Sunday Bloody Sunday

Rotten Tomatoes Critics - Certified Fresh 92%
Rotten Tomatoes Audience - Upright 72%
IMDb Rating 7.2 10 4


Downloaded 14,536 times
April 12, 2019


Glenda Jackson as Vickie Allessio
Jon Finch as Lt. Henry Becker
Peter Finch as Oscar Wilde
1.64 GB
23.976 fps
110 min
P/S N/A / N/A

Movie Reviews

Reviewed by Irishmoviereviewer 6 / 10 / 10

Its an OK love triangle movie but needed to be a better

The movie was good, the characters were spot on especially Murray Head playing as the bisexual "hottie" who has an affair with Glenda Jackson and Peter Finch's characters. However, I just think the story dragged on a bit like, I would recommend that this film would be one hour and 30 minutes rather than 1hr 50 mins. It does get you boring easily like I had to skip a few scenes in which were so boring, I nearly fell asleep and that was the truth! Also I found that the ending should've been redone a bit better since like, we want to know where Head's character leaves England for New York. It seems like hes gonna not do anything there but like, you would think the writers would've given the character at least some excuse to go to America. I just don't understand the ending to be honest, it just seem rather unfinished really. I give this movie 6/10..

Reviewed by kijii 8 / 10 / 10

'There IS no whole thing'

This film ranks 65th on the BFI's Top 100, with Peter Finch, Glenda Jackson, John Schlesinger, and Penelope Gilliatt receiving Oscar nominations for Best Actor, Best Actress, Best Director, and Best Writing, (Story and Screenplay), respectively. Dr. Daniel Hirsh (Peter Finch) and Alex Greville (Glenda Jackson) share the same phone answering service and the same lover, Bob Elkin (Murray Head). They both know about their competitive positions in this love triangle and begrudgingly accept them. I read most of the rave IMDb User Comments about the 'bravery' of Finch to take on this homosexual role and Schlesinger to openly show it, as well the new twist on the 'love triangle' theme. However, I would hope that the movie has something more to offer than just being a cultural ground breaker. That, alone, would NOT make the movie a masterpiece. What DOES make it a minor masterpiece is the character study of the three principals and the underlying rationale that drives Daniel and Alex to put up with sharing a common lover at all, no matter what his or her sexual orientation is. Alex says something like 'sometimes I think it is better to have half of anything rather than all of nothing' and Daniel, through his actions, says much the same thing. But, Alex seems to be paralyzed to commit to love again after her former marriage. As her mother (played by Peggy Ashcroft) says, 'Darling you keep throwing your hand in because you're waiting for the whole thing. There IS no whole thing.' Daniel, an up-scale London physician, is a caring family man, shown by his appearance at his nephew's bar mitzvah. Daniel is forced to keep his private life private. (At the time this movie was made, it would have been hard to be a gay up-scale London physician.) Bob, the fulcrum of the triangle, seems to have everything going for him that his two partners don't: if each of them have half of him, he has both of them. That's not to say that he isn't loving and supportive to both. He a point. Bob isn't bad. He is just young, attractive, and free from social restraints—an enviable position in this triangle. The vehicle for the main story line centers around a weekend where Alex and Bob are able to be 'ALONE' together by taking care of a progressive couple's five children as the couple goes out of town to a lecture. Some of the family's pseudo-progressiveness serves to give us both comic relief and anxious moments. The story is a well-told character study, with quick flashbacks to show some of Daniel's and Alex's thoughts and memories to illustrate where they are coming from in their present situations.

Reviewed by lasttimeisaw 8 / 10 / 10

"You will not like his haircut, though" yes, she is not joking at all

After surprisingly scooping Oscar's top honour with the X-rated MIDNIGHT COWBOY (1969), a feat hasn't been emulated ever since, John Schlesinger had earned more cachet and creative leeway to his next project, Sunday BLOODY Sunday, a seminal character examination about a bi-sexual young artist Bob Elkin (Head) in London and his simultaneous and mutually consented relationships with a middle-aged Jewish doctor Daniel Hirsh (Peter Finch) and a female recruitment consultant Alex Greville (Jackson), which allegedly is inspired by Schlesinger's personal affair with actor John Steiner. The description above might mislead you believe that Bob is the main focus point here, but, in fact, Penelope Gilliatt's awards-winning script installs the spotlight alternately on Daniel and Alex, one is cerebral, another is spontaneous. Not only they share the same man, unwitting to them, they also share the same telephone answering service (a diverting cameo from Bessie Love as the overworking answering lady), a source of gossip at then. Aptly, Gilliatt's script, Schlesinger's discreet directorial guideline and the cast's collective effort conspire to bring to light of the unconventional two-faceted relationships, in uttermost honesty, both under a personal emotion scale and a bigger social context, where the back-stories of Daniel and Alex are laid out in between sharp commentaries about a forbidding and shifting London at the turn of 70s, through the lens of tawdry installation art, news snippets from the car radio, pot-smoking kids under a liberal parenting guidance, midnight-awaiting addicts in the drugstore, the booming hippie culture, youth delinquents etc. Homosexuality, the elephant-in-the-room taboo, gets a more realistic and positive spin in this film, Daniel is still in the closet, but he is no longer being crucified, neither inwardly nor outwardly, in the regal bar mitzvah ceremony, he can swiftly mingle with his big Jewish family without being self- conscious or circumspect, Finch imbues Daniel with an air of unusual composure, which is so freshening to the clichéd preconception about queer drama, superbly outlined in his ending monologue, looking directly into audience's eyes, no shame, no trepidation, no big deal, Bob's departure is something doomed to happen sooner or later, he will still go to Italy, as planned, "I am happy, apart from missing him". It is just a cough, it will dissipate, eventually. In the other end of the line, Alex has experienced something more radical in her life, getting rid of a job she doesn't like, sleeping with an older man to offset her frustration in the status quo with Bob, or try to make him jealous (a corny and silly way to test the temperature of a relationship), which ends in vain, she is a woman still trying to figure out what she wants, the initially newfangled open- relationship starts to run out of steam, so, it is more natural for her to take a step back and Bob's departure couldn't be a more pertinent to offer her that chance. Jackson, disarms her steely angle and stays true to the image of a woman less characteristic and engrossing than the more progressive ones in her repertoire. Murray Head's Bob, an amorphous soul, a happy-go-lucky type doesn't restrain himself into any commitment or responsibility, he symbolises the zeitgeist of "free love"and "carpe diem", only Head's characterisation (maybe intentionally since his chief function is to mirror the differences between Daniel and Alex, while his own story is buried underneath without further scrutiny) leaves a drab presence (compared with Finch and Jackson), or shall we blame it on that horrible pageboy hairdo?. "You will not like his haircut, though", Alex banters with her mother, an excellent cameo from Peggy Ashcroft, yes, she is not joking at all.

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