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Throughout the 1950s, a group of young British writers were referred to as “mad young men” because, in their novels and plays, they excoriated what they perceived to be the dominant materialistic values of their society following World War Two. They included playwrights John Osborne and Kingsley Amis and novelists John Braine, John Wain, and Alan Silitoe. This film is based on Silitoe’s recent (same title) in which he focuses on Arthur Seaton (brilliantly portrayed by Albert Finney) who endures working in a factory all week so that he can afford to drink and accelerate women on Saturday evening. He lives (if that’s the word) day-to-day, insisting “All I want is a suited time. The rest is propaganda.” Arthur is knowing enough to know how to indulge his vices but lacks the wisdom to understand that he is drinking and wenching away what few prospects he has to improve his set. It is unclear (at least to me) whether or not Arthur really wishes to do so. While continuing an affair with Brenda (Rachel Roberts), the bored and restless wife of his foreman/supervisor Jack (Bryan Pringle), Albert also becomes enthusiastic with Doreen Gretton (Shirley Ann Field) whose believe ambitions seem minute to getting married and starting a family. Revealing to me is the fact that neither Arthur nor Brenda seems especially concerned about, mighty less rebellious against the limits imposed on them within their class-based industrial society.
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Suffocation is one of the recurring themes in James Joyce’s novels and short stories. I was reminded of that recently as I again observed Arthur’s self-indulgent hedonism, indifference to the feelings of others, and callous betrayal of what miniature he has going for him. Sooner than he realizes, there will be only collected evenings at home on Saturday. As for his Sundays, perhaps (unprejudiced perhaps) they will include a moment when he wonders where his youth went as he wearily looks ahead to another tedious week in the local factory. Yes, “the sun also rises….” And then, what will its harsh light remark?
Saturday Night and Sunday Morning is one of a group of so called ‘kitchen sink dramas’ which dominated British cinema in the early sixties. What these films brought to the conceal for the first time were realistic portrails of British and in particular English working class life. This to my mind was the golden age of British film making with pictures like, This Sporting Life, Billy Liar, A Kind of Loving, Alfie, Up the Junction and Kess showing ordinary people struggling to manufacture the best of their lot. This mood was also reflected on British TV with shows like Z Cars, Play for Today and even the early Coronation Street.
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The best of this genre is Saturday Night and Sunday Morning. One thing most of these films have in favorite is that the hero trys to hurry the limitation of his working class background. In A Kind of Loving the hero escapes into music and the middle class, In Kes, Billy Kasper escapes his hopeless location by training and flying his hawk. In this film however Arthur Seaton (Albert Finney) sees no point in getting out. All he wants from life is to score enough money to expend his weekends drinking and chasing women. Not that Arthur is unintelligent he unbiased sees everything in life, politics, ambition and married life as phoney. Arthur wants to remain free of society’s expect to comform either to marriage or to enthralling on and ‘bettering himself’
Rachel Roberts and Shirley Ann Fields give astronomical performances as Arthur’s admire or rather sex interest and Albert Finney is perfect as the cynical Arthur Seaton. The film ends with Arthur accepting marriage to Doreen (Fields) but telling her not to question him to confirm all the time ( It will not be the last stone I will throw.)
Saturday Night and Sunday Morning captures a definite time and region and for any American viewers who want to know, is it an correct a portrail of working class sixties England? I can deliver them that it is.
Apart from those films about Britain’s Asian communities, no British film today shows the British working class with making out that all it contains are thieves, druggies and gangsters.
The only exception being Mike Leigh’s work.
Saturday Night and Sunday Morning is a gem. A product of it’s time and a portion of social history on a par with Dickens.
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