Saturday Night and Sunday Morning

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.

This is the film which made Albert Finney a star. Filmed on location at Nottingham, Albert Finney plays Arthur Seaton a bored factory worker who is having an affair with his workmate's wife (Rachel Roberts). Controversial at the time because of its references to abortion, this film gives an idea of what life was like amongst the working classes during the 1950s. Shirley Anne Field also made her name in this film, but she never really fulfilled her potential as an actress. A well acted and produced gritty drama which is still watchable today.

English history has been full of rebel heroes but the screen tradition really came to fruition during the late Fifties and early Sixties when England's postwar generation was in revolt…

In the theater, this revolt took the form of the "kitchen sink drama" and the era of the Angry Young Men… In the movie industry, it was the era of "Free Cinema," an attempt by young filmmakers to break away from established subjects and standard treatments…

This raw melodrama deals with Arthur Seaton (Finney), a working class young man who rejects the misery and grind of his home and factory, but whose only possible rebellion takes the form of a cynicism towards authority and a cheerful indulgence in sexual encounters with various ladies of the town… His rebellion, though limited, is nevertheless genuine and the film's situation in a working class milieu is, for the habitually middle and upper class conscious British cinema, a much needed step forward...

The movie that made Albert Finney a star cannot, now, be viewed as anything more than an a (UK) cinematic gem in it own glass case. At the time of release it hit the audience like a bomb-shell due to its frank portrayal of life, sex and double standards in the late 50's.

Today some will be puzzled by the dilemmas and themes to the point of "so what?"

Writer Alan Silitoe (from his own novel) quickly draws us in the to real world of a Nottingham factory worker. This is not the factory work of normal movies with the made-up hero having a blob of black stage paint across his forehead; more the dishevelled, sweaty, badly lit world that he knows from first hand experience.

In it we find Finney, smoking and gruff at his lathe. No actor, before him or after has ever made so much of an impression in a mundane situation as the ex-Shakespearen actor does here. Reality comes out of every pore. His matter-of-fact speaking voice, as a voice-over narrator, should not be underrated either - like someone giving testimony partly against their will.

His world of is one of petite rebellion and cheap thrills. The "fighting pit prop that wants a pint of beer." He is immoral and the wife of a friend is seen as fair game: Although the consequences are beyond his immature mind.

There is good supporting performances from British character actors such as Norman Rossington and Hylda Baker, but this movie belongs to one man and one man alone: Sir Albert Finney.

Twenty five years after he is dead the cinematic world is going to wake up and realize how brilliant an actor this man was: Like they did with Humphrey Bogart

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.