Day 12:00 am
And while we are talking about classic British 1960s kitchen sink drama and “A kind of drab (or should that be against a drab world/setting?), suited and booted, beehived and bouffanted glamour, charisma, style and working class rebellion” and “a certain kind of rough hewn, no mucking about masculinity” mixed in with that and more than a touch of solid, glowering male-ness, alongside a just pre-Swinging London kicking against it all (see here)…
…well, it wouldn’t be quite right to not mention Albert Finney In Saturday Night and Sunday Morning.
In the photograph above he tends to remind me of an early 1960s “angry young man” meets an iconic Wild Western frontier kind of chap.
And maybe there’s something in that as this was a time when new frontiers were opening up (sometimes only relatively briefly) and one of those frontiers could be seen to be life outside the metropolis represented cinematically in British kitchen sink films.
If there was one of those new(ish) fangled online encyclopedia pages for the above paragraph, I expect they could just put a photograph of Mr Finney in the adaptation of Mr Sillitoe’s book with a note saying “See image above.”
Along which lines, I think I shall let the images speak for themselves.
Well, almost, apart from to say has there ever been a finer book cover than the film tie-in to Saturday Night and Sunday Morning? I’m not sure I’ve seen one. It’s always cheers the day up when I see a copy in a charity shop (and I have to restrain myself from not buying it again just because, well, it’s always worth buying).
Classic period pulp fiction-esque painting style that has wandered off to a particularly classy slice of British northern/midlands cinematically realised social realism and iconography.