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Sunday Bloody Sunday [VHS] [1971]


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Product details

  • Actors: Peter Finch, Glenda Jackson, Murray Head, Peggy Ashcroft, Tony Britton
  • Directors: Jon Schlesinger
  • Format: PAL, Colour
  • Language: English
  • Classification: 15
  • Studio: Warner Home Video
  • VHS Release Date: 7 Nov 1994
  • Run Time: 106 minutes
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (26 customer reviews)
  • ASIN: B00004CPH7
  • Amazon Bestsellers Rank: 83,581 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

Product Description

Singer Murray Head is the bisexual lover to both Glenda Jackson and Peter Finch's Jewish homosexual doctor in this dramatic portrayal of middle-class life and permissive love in the 1970s.

Customer Reviews

4.4 out of 5 stars

Most Helpful Customer Reviews

39 of 39 people found the following review helpful By Westley on 22 Dec 2004
Format: DVD
"Sunday, Bloody Sunday" was one of the most acclaimed adult dramas of the early 70s, and one of the first major films to address gay relationships. Murray Head stars as a young hippie in simultaneous relationships with physician Peter Finch and businesswoman Glenda Jackson. Finch and Jackson know about each other, and they even share some mutual acquaintances. Needless to say, even though Finch and Jackson are completely enamored of the young man, they're also both frustrated with his inability to give more or commit himself. The film explores these relationships over a tumultuous week.
The film was directed by John Schlesinger as his follow-up to the Oscar-winning "Midnight Cowboy." It's a solid drama of obvious interest for its early, relatively non-judgmental depiction of a gay relationship. Of note, the relationships are handled with sensitivity but are also interesting and complex. The Penelope Gilliatt-penned script (her only film) is top-notch and received numerous awards (National Society of Film Critics, Writers Guild of America) as well as an Oscar nomination.
Finch and Jackson turn in very good performances, which were rewarded with Oscar nominations. Although Murray Head's performance is often criticized for being bland, I think that his cipher-like qualities works well here; you're not supposed to fully understand exactly what Jackson or Finch see in him. Although it's reflective of its era, the film holds up fairly well. Overall, "Sunday, Bloody Sunday" is an interesting exploration of adult relationships - straight or gay.
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13 of 13 people found the following review helpful By Dr. Vernon M. Hewitt VINE VOICE on 29 July 2010
Format: DVD
Seen from the the early 21st century, this film has lost none of its appeal; it is a slow, measured and above all sympathetic portrayel of a society in transformation. It is as powerful about the emergent politics of 1970s as it is about sexuality and relationships. It is beautifully and elegantly made, each frame packed with incidental detail, Antonioni-esque in some of its documentary style touches (the asides of girls of rollers skates, the boys keying cars parked near Highgate; the cigarcase with Churchillian chimes). Choreographed between Jackson and Finch's minimalist yet gripping characters is Head's quite astounding performance as the beautiful and yet vacuous artist. His sensuality is quite remarkable; a real triumph still in an age which is less concerned (although at times still as anxious) in depicting same sex relations to a main stream audience. Never `explicit' (in the worst meaning of the word), the eroticism of Head is perfect, the exploration of compromise is carefully drawn. Schesinger's direction does not judge or condemn, it reveals without rushing and with an almost clinical eye to the zeitgeist of an era, smoking at all opportunites, no apparant central heating, a telephone exchange messaging service, and an undertone of economic decline and crisis.

I cannot recommend this film to much. So many of the asides, caught as it were out of the corner of the camera's eye, are priceless, but what I appreciate most of all (and speaking for a moment as a gay man), and what I think is truly ground breaking, is the portrayel of `the homosxual' without being victimised or sterotyped, the moral equivalence between Jackson and Finch's love - indeed their moral dilemma - is perfectly drawn. And in the final voice to camera scene at the end, Finch remains one of the great actors of cinema.
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22 of 23 people found the following review helpful By Shane Slade on 24 Jan 2009
Format: DVD
This film was something of a novelty at the time of its release in that it tells of the love triangle between a bisexual young man and his contemporaneous relationship with a women and an older man. The story of the pain and disillusionment of this menage is convincingly told against the fascinating backdrop of London life in the 1970's. The "forbidden fruit" of relationships that only exist in stolen moments is movingly portrayed. The acting is superb as is the script by Penelope Gilliatt. It is a very special film and I strongly recommend it.
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31 of 33 people found the following review helpful By A Customer on 25 Oct 2002
Format: VHS Tape
I believe that Sunday Bloody Sunday is Schlesinger's best work. Having been offered the privilege of watching Darling, Marathon Man and Midnight Cowboy I have to conclude that this movie is his masterpiece. Apart from the portentuous presences of Finch and Glenda Jackson, this movie possesses its own visual and narrative artistic merits and deserves to be called a work of art and even, I dare say, a masterpiece. Jackson and Finch are convincing in their performances and Finch's torrid and tempestuous affair with Murray Head is both believable and extremely human, there appears to be no hesitation, no equivocation in the performances of these men. Glenda Jackson is superb, of course, continuing to win over audiences with her austere beauty but most importantly, her imposing presence and captivating voice both vocally and corporeally speaking. I have to say that this film captures both the technical possibilities of film, bridging the gap between fine film and great art, but furthermore it incorporates brilliant acting that warms the audience and holds the frigid imagery of a dreary and struggling London at bay. The result is a duality: the city is granted a presence, almost personal, (so captured and brought to life by Schlesinger) and the very human travails of the characters speak a timeless humanity
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