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on 9 June 2015
A great film, with some well known actors in it. The quality of the acting was superb (Finney did actually operate the lathe he was filmed at). Filmed in B&W which adds to the drama, it has both funny and sad parts to it. It's mainly set around 3 characters; An angry young man in his early twenties, who works begrudgingly in the local factory during the week, and then spends most weekends with his co-worker's wife, getting drunk and having sex. He's happy with this arrangement, until that is, he meets Doreen. Then, life becomes a bit more complicated for him! A great watch.
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At times films of this quality almost become historical documents, except for those who remember them as also being social commentary. A young Nottingham rakehell played by Finney enjoys the comparative wealth of the skilled working class in Tory Britain of 1960, but he's alive to the risks (his mother and father, he notes had their hash settled some time ago by the gaffers). On top of the class and economic issues Finney is squiring another man's wife (the husband played by Brian Pringle is excellent) and yet tempted by the rather traditional Doreen (brilliantly played by Shirley Anne Field). Can he avoid the traps of marriage, can he heckers like....

Directed by Karel Reiz, produced by Tony Richardson from an Alan Sillitoe novel: a cast that act their pants off. Enjoy one of the best examples of British New Wave
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on 25 November 2015
Greatly improves on the MGM R1 DVD of many years ago. The picture is a little softer than the very best Blu-rays but perfectly adequate, it may be the source elements for all I know. An absolute masterpiece movie from the British New Wave.
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on 20 June 2015
Brilliant old black and white film. I loved it. I read the book years ago. If you liked A Kind Of Loving then you will love this film. Great acting and gritty drama from all the actors. I recommend this film to anyone.
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"Saturday Night and Sunday Morning," (1960) is another black and white, taut 89 minute, British classic, a raw melodrama. It tells the story of a rebellious, hard-working, hard-living factory worker in gritty Nottingham, in the North of England, who is trying to juggle relationships with two women, one of them married to another man, but pregnant with the protagonist's child. It was directed by the talented Karel Reisz(The French Lieutenant's Woman [DVD] [1981]); British novelist/playwright Alan Sillitoe (The Loneliness Of The Long Distance Runner [DVD] [1960]) wrote the screenplay, based on his own semi-autobiographical book.

Its protagonist, Arthur Seaton, played by a young, handsome and magnetic Albert Finney,(Tom Jones [DVD] [1963]) has long been considered by critics as an exemplary working class "angry young man" of the 1960s, the decade in which England would later begin to swing. Up until that time, it had been rare even for an English film to explore working class life, let alone show people as unhappy with it, but Sillitoe can certainly be considered a founding father of the angry young man school of writers. Seaton works hard all week for a measly paycheck at a mindless job in a dirty and dangerous factory. Come Saturday night, he likes to go out to the pub for loud and rowdy fun, accompanied by his girlfriend of the moment, Brenda, played by the forceful Rachel Roberts (This Sporting Life [1963] [DVD]). Unfortunately, she does happen to be married to one of Seaton's co-workers, Jack, played by Bryan Pringle. Then Seaton sets his eyes on the gorgeous young Doreen, played by the gorgeous young Shirley Anne Field (Hear My Song [DVD],Alfie [DVD] [1966]). All concerned know Brenda's day is done; however, she announces she is pregnant by Seaton, and he agrees to help her get an abortion. Comic spear carriers Norman Rossington and Colin Blakely also appear. Johnny Dankworth contributed the memorable jazz score.

In the British theater, the angry young man revolt was known as producing "kitchen sink drama." As movies took up the cry, it was known as "free cinema," an attempt by young filmmakers to break away from the usual suspects. The film was a big hit in its time.

Frankly, I find the whole concept of the "angry young man" dated, but this film is still remarkably fresh. I find Seaton not nearly angry enough, nor, unhappily, well-enough educated to know why he should be. His place of work is deafeningly noisy, almost blindingly smoky; the air is obviously full of toxins. There is clearly no ventilation or air conditioning. There seems to be only a dirt floor, on which rats and cats run. In fact, it's a perfect example of the kind of factory that British Prime Minister Margaret Thatcher, reviled by the working class, forced to either close or remodel, as it could never compete in the world market. I should think the working class owes her some gratitude for that.

Furthermore, Seaton lives with his parents in the classic two up, two down cottage, outhouse in the rear, hard by the factory, so he, and everyone else, is breathing its toxins day and night. Critics have long held that Seaton gives up his rebellion when he agrees with Doreen that they will buy a new house, with an interior bathroom, in what was then considered a suburb of the town. I wonder how many film critics of the time lived without an inside bathroom?

