham, Bessie Love, Vivian Pickles, Frank Windsor, Thomas Baptiste
Genre: Drama
Score out of ten (whole numbers only): 8
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Synopsis and Review:
Following his commercial and critical success (and controversy) with "Midnight Cowboy", director John Schlessinger continued his winning streak with "Sunday Bloody Sunday" which was released in 1971, again to critical acclaim. The film focuses on three characters, all of whom are involved in a romantic triangle. Alex Greville is an Human Resources professional, and she is looking to move away from her job and find meaning elsewhere. Daniel Hirsch, is a doctor from a affluent Jewish family, who hides his homosexuality, while wanting a more profound relationship. Bob Elkin is an up and coming conceptual artist, who is dating the both of them, while still trying to figure out what he wants out of his life and career. As both Alex and Daniel, find themselves falling in love with Bob, he on the other hand, doesn't want to be tied by anyone in particular, enjoying the fluidity of their relationships. Both Alex and Daniel move in similar friendship circles, without actually knowing each other, though they both suspect that Bob's ambition and longing, will eventually make him move away.
"Sunday Bloody Sunday" manages to be just as insightful and refreshing today, as it was at the time of its release. It's a film that unapologetically looks at modern relationships, at how people invest their affection, attention and expectations in others, in the hopes they can bring some meaning and direction to their own lives, sometimes at the cost of sacrificing their actual wants and needs. It's also a film that looks at sexual relationships between these three people without judgement or drama. John Schlessinger manages during the course of the narrative, to portray and bring these characters to life, framing episodes of their lives and experiences, to better understand what they're actually looking for, and in the case of Daniel and Alex, to gain more insight as to why Bob is such a magnetic presence in both their lives. Peter Finch and Glenda Jackson are fantastic, bringing these characters to life, with just enough wiseness, longing, humor, hurt and desire, and while Murray Head, doesn't quite bring as much dimension to his role, he's nonetheless a compelling watch. The cinematography from Billy Williams perfectly captures the different environments in which these characters exist, and the production design of Luciana Arrighi is, as always, fantastic (she worked with James Ivory in "Howards End", "The Remains of the Day" and "Surviving Picasso"). A great film always worth revisiting.
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