Un goût de miel

Jo's (Rita Tushingham) a daydreaming teen with a distracted mom (Dora Bryan) in search of Mr. Right or a reasonable facsimile. When ma hooks up with a guy she leaves Jo to fend for herself. Jo enters into a romance with a boat cook who ships out to sea after impregnating her and she forms a living arrangement with a gay man (Murray Melvin) to make ends meet and for moral support. When mom returns the two lock horns, debating who is the better fix for Jo and her family way.

What might pass for a very dark Hallmark domestic drama today was a groundbreaking event in 1961. Interracial relationships were scarce on the screen and homosexuality would be a crime until the law was relaxed in 67. Director Tony Richardson met the controversy head on in Honey, softening neither the outcome or its characters. Tushingham is exasperatingly brilliant as the independently minded Jo. You sympathize with her but she can be trying and stubborn. Murray Melvin is also sympathetic, avoiding caricature flamboyance with a low key sensitivity, stating his case as an outsider. Dora Bryan as Jo's floozy mom is abrasively outstanding as she lectures Jo with challenged nurturing skills on the ugly reality of her class and future.

Director Richardson captures the bleak industrial landscape of Manchester, England, managing to romanticize it in moments between the lovers but refusing to sell out the story with its sober, somber climax.

A glum well played drama.

A Taste Of Honey is primarily known for the debut of Rita Tushingham who became a star with this and has had a half century career. But for it's time it was a daring film exploring things we still didn't talk about in the USA. For instance there was that love that dared not speak its name.

This film is set in working class Manchester and the cinematography was reflective of a very grimy environment that single mom Dora Bryan is raising her daughter Tushingham in. Bryan's pushing 40, but she likes to party still especially with her new boyfriend Robert Stephens. Rita is clearly in the way.

Interracial love was something not talked of in the USA, but it's here as young Rita drifts into losing her virginity and getting pregnant by a black sailor Peter Danaquah. He goes off on a long sea voyage without knowing what has happened.

The British may be more frank in talking about it, but interracial love and sex was quite the same as here back then. You can bet the rent money that A Taste Of Honey got no bookings in our Dixie states.

But here next relationship is with Murray Melvin who is as my late British friend Jeff Barker would say was as 'gay as green shoes' which is apparently a British expression. No closet for this man in 1961. The omnipresent Code imposed the cone of silence around anything remotely hinting of homosexuality

Tushingham meets Melvin as a customer in a shoe store she works in and the two hit it off. He knows her plight and maybe sex might not be in the future for these two, it's plain they've got a nice friendship working and can support each other and the interracial child coming into the world.

A Taste Of Honey was based on a play by Shelagh Delaney which when it got to Broadway boasted an impressive cast of Angela Lansbury as the mother, Joan Plowright as the daughter, Nigel Davenport as the boyfriend of the mother, Andrew Ray as the gay friend and the sailor was played by a young Billy Dee Williams. I'd love to have seen that production.

Still no complaints about this film. Groundbreaking, touching, and entertaining.

'A Taste of Honey' provides a grim slice-of-life look at the working class poor in early 1960's England. Teen pregnancy, an openly homosexual companion, a negligent single mother and homelessness are featured- mainstream topics in today's movies, but this was released in 1961, folks (beats me how they got it past the censors). This sensitive, remarkable film should be required viewing for junior high schools.

Rita Tushingham is excellent as an unhappy girl. Her mother (Dora Bryan) is a slattern. The mother is interested primarily in her dubious good looks and gives almost no attention to daughter Jo (Tushingham.) In one of the few heart-to-heart talks -- in which she tells Jo that her (Jo's) father was a simpleton -- she says that we always remember our first.

Jo's first is indeed a very handsome sailor. He's black.

I'm not going to give anything beyond this away other than to say that Jo becomes best friends with a gay man Murray Melvin. He is the best thing that ever happened to her.

Shelagh Delaney, who wrote the play as a very young woman, wrote the screenplay with director Tony Richardson. It's opened up but not in an annoying manner. I think it's one of Richardson's very best.

