Sunday Bloody Sunday (John Schlesinger, 1971)
Glenda Jackson, Peter Finch, Murray Head (who?)
In London, employment consultant Alex Greville and Dr. Daniel Hirsh are each in a relationship with much younger industrial artist Bob Elkin. Alex and Daniel, who have mutual friends besides Bob, know about the other in Bob's life. Within each coupling, both partners profess to love the other. Conversely, Bob easily moves between Alex and Daniel, especially when he starts to feel penned in by one, or has an argument with one. Alex and Daniel, who give each other the space when with Bob, accept the situation if only to hold onto their small piece of Bob out of that love and a need to fill the void caused by other issues in their lives. Alex is at a crossroads professionally, she who is contemplating quitting her less than satisfying job, without a sense of what to do in its place. Although comfortable with his homosexual orientation when with his friends, Daniel, feeling generations of Jewish guilt, has not told his family, who still expect him someday to get married and have children, despite he being in middle age. Their respective family situations and a move by Bob may show them what the future lies for their love triangle. IMDb.
I could only remember one moment (a couple of seconds) from this film nearly fifty years later. One of the characters looks out of a window to see a couple of kids 'keying' cars - scratching them actually with a broken bottle rather than a key. A week after watching it again, that's still all I can remember.
Beginning the re-view, I was impressed by something - the editing, maybe - but by the end of the film I was just waiting for it to finish. The angst of these 'minorities', as they were then - gay, Jewish, middle-class, women - was pretty trivial then. Now it's just a waste of time to go back to the end of the 1960s and see it (their angst) as they saw it then.
Garry Gillard | reviews | New: 6 July, 2019 | Now: 6 July, 2019