Meeting an attractive young woman in a bar, Arthur Seaton wastes no time making his play. He asks her name, and is told with some embarrassment it's Doreen. She doesn't like her name. He doesn't like his, either.
"Neither of 'em's up to much, but it ain't our fault," he tells her. Like everything else in his unhappy life, it's all a matter of inheritance.
Arthur may share a name with a heroic English king, but he's not one to wear his lower-middle-class crown agreeably. He drinks away his wages, lashes out at defenseless women, and lies with discomfiting ease. But Albert Finney and the filmmakers make sure you care about him anyway.
As Seaton, Finney glowers a lot in the way you expect from a protagonist in a kitchen-sink drama, a celebrated product of British New Wave cinema. But the film plays with your expectations just as life does his. He doesn't want to settle for life as he finds it, and while "Saturday Night And Sunday Morning," Alan Sillitoe's adaptation of his own novel directed by Karel Reisz, spits a lot in the direction of conformity, it belies its angry-young-man pedigree with a sense of cosmic acceptance at taking what life has to offer.
Seaton's a "madhead," make no mistake. But he's not an especially honest one. He lies impulsively, often to no purpose, and is even proud of it. "I always was a liar, a good one and all," he tells the married woman he sleeps with, Brenda (Rachel Roberts). Ironically, it's his one honest moment on her behalf that lands him in real trouble.
The film gives us other hints Seaton is not an admirable figure, like shooting an annoying neighbor with an air rifle in a manner that comes off more creepy than defiant. A "working-class anti-hero," as other reviewers put it, and the real craft in both the direction and in Finney's performance is how it accomplishes the balancing act of establishing Seaton as both miserable company and a rooting interest.
It's a well-structured film, too, a quick 90 minutes that breaks neatly into thirty minutes of establishing the situation, thirty minutes of developing a crisis (Seaton stringing along two women, one pregnant), and thirty minutes of tense resolution. At the same time, Reisz gives his film a grimy authenticity that feels real, never stagy, with scenes that have a real lived-in quality while serving the larger story.
"Saturday Night And Sunday Morning" is a bleak film in many ways, not pleasant to watch. Laughs and insights are minimal, and Finney downplays his considerable screen charm. There are hardly any toothy grins like he'd bestow on his later breakout role, as the title character in "Tom Jones." The handling of his relationship with Doreen is a trifle pat, and too-simply resolved. So is the issue of his relationship with Brenda, although Finney shares a good final scene with her character's husband, played effectively by Stephen Fry lookalike Bryan Pringle.
There are a lot of good performances in this film, which blend together to create an effective if routine story. If it's not what you expect from angry-young-man cinema, it's nice to have your expectations batted down now and then.
"Neither of 'em's up to much, but it ain't our fault," he tells her. Like everything else in his unhappy life, it's all a matter of inheritance.
Arthur may share a name with a heroic English king, but he's not one to wear his lower-middle-class crown agreeably. He drinks away his wages, lashes out at defenseless women, and lies with discomfiting ease. But Albert Finney and the filmmakers make sure you care about him anyway.
As Seaton, Finney glowers a lot in the way you expect from a protagonist in a kitchen-sink drama, a celebrated product of British New Wave cinema. But the film plays with your expectations just as life does his. He doesn't want to settle for life as he finds it, and while "Saturday Night And Sunday Morning," Alan Sillitoe's adaptation of his own novel directed by Karel Reisz, spits a lot in the direction of conformity, it belies its angry-young-man pedigree with a sense of cosmic acceptance at taking what life has to offer.
Seaton's a "madhead," make no mistake. But he's not an especially honest one. He lies impulsively, often to no purpose, and is even proud of it. "I always was a liar, a good one and all," he tells the married woman he sleeps with, Brenda (Rachel Roberts). Ironically, it's his one honest moment on her behalf that lands him in real trouble.
The film gives us other hints Seaton is not an admirable figure, like shooting an annoying neighbor with an air rifle in a manner that comes off more creepy than defiant. A "working-class anti-hero," as other reviewers put it, and the real craft in both the direction and in Finney's performance is how it accomplishes the balancing act of establishing Seaton as both miserable company and a rooting interest.
It's a well-structured film, too, a quick 90 minutes that breaks neatly into thirty minutes of establishing the situation, thirty minutes of developing a crisis (Seaton stringing along two women, one pregnant), and thirty minutes of tense resolution. At the same time, Reisz gives his film a grimy authenticity that feels real, never stagy, with scenes that have a real lived-in quality while serving the larger story.
"Saturday Night And Sunday Morning" is a bleak film in many ways, not pleasant to watch. Laughs and insights are minimal, and Finney downplays his considerable screen charm. There are hardly any toothy grins like he'd bestow on his later breakout role, as the title character in "Tom Jones." The handling of his relationship with Doreen is a trifle pat, and too-simply resolved. So is the issue of his relationship with Brenda, although Finney shares a good final scene with her character's husband, played effectively by Stephen Fry lookalike Bryan Pringle.
There are a lot of good performances in this film, which blend together to create an effective if routine story. If it's not what you expect from angry-young-man cinema, it's nice to have your expectations batted down now and then.