Samedi soir, dimanche matin

There's a rather angry lad by name of Arthur, spends the week in factory, and he's a grafter, but at the weekend he goes out, drinking beer, he likes to shout, casts his eye over the women that he's after. One such lass, is married to, the workshop Forman, Brenda entertains Arthur like he's her old man, then she brings up in discussion, that she has a bun in t'oven, both their futures not what either of them planned. But Arthur's got another girl in tow, Doreen's taken quite a shine, and lets him know, then he suffers a tough beating, for all the lying and the cheating, and life goes on, because there's nowt else you can do (duck).

It's hard work growing up, it always was, and it always will be.

I first saw this film during its original u.s. run in 1961, loved it, and jumped at the chance to see it again at a local revival movie house. The movie is justly famous for Finney's brilliant performance (I think it was his first.), but has other virtues as well. Karel Reisz and Freddie Francis succeed in making the film visually interesting, and it is well paced, with essentially no dead time.

The thing that deserves the most praise, however, is Sillitoe's script, which puts virtually all modern dramatic screenplays to shame. In a general way, the working class british films of the late 50s and 60s launched the tradition that leads to Loach, Leigh, Tim Roth, etc. This film's subtlety and ambivalence towards its leading character reminds me specifically of Mike Leigh at his very best.

Albert Finney is Arthur, a working-class Brit who lives for "Saturday Night and Sunday Morning" in this 1960 film also starring Rachel Roberts, Hylda Baker and Shirley Anne Field. It's impossible to believe that Albert Finney was ever that young, but he was - 24 in this film - robust and handsome. He plays a factory worker who hates his job and lives with his family. His life revolves around his weekends, when he drinks himself into oblivion and sees his married girlfriend Brenda (Roberts). Roberts is married to one of his co-workers. One day, he meets the beautiful Doreen (Shirly Anne Field) and starts to court her. Then Brenda becomes pregnant with his child.

This film was considered quite shocking at the time of its release because of its frank sexual situations and the freely-discussed topic of abortion. These themes aren't shocking anymore, but one reason for that is the introduction of them in films like this. Shot in black and white, it gives the viewer a picture of life in a bleak factory town, portrayed very realistically by director Karl Reisz. The actors are these people, they're not merely playing them. This is especially true of Finney, who sports a low-class accent and epitomizes the "angry young man" so prevalent in the late '50s. Finney's performance as a young man who takes out his work-week aggression on women, booze and mischief, is as revolutionary as Dean's or Brando's was in American cinema.

Finney is ably backed up by the supporting actors. Roberts is very effective as Brenda, a housewife married to a dull man, and Shirley Anne Field even dressed down is gorgeous as the ingénue who wins Arthur's heart and makes him look at the future. One wonders if he'll ever grow up sufficiently. She's going to have her hands full.

The dialect is very authentic and difficult to understand at times - I actually used my closed captioning. The dialect adds to the whole atmosphere of "Saturday Night and Sunday Morning," another of the rebel movies but in a class all by itself.

In 1960, in a small Black Country town, I went to see this movie, with a male friend, at our local fleapit - it was a revelation. I found myself in a cinema that was a real setting for what appeared on the screen, for there Albert Finney was, not represented, was the working class bloke that sat in the picture house near to me.

Equally I knew that, on leaving, I would see his aunt (Hilda Baker) in the local chippy, and that Norman Rossington would be cycling to some nearby canal to fish. Indeed when Ben (my friend) and I left we went to our local for a quick pint and, I swear,we both had the uncanny feeling of being part of the film.

Time has passed and the working class East and West Midlands have change completely so it may not have such resonance for a new generation but if you want to know what a good slice of England looked and sounded like in the 1950s you should see it: it's better than any documentary. Indeed it is a great film.

Its amazing to look at this film which transformed British Cinema and introduced the angry young man that would later been seen in films like 'The Loneliness of the Long Distance Runner' and 'This Sporting Life'.

The fact that it shocked audiences and local authorities because of its themes covering sex and abortion show that this was a time when a great deal of change was taking place in British society. Although I wasn't around then, things must have been changing very rapidly as six years later 'Alfie' was able to confront these issues full on whereas Karel Reisz's film merely hints at them.

This film also established Albert Finney as a national star and he was soon to become an international star with the wonderfully bawdy 'Tom Jones'. Its always interesting to see the films that established the actors we admire and I'm certainly a fan of Albert Finney so I was shocked when I saw this film and felt that he wasn't really very good in it.

The opening scene where his character, Arthur Seaton, is counting the parts he is making in his factory seemed to introduce a highly overwrought man that shouted all the time. Thankfully the unnecessary 'anger' at the start was toned down later but I still felt at the end that Finney could have done greater justice to his role.

Walking around with a straight back and his chest out, talking twice as loud as he needs to seemed to resemble an angry old man rather than an angry young man and I almost expected him to talk about how kids nowadays didn't know they were born.

Its unusual that an actor from a working class background didn't convince me when playing a character that was not that dissimilar from himself whilst actors like Tom Courtenay in 'Loneliness...' and particularly Richard Harris in 'This Sporting Life' did it much better.

However, I gradually found myself being more and more absorbed in this film as it started to develop a storyline and move away from a young man being angry simply for the sake of it.

Rachel Roberts excels in her role as the married woman who becomes pregnant by Seaton and its a shame that this actress has been forgotten when you consider her performance here and the marvellous one she gave opposite Harris in 'This Sporting Life'.

Shirley Anne Field also does well as Doreen the girl looking to settle down and it is in her relationship with Seaton where I disagree with many people's assessment of the film.

Its generally said that Seaton hates the idea of conformity but in the end accepts it. However I feel that the film is much more hopeful than that as he realises that love and marriage is not necessarily a trap that only fools rush into and that there is much more to conventional life than he had originally anticipated.