Alle 4 del mattino, due uomini... due donne

This is a film that I felt really belonged on the stage. It centres around a married couple with a baby and a courting couple. The former - Norman Rodway and Judi Dench are unhappy. She is fed up with being stuck at home all the time with their teething child while he continues to live as if he were a bachelor. The latter - Ann Lynn and Brian Phelan are enjoying the mutual discovery process whilst uncertain as to what the future might bring, if anything at all, to their relationship. Meantime, we know that the police have pulled the body of a young woman from the river Thames. Who might she be? Might she be connected with one of our quartet? Now on the plus side, Judi Dench does deliver convincingly as the frustrated woman struggling with early motherhood whilst her man is off galavanting, and there is also a calming John Barry score to help things along. Aside from that and a few scenes of intensity, though, the rest of this rather meanders along showing us people who are neither interesting nor likeable and there is a surfeit of fairly pointless dialogue that presumes, riskily, that the audience might actually care whether they get/stay together or not. That's where the theatre might have helped it. The closed confines of a more rigid stage might have intensified the potency of the messages - for messages there are, but here these are very much of the sexual stereotype fashion that fall into rather than break any moulds in British film-making. It's an almost documentary style observation of their lives that at times breathes vigorously but for the most part it just drags. Sorry.

"Four in the Morning" was one of the key British kitchen-sink movies of the sixties and yet today it is virtually unknown and very little seen. It was basically a 'small' picture, (I first saw it on the bottom half of a double-bill with Peter Watkins' "The War Game", telling two stories, both involving young women, and set in London, (whereas most kitchen-sink films were set in the 'grim' North), unfolding over the course of one night. There is a third story of sorts, a kind of documentary in which the body of a young woman is taken from the Thames. Could this be one of the woman we've met in the other stories? The writer/director was Anthony Simmons who, despite living to the age of 93, had a very short career in cinema, (he moved onto television), and the women in question were Ann Lynn and a young Judi Dench who won a BAFTA as Most Promising Newcomer. It's a sad little film with no respite from the gloom and you wonder what audience Simmons had in mind, (when I first saw it there were only two of us in the cinema), and at times it's more in keeping with something made for television though personally I think it's more redolent of something Antonioni might have done, (there are moments when Ann Lynn is a dead ringer for Monica Vitti). Either way, it certainly didn't deserve its fate and it cries out to be seen.

Made in 1965 by Anthony Simmons at the tail-end of the British 'Kitchen Sink' period, this existential mystery contains some beautifully noir camera-work and features Judi Dench looking cute despite the rather sordid scenario, before she abandoned the cinema for theatre. Her part, of wronged wife and central mystery figure, did not necessarily call for a great deal of heavily emotional acting, but she put that over clearly in just two or three lines, in one scene. Joe Melia also does a fine bit of sub-Shakespearean clowning. This is by no means the only film Simmons directed, and it's about time it was brought up from the vaults along with whatever else can be found in one piece; in fact, it's about time for a Kitchen Sink Revival.

I was born in london.1960. Escaped this toilet of a capital city in 1978.Lived in Scotland,Wales,Durham,Cardiff,Salonica and for the last 15 years Petersburg Russia.If I'd have stayed in London I would have died of boredom as this place is the pits as the film so accurately shows.

This movie belongs to the social dramas that emerge in the UK film industry during the early sixties, some kind of Ken Loach before his time. Directors such Lindsay Anderson, Karel Reisz, Tony Richardson, Bryan Forbes, John Schlesinger were the main providers of such movies showing the British way of life for the common people, certainly not the Lords' one. This movie is excellent, the script awesome, acting flawless, and Judi Dench long before her role in 007 films till SKYFALL. So this British drama is brilliant, so smartly edited, built around this corpse found in the river.... It is riveting, never boring despite the many talks.