The L-Shaped Room

Rotten Tomatoes Critics - Certified Fresh 80%
Rotten Tomatoes Audience - Upright 86%
IMDb Rating 7.4 10 1


Downloaded 14,948 times
April 6, 2019



Bernard Lee as Jack
Brock Peters as Chief Speed
Leslie Caron as Mlle de Vaudey
Mark Eden as Second Journalist 1 episode, 1958
720p.BLU 1080p.BLU
1.01 GB
23.976 fps
126 min
P/S N/A / N/A
1.98 GB
23.976 fps
126 min
P/S N/A / N/A

Movie Reviews

Reviewed by Balthazar-5 8 / 10 / 10

Avoids every pitfall...

This was the first 'grown-up' (guess these days you can't use the word 'adult' as you should be able to) film I remember seeing. I put the profoundly moving effect it had on me down to my tender (15) years. So after around 42 years, I saw it again this week - I had reason to screen it for my Film Studies class... and it's still quite wonderful. At the centre is an earthy and moving story of the central character, Jane's, single pregnancy. But Jane is not a scatter-brained bimbo who stumbled into pregnancy, she is a sophisticated 27-year-old French woman, whose virginity was becoming burdensome. But this is the late-50s and social attitudes to single pregnancy are wholly different from those of today. The film details Jane's 'go it alone' strategy, as she moves into a grotty boarding house occupied by a bunch of unremarkable misfits. Though this 'kitchen sink' drama seems, for much of its length like an 'issue' film, it is, ultimately, triumphantly not. There is a black trumpeter (Brock Peters) who doesn't experience racism, and nearly destroys Jane's budding relationship through his judgemental moral attitudes. There is an ageing lesbian music hall artist (Cicely Courtneige) who isn't ostracised. There is a prostitute (Patricia Phoenix) who doesn't have a heart of gold, or an exploitative pimp. In other words, this is a moral tale that refuses to preach. And at the centre of this is the curious and heart-warming theme of all of the well-meaning people (well, some of them are well-meaning) who Jane meets who want to help her abort her baby. Our interest is, for much of the film centred on the relationship between Toby (penniless writer) and Jane, a relationship that we will to succeed. But in the end, it (probably, as the ending is to some extent inconclusive) is not this relationship that we treasure from this film, but the sense, made, oh so movingly, in the final scene, that Jane has, through her hardship and the friendship of people whom she would previously have dismissed, become a much fuller person living in this hovel than she could ever have become in the cosy bourgeois bosom of her parents. For this reason, and others, this is a truly subversive work. No wonder it left so great an impression on me, at the tender age of fifteen, living in my council flat with my very respectable parents in leafy Sevenoaks...

Reviewed by garlinda-1 8 / 10 / 10

Odd, life-like characters--rich, textured script

The characters in the oddly appealing drama are so deliciously flawed and the texture is so utterly British art. Leslie Caron is underrated as a dramatic actor--having made a name for herself in musicals--but she shines in this one. Her performance is reminiscent of the character she played in "The Subterraneans." She is perfect as the tortured free-spirit who stumbles. Another standout is Brock Peters. You feel the closeness of his room when he is lying in bed, talking to Jane through the wall. In fact, the whole boarding house feels real, seedy and full of dashed hopes. You ache for the pain and loneliness each person on the house endures--I felt myself like a resident in this menagerie. The direction is taut, spare and real. I would have liked to have learned more about Toby's background, what drove him to this place. But I suppose a good film is supposed to leave a place for the viewers imagination.

Reviewed by piktor7778 8 / 10 / 10

Viva Brahms!

I was a tender 14 years old in 1962, when I accompanied my mentor (my high school Spanish teacher) to an art house movie theater in Greenwich Village to see this film. My only previous encounter with Leslie Caron had been in the wonderfully entertaining film "Gigi". I must say, this two hour spectacle of unrelieved misery came as quite a shock to me. I left the theater thinking I had just seen the most depressing film I had ever seen in my life. And yet...I loved it! In fact, I felt very grown up at having survived it. This would not have been possible without the aid of the movie's soundtrack, Brahm's Piano Concerto No.1, which my astonished ears heard for the first time that evening. I've been in love with that piece--and with Brahms--ever since.

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