Una maniera d'amare

There's a frustrated young man, name of Vic, from a pool of young ladies he's picked, Ingrid Rothwell's her name, with a blonde flowing mane, she's the lass with whom he wants to tick. Ingrid's just as fond of this lad, now he's making advances she's glad, but he runs hot and cold, wants to do more than hold, so she lets him explore and un-clads. No surprise as nature takes its course, with a marriage hastily brought forth, which Vic starts to abhor, lives with Mother-in-Law, and his compass no longer points north.

Great dialogue, great performances, in a perpetually told tale of the ages, where the outcomes invariably reflect the times when the drama takes place, and leave you grateful for the times you live in today - I think it's called progress.

I can watch this touching film over and over.

The black and white enhances the dramatic landscapes and atmosphere.

My favourite scene is the railway station where Vic hits rock bottom.

I also like the shelter scene as Vic pushes his luck and the picture pans back to the carved inscriptions.

It makes me wish I had been born in those times, with community spirit, dance halls and pubs with conversation for entertainment, football terraces and steam trains.

It is also interesting to spot so many young actors who found later fame such as "Nora Batty", James Bolam, Leonardo rossiter etc.

I own very few movies - this is one of them. I've seen it many times and am always moved.

It is of course part of the special "Angry Young Man" genre that includes Billy Liar, The Loneliness of the Long Distance Runner, The Entertainer, Darling, A Taste of Honey, This Sporting Life, Look Back in Anger, Room at the Top, Saturday Night and Sunday Morning - and in later years, In Celebration and The Homecoming.

Such novelists/playwrights as John Braine, Alan Sillitoe, David Storey, John Osborne, Arnold Wesker, John Wain, Shelagh Delaney, directors like Karel Reisz, John Schlesinger, Lindsay Anderson and Tony Richardson, and such screenwriters as Waterhouse and Hall (who wrote this as Billy Liar).

The movies are primarily about men trapped by place and morality -- and either lashing out/escaping or trying to accommodate themselves to their situation. Most are set in the north of England - all are about people from working class backgrounds.

Stars like Richard Harris, Julie Christie, Alan Bates, Ian Holm, Albert Finney, and Tom Courtenay broke in their film teeth with these movies - and others such as Richard Burton, Lawrence Olivier, Laurence Harvey and Dirk Bogarde revealed their expansive range.

The protagonists are often not likable - certainly the pitiful Archie Rice in The Entertainer, Burton's character in Look Back in Anger, Finney's in Saturday Night and Sunday Morning, Courtenay's character in "Long Distance Runner" or Richard Harris' character -- are all people you'd rather not accompany on a long train journey.

However, Vic Brown, the protagonist in this one - is largely sympathetic (and wonderfully written and portrayed). His plight is just so realistic - and the consequences so easy to believe.

There are many things that our lad gets wrong - unable to break things off with a woman, he simply ignores her (and speaks badly of her to others) - yet is helpless when she suggests they get together again. In part, this is because his lust masters him - and in part because he just can't bear to tell someone he no longer wants to see her.

As awful as most audiences will find Ingrid's mother (wonderfully played), one can also have sympathy for her - a widow overly protective of her only child, and the circumstances in which her child finds herself.

The modesty of the characters is wonderful yet not overly done - it is the characteristic that yields immense sympathy in the viewer - this is especially true of the Brown family - from "our Christine" and her gentle husband to Vic's wonderful father and brother to his forceful mother.

Most of the reviews speak of this very much as a look back in time - I think it's not so past.

The themes are universal and timeless: lust and its consequences, indecision about a romantic partner, the division between a young person's caution about taking the right steps in life and closeness to family vs. inchoate yearnings to do great things far away - these are the stuff of such plays as The Fantasticks and such movies as It's a Wonderful Life. (Donna Reed's character wanted Jimmy Stewart's no less than Ingrid wanted Vic - and both men had dreamt to be far away doing great things).

This is wonderful - it will strike anyone as sharply observed, wonderfully written - and very moving.

June Ritchie makes this story work. She gives an unaffected portrayal of a young woman needing to overcome her vulnerability with a combination of guile and passive aggression. It's the truest and most honest performance in the film. Bates is a star, Ritchie works a miracle. James bolam is quietly brilliant and. The supporting cast is of the salt of the earth type of genius available to directors at that time. I did not read the book but I feel the this movie version makes the task unnecessary.? What a great period of story telling this was. Bates was wonderful on film but on stage he was even more special. I was lucky to experience both. His hamlet. Though forgotten, was so pure, so honest, so sexy.

alongside Saturday Night & Sunday Morning and a Taste of Honey this is a great companion piece. Alan Bates is superb as a draughtsman in a busy factory and June Ritchie brings a tender portrayal as the object of Vics(Bates) desire. Thora Hird as the mother in law from hell is quite frightening and her scene with Vic Brown being sick behind her sofa is a classic. you filthy pig you filthy disgusting pig

You can feel her loathing. Some great support from Jack Smethhurst and the always excellent James Bolam. The scene that I favour is where Vic is getting bored with his situation and tries to get sympathy from his sister, his sister suddenly turns on him and tells him to get his life sorted, made bed lie on it etc. An absolutely fantastic slice of early 1960,s life.