The film's still fresh, still enlightening, and still worth seeing.
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on 22 August 2010
This 1960 made film of Alan Sillitoe's Book is an "angry young man" classic.
Set in Nottingham in around 1960, the story centres around stroppy piece-time factory worker Arthur Seaton (Albert Finney), doing exactly what we all loved to do (or wish we could have done) in those days.
Which was to earn good money, rightly knock the establishment for the generally harsh way it treated the working classes, have a classy but marriage-mad girlfriend Doreen (Shirley Anne Field), whilst at the same time having a bit on the side with a married woman (Rachel Roberts).
Those were the days of hard drinking, hard smoking, wish you could get a girl in the sack without getting engaged, bleak, slummy council house and industrial wasted landscape existence, but with a good sense of humour and a few good laughs thrown in with the drudgery.
Luckily, however, the film ended on an optimistic note as Arthur and Doreen set their hearts on a future together and acquiring one of the newly constructed, modern (luxurious even) council houses, devised and produced by Clement Attlee and his post-war Labour Government. My daughters (born in the 1960s) also enjoyed the film and thought it a great commentary on life "in those days". They have also shown the film to their daughters (born in the 1990s).
Things did get a bit better with time. With the advantage of hindsight, let's not forget that in those days governments did govern, so that although some things were bad, some were also very good. Only the rich could afford cars, so public transport services (buses, coaches and trains) were excellent and affordable. The Government still owned the utilities and so controlled the prices of gas, oil and electricity, which were therefore also affordable as the aim was to provide services to the public and hopefully break even, rather than generate profits for shareholders.
The Government also watched the behaviour of Banks and Building Societies like hawks and so money was lent sensibly, at reasonable interest rates. With adequate council housing stock becoming available during the 1960s, not so many people found it necessary to buy a house, so private house prices were also affordable, particularly as there were tight borrowing regulations. I seem to remember earning around £2,000 per annum in 1970 and being allowed to borrow three times this amount for a mortgage. These kinds of rules kept house prices reasonable too. Wouldn't it be nice today, if the average house price was three times the average annual salary?
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Albert Finney was the perfect choice for the role of young Arthur Seaton. It's Finney's performance as Arthur that ensures this diamond of a movie continues to shine after more than 50 years. Arthur is a working class Nottingham lad living life at the start of the 1960s. Gone are the standards and morals set by his war generation parents and Arthur launches himself, at full speed, into social and sexual freedom. Little was hidden by the film makers as they tackled themes of abortion, adultery, violence, sex before marriage, foul language and drunken behaviour which seem mild by todays standards but were outrageous to a huge number of the viewing public in 1960. I suppose we'd now label Saturday Night and Sunday Morning as a coming of age film. It's true to say that after a great deal of rebelling Arthur Seaton meets the right girl and starts to settle down but; you're left with the feeling that he's always going to have a wild side. You hear Arthur talk about marriage and buying his own home but; you don't actually see him do it. The end of the film is wide open and you're left to make up your own mind. Much of the film was shot on location in Nottingham and has some evocative scenes of the Goose Fair, Raleigh and parts of inner Nottingham that have mostly disappeared. Packed with atmosphere, great acting and a real slice of East Midlands social history; Saturday Night and Sunday Morning is one of the best vintage British films, an absolute classic of this genre. Picture and audio quality are still good enough not to spoil your enjoyment of the film though, obviously, it's not keeping up with modern viewing technology and can come over as grainy.
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on 30 May 2015
Good clean condition and well wrapped.I was confused to find two DVD's as the whole film is contained on one.The 'extra' DVD didn't work at all.Puzzled by this. All in all, i am happy with this purchase.
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on 14 August 2009
I first chanced upon this film in 1989 when it was shown on one of the main 4 TV channels available then. I enjoyed it so much it stuck in my mind for 20 years. So, I bought it on DVD in the hope I could remember why I enjoyed it so much. To be fair, much of the `controversy' and `violence' seems innocent in comparison to what goes on today. But, this is part of what makes is such a charming film. It dips between 1950s and early 1960s `shock horror' to very contemporary. It's pure brilliance. You know, 20 years on from first seeing it I will say I loved it and will watch it again. I will also be adding it to my list of classics!
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on 7 October 2011
This deserves more than 5 stars, the product arrived quicker than some items bought from England. Not only that but documentation was put with the product on how to convert to no subtitles as they where in a foreign language. Brilliant!! would definitely use this person again
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