IMDb-BEWERTUNG
6,8/10
2172
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuA young woman lives a life full of bad choices. At a young age she has a baby by an abusive thief who quickly lands in prison. When her son goes missing, she gets to grips with what is most ... Alles lesenA young woman lives a life full of bad choices. At a young age she has a baby by an abusive thief who quickly lands in prison. When her son goes missing, she gets to grips with what is most important to her.A young woman lives a life full of bad choices. At a young age she has a baby by an abusive thief who quickly lands in prison. When her son goes missing, she gets to grips with what is most important to her.
- Auszeichnungen
- 2 Gewinne & 2 Nominierungen insgesamt
Ken Campbell
- Mr. Jacks
- (as Kenneth Campbell)
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Beginning with an eye-watering sequence depicting the birth of Carol White's baby boy. Thanks to director 'Kenneth' (as he was then billed) Loach's restless camerawork (punctuated by Godardian captions) the sixties here sways rather than swings in a film that manages to encompass nearly a century of British film history through the presence in the same picture of both Wally Patch and Malcolm MacDowall (not to mention future sitcom stars Kate Williams and Anna Karen); and it's apt that over thirty years later scenes from this of the young and saturnine Terence Stamp strumming his guitar were employed as flashbacks in 'The Limey' (1999).
Although it didn't seem like it at the time, we're now nearly twice as far from the sixties as the sixties were from the thirties. Life at the bottom of the heap remains as bleak in the twenty-first century as ever, and continues (doubtless to no one's regret more than Loach himself) to provide him with plenty of material. In his eighties he doesn't seem able to retire just yet.
Although it didn't seem like it at the time, we're now nearly twice as far from the sixties as the sixties were from the thirties. Life at the bottom of the heap remains as bleak in the twenty-first century as ever, and continues (doubtless to no one's regret more than Loach himself) to provide him with plenty of material. In his eighties he doesn't seem able to retire just yet.
It is worth noting that The Limey (1999) is a follow up to Poor Cow. The writer of the later film has stated that the similarities between these two films is incidental. However, Steven Soderbergh (the director of The Limey) has said that he specifically intended for his movie to be a sequel to Poor Cow. If you liked Poor Cow you might also want to see The Limey.
As mentioned elsewhere, I've been getting into the 'kitchen sink' dramas of Britain in the 1960s. Previously I've watched a handful of the early black and white ones, but POOR COW, the first film from long-time director Ken Loach, offered in a new wave of all-colour pictures that eventually heralded the way for the miserable likes of EASTENDERS and other soaps that came later. POOR COW is a product of its era and it shows, and that's what makes it interesting.
The film is in essence the story of a young mother and her kid and their attempts to get by in a cruel and often harsh world. Carol White achieves level of naturalness in her performance that you don't often see, which means that she's utterly convincing. The male characters are presented as brutes, philanderers, or simply bland, cold men who don't care about the impact they make on people's lives. There's plenty of talent in the supporting cast, a lot of faces who would go on to become familiar on TV and in film, which makes this a fun watch despite the gruelling subject matter.
The thing I found about POOR COW is that it kept me watching. I was always interested in finding out the outcome of the story, although any viewer will immediately realise that it's not going to be a happy ending. I was interested to note that the interlude in which White gets involved with a group of dodgy glamour photographers seemed to inspire a whole sub-genre of films directed by the likes of Norman J. Warren and Pete Walker. Apparently many of the scenes in the film were ad-libbed, which accounts for the slice-of-life realism of the piece.
The film is in essence the story of a young mother and her kid and their attempts to get by in a cruel and often harsh world. Carol White achieves level of naturalness in her performance that you don't often see, which means that she's utterly convincing. The male characters are presented as brutes, philanderers, or simply bland, cold men who don't care about the impact they make on people's lives. There's plenty of talent in the supporting cast, a lot of faces who would go on to become familiar on TV and in film, which makes this a fun watch despite the gruelling subject matter.
The thing I found about POOR COW is that it kept me watching. I was always interested in finding out the outcome of the story, although any viewer will immediately realise that it's not going to be a happy ending. I was interested to note that the interlude in which White gets involved with a group of dodgy glamour photographers seemed to inspire a whole sub-genre of films directed by the likes of Norman J. Warren and Pete Walker. Apparently many of the scenes in the film were ad-libbed, which accounts for the slice-of-life realism of the piece.
In terms of style this film is revolutionary of the time. It could be defined as docudrama since the film is shot in a style of realism. It portrays 1960's London as a poverty stricken bed of prostitution and crime. The main female protagonist seems to always seek male approval. She leaps from one bed to another, loving each of them in much the same way as Diana does in "Darling" 1965. It is hardly an example of feminism and the Radical changes in women's liberation within the 1960's. It does, however, possess a view of hope through all the grit. Dave shows how even a criminal can be loving, gentle and kind. The film offers the audience a 2 hour exploration into the lives of the criminals in London at the time. It challenges the classic Hollywood narrative of peace, disruption and resolution. The narrative structure seems to float along with very little climaxs. This gives the feeling of realism, which many people may find dull or boring. Don't expect your Hollywood Blockbuster. You will find a challenging Independant British film, documenting the feelings of the 1960s in an innovative and unconventional way.
Not a film of entertainment, but of real lives & limited ambition for the working class in 60's. Enjoyable because of my upbringing, not sure it'd work for most people. Typical Loach. Full of TV actors/actresses of 70's/80's/90's.
Wusstest du schon
- WissenswertesAccording to Terence Stamp, the film was mostly improvised and first takes were always used. Two cameras filmed simultaneously to capture the spontaneity of the performances.
- PatzerThe apostrophe is missing from the caption "At Aunt Emms.".
- Alternative VersionenThe BBFC website states that the original version had some sex references that were cut before its release in the 1960s. http://www.bbfc.co.uk/education-resources/student-guide/bbfc-history/1960s
- VerbindungenEdited into The Limey (1999)
- SoundtracksBe Not Too Hard
Music by Donovan and Lyrics by Christopher Logue
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Details
- Erscheinungsdatum
- Herkunftsland
- Sprache
- Auch bekannt als
- Pobre vaca
- Drehorte
- Fulham Broadway Underground Railway Station, Fulham Broadway, London, Greater London, England, Vereinigtes Königreich(cafe interior opening credit sequence)
- Produktionsfirmen
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Box Office
- Weltweiter Bruttoertrag
- 15.709 $
- Laufzeit1 Stunde 41 Minuten
- Sound-Mix
- Seitenverhältnis
- 1.66 : 1
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By what name was Poor Cow - geküßt und geschlagen (1967) officially released in India in English?
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