I saw this when it first came out. I was a kid and very impressionable. I haven't seen it since but find I'd forgotten little. And that includes the wonderful music. I had never heard the song children sing at the beginning, about a big ship sailing, before nor have I heard it since (until tonight when I watched it again.) But I have never forgotten it.

During the late fifties and early sixties a feature of the British film industry was what have become known as "kitchen sink" films- social-realist pictures focusing on the lives of ordinary working-class people. Tony Richardson was one of the key figures in this movement, and "A Taste of Honey" is one of a number of such films directed by him; others include "Look Back in Anger" from 1958 and "The Loneliness of the Long-Distance Runner" from 1962. All of these films are based upon literary sources, in the case of "A Taste of Honey" upon a play by Shelagh Delaney.

The main character is Jo, a working-class Manchester teenager. The plot is a fairly simple one and charts Jo's relationships with her sluttish mother Helen, her sailor boyfriend Jimmy, Helen's car-dealer lover (and later husband) Peter and Geoff, the young man who befriends Jo after Jimmy disappears back to sea leaving her pregnant. There are a number of fine performances, from Murray Melvin as the gentle, sensitive Geoff, Dora Bryan as the promiscuous Helen and from Robert Stephens as the relatively affluent but coarse and vulgar Peter. The best is probably from the nineteen-year-old Rita Tushingham, making her screen debut as the naïve and vulnerable yet determined and strong-willed heroine. She was to become a well-known figure in the British cinema of the sixties and seventies, even though she was far from having classic "film star" looks.

The film contains a number of elements which would have been highly controversial in the early sixties, in particular its non-judgemental attitude towards premarital sex and pregnancy and the mixed-race love affair between Jo and Jimmy. The British cinema was, in some respects, more liberal than its American counterpart at this period. I cannot imagine the Hollywood of 1961 making a film about a sexual relationship between a black man and a white woman. Still less can I imagine a Hollywood film about a sexual relationship between a black man and a white teenage girl, a theme which would probably still be off-limits in 2008.

There were, however, limits to British liberalism. A number of reviewers have assumed that Geoff is gay. Certainly, Melvin plays him with what might be seen as stereotypically gay characteristics- he is, for example, rather effeminate in his voice and gestures. He is also much more "domesticated" than Jo, being better than her at cooking, needlework and housekeeping. He is never, however, identified in the script as a homosexual; there is no reference to his having sex with, or being sexually attracted to, other men. Indeed, it is suggested that Geoff is romantically in love with Jo, and he even proposes marriage.

It should be remembered that, at the time this film was being made homosexuality was still illegal in Britain and there had never been a British film with an explicitly gay theme; the first such was "Victim", which opened in August 1961, only a month before "A Taste of Honey". When "The Trials of Oscar Wilde" came out the previous year it refused to admit that Wilde actually was a homosexual, but rather tried to give the impression that he was the victim of unfounded gossip, of a deliberate conspiracy to blacken his name and of perjured evidence.

Like a number of "kitchen sink" films, it has a strong sense of place, conjured up by its atmospheric black-and-white photography of Manchester scenes, especially the terraced houses of the working-class districts. We see recognisable landmarks such as the city's Town Hall, the Ship Canal and Blackpool Tower (Like many working-class Mancunians from this period, Jo and Helen take their holidays in Blackpool).

Another notable feature of the film is the presence of children. The film opens and closes to the accompaniment of the nursery rhyme "The Big Ship Sailed on the Alley-Alley-O", and in several scenes we see children playing outside. (Among them, apparently, is the future Government minister Hazel Blears). Richardson's intention was presumably to contrast the innocence of childhood with the cares of adult life and to stress that Jo is little more than a child herself. Indeed, when the film opens she is still a schoolgirl, probably aged fifteen, that being the age when most pupils left school in the early sixties, unless they were intending to obtain formal educational qualifications such as O-levels. Delaney herself was only seventeen when she wrote the play on which the film is based.

"A Taste of Honey" perhaps lacks the dramatic power of some of the social-realist films of this period, such as J. Lee Thompson's "Tiger Bay" or John Schlesinger's "A Kind of Loving". It is, however, a sensitive, well-acted and occasionally humorous look at human relationships and one of the better British films from this period. 8/10