Private Road

Deliciously handsome, Bruce Robinson, plays affable, dilettantish author, Peter, who quite understandably falls for the adorably timid, emotionally frail pixie, Ann (Susan Penhaligon), and their sweetly tumultuous relationship, fraught with obtuse parental meddling, financial woes, erotic exultation, and naïveté makes for compelling cinema, this uniquely photogenic pair are one of the more charming screen lovers! Private Road is a delicate, witty, playful, earnestly romantic film; a memorable, smartly written love story told without sentimentality, replete with engaging, naturalistic performances, pithy dialogue and a refreshingly light directorial touch. It is both a rare and hugely satisfying experience to watch such a humane, emotionally intelligent film dealing so sensitively with the exquisite travails borne of nascent love as the eminently lovable Private Road.

The enervating conflicts between, Ann's reserved, controlling, conservatively middle-class family, along with boyfriend, Peter's profound anxiety over his best friend, Stephen's (Michael Feast) disturbing drug addiction, and his own mounting frustrations regarding the crass, innate emptiness of copywriting, plus his pronounced lack of ambition has lost none of its tender pathos. Gifted filmmaker, Barney Platts-Mills nuanced follow-up to cult classic Bronco Bullfrog (1969) vividly remains no less enthralling seen today than upon its initial theatrical release in 1971. Wholly deserving of its status of forgotten mini-masterpiece, if the colour palate were, perhaps, a little cooler, originating from navel-gazing Scandinavia, 'Private Road' may well have been unearthed a little sooner! The meticulous BFI restoration is sublime, images are sharp, colours are warmly appealing, soundtrack is perfectly crisp, and the two exciting bonus shorts are most welcome additions!

Is one of the best films i have seen in a long time. I felt like my kidneys were being squeezed in opposite directions; what a laugh! As a Withnail fan i was amazed to see Bruce's performance. What an all rounder. A film full enough of greatness that i wanted to undo my belt and fall asleep on the sofa. Platts-Mills, give me more.? What's happened to him? and Susan Penhaligon. Why have artists such as these not blossomed into view and been able to create more of such richness. I was delighted to see Presburger and Powel star Katheline Byron. Puts this film squarely into the deserved lineage of great British movies. I recommend this film greatly. Get out and see it.

London lovers engage adulthood when they decide to share space, he (Robinson) an aspiring but "undisciplined" writer of esoteria, she (Penhaligon) a listless office girl showing flair for the physical arts. The motifs and year of release announce the style (realism), yet, Platts-Mills (d / s-p) tells viewers precious little about where we came from to get where we start (vagaries). Clarity comes as the principals get down to business, i.e., sex, finances, getaways, 3rd party plots and the unexpected. Ann and Peter are gentry, quite attractive and spoiled rotten, he commited to love but has an immaturity (rude to parents, agent) that can't possibly support his supposed talent (See also; Almost Famous), while blondie, simple at first, after coupling turns impish, then practical, prodding Peter's penmanship, giving great hugs, eating with élan (Barker-Mill) (camera) and making a decision on personal autonomy that even today's film makers haven't the wherewithal to storyboard. The leads will endear but it's the support who give it time to happen. Robert Brown (Bond) and Kathleen Byron, nearly unrecognizable from her sinister Sister Ruth (Black Narcissus), are Ann's dedicated parents (no mention of Peter's), Patricia Cutts is the patient literary agent, Hammond Keogh & Sessions are the advertising employers, better than the kid deserves, and Feast & Fenton the friends in trouble, one on drugs, the other politics. It's Feast & Morrissey who, late in the film, play its best scene, Steven's expression when Henry's comely but cold girlfriend (Howe) turns topic, is priceless, while sharing insights that Peter needs to hear (nix the nuptials). The score is embryotic (everyone was The Beatles) but grows on you, and when it's all over (89m), you'll wish there was more. Should be a cult (3/4).

I bought a copy of this film from the writer/director some months back, having, if I remember correctly, traversed a few IMDb links and read some favourable reviews, including a co-poster's tip about where to get hold of it.

I've always had a fondness for films that focus on personal relationships and carry little in the way of political baggage. When done well, and 'Private Road' is done well, they become quite timeless, so much so that it's sometimes hard to appreciate that this film is now nearly forty years old. On one level the film is a sort of middle class kitchen sink drama, while on another it is a universal tale of a journey into adulthood which starts with passion and goes on to labour under the collective burden of real world responsibilities and the changing nature of friends and family.

I enjoyed the naturalistic handling and Platts-Mills' light touch. The couple and the friends had just enough style to involve, but not so much as to alienate the viewer. The use of the sub-plots of Peter's friends' lives and other, unexpected incidents, to test the maturity of the couple was effective and quality cameos, such as Patricia Cutts' literary agent, gave a certain richness to the texture of the film, without diverting from its main focus.

I am watching (!)'WITHNAIL & I' on TV , and was reminded that Bruce Robinson was in 'PRIVATE ROAD', a film I saw on TV (undoubtedly BBC 2) over 30+ years ago, and thought it was truly wonderful, but I have never seen it or anything about it since........ Given the cult status (Definition "Small viewing figures" -Alan Partridge)and wide availability of 'WITHNAIL', what has happened to PRIVATE ROAD......??? At the time I was 16, and identified with the 'Quiet is the new loud/Reject the Rat Race/Back to nature' theme. I remember it as an excellent film, but,sadly, I have been unable to see it again.With endless copies of junk films freely available ,is it not possible that a film of this rarity can see the light of day ? bfi where are you when we need you most?