It's funny; the more this story went on, the more the two lead characters went 180 degrees in the other direction. "Frank Machin" went from a rough-but-quiet and considerate rugby player trying to befriend a single mother to a complete boor and a pig. "Margaret Hammond" was a rude, dour woman with a real attitude problem regarding life. It takes her a long time to crack a smile and show some twinges of happiness. It's nice to see, but it doesn't last.
Margaret preferred to wallow in past pain. Except for her kids, which she doesn't dwell on anyway, she didn't want to have much to do with life. Even in the end, a doctor notes something about her will to live being weak. (You'd think having two nice kids would be motivation to live.) Anyway, she does slowly began smiling and opening up and being a nice person. However, Frank and Margaret are rarely on the same page. When they were, they made a nice couple.
The film also went from a tight, action-drama in the first half hour to a straight drama the second half hour to a melodrama over the last hour. It had a tightness in the beginning, an edgy feel to it, whether it was Frank on the playing field or trying to make headway with Margaret and her two small kids. Then, it slowly got almost into a soap opera mindset but still kept my interest if only to find out what wound happen to this "couple."
Kudso to Richard Harris and Rachel Roberts ("Margaret") for keeping it interesting because it's a fairly long film and there is a long segment where very little happens. Both Harris and Roberts were up for Academy Awards. I thought Harris was the standout here. It's hard to be a loutish rugby jock on one hand and a tender, caring guy at the same time, but Harris pulled it off. He made Machin a very believable character with that tough-soft combination. He even looked the part: a rough guy who could (and did in real life) muck it up with the best of 'em in a very physical sport. Harris was so good that one minute you really rooted for him; the next minute you'd think "the hell with this moron."
Roberts evoked similar emotions. You wanted this bitter and angry woman to be happy, yet sometimes you thought she didn't deserve someone who seemed to care. As a man, I felt Frank's frustration in trying to get to this lady, who might have a lot to offer (besides sex) if she'd just let go of the past and her anger. She's also upset about being a "kept woman," something this generation doesn't understand. In Margaret's day, you didn't stay in the same house with a man unless you were married. The neighbors were talking, and she was shamed. Roberts, I am told, had many demons in her life and didn't have the career of her co-star, but she was a fine, fine actress.
Both these man characters were simple and complex, at the same time. This is why I looked at this film as a character study of two people, instead of a depressing melodrama, which some have labeled it. Yeah, it's not "Mary Poppins" but I didn't find it that depressing. I also enjoyed William Hartnell as "Dad" Johnson. I wish his role had been bigger. He was a very intriguing guy. The rugby team's owners were portrayed - as many were back then - as nothing but exploitive.
Another big part of the reason I basically enjoyed the film was the excellent direction and photography, and the fantastic DVD transfer given to us by Criterion. This is a pristine print: no spots, now flaws - just a fabulous picture. If you enjoy the cinematography of film noir, you'll like this. If you appreciate powerful human dramas, you'll find it worth your while.
Margaret preferred to wallow in past pain. Except for her kids, which she doesn't dwell on anyway, she didn't want to have much to do with life. Even in the end, a doctor notes something about her will to live being weak. (You'd think having two nice kids would be motivation to live.) Anyway, she does slowly began smiling and opening up and being a nice person. However, Frank and Margaret are rarely on the same page. When they were, they made a nice couple.
The film also went from a tight, action-drama in the first half hour to a straight drama the second half hour to a melodrama over the last hour. It had a tightness in the beginning, an edgy feel to it, whether it was Frank on the playing field or trying to make headway with Margaret and her two small kids. Then, it slowly got almost into a soap opera mindset but still kept my interest if only to find out what wound happen to this "couple."
Kudso to Richard Harris and Rachel Roberts ("Margaret") for keeping it interesting because it's a fairly long film and there is a long segment where very little happens. Both Harris and Roberts were up for Academy Awards. I thought Harris was the standout here. It's hard to be a loutish rugby jock on one hand and a tender, caring guy at the same time, but Harris pulled it off. He made Machin a very believable character with that tough-soft combination. He even looked the part: a rough guy who could (and did in real life) muck it up with the best of 'em in a very physical sport. Harris was so good that one minute you really rooted for him; the next minute you'd think "the hell with this moron."
Roberts evoked similar emotions. You wanted this bitter and angry woman to be happy, yet sometimes you thought she didn't deserve someone who seemed to care. As a man, I felt Frank's frustration in trying to get to this lady, who might have a lot to offer (besides sex) if she'd just let go of the past and her anger. She's also upset about being a "kept woman," something this generation doesn't understand. In Margaret's day, you didn't stay in the same house with a man unless you were married. The neighbors were talking, and she was shamed. Roberts, I am told, had many demons in her life and didn't have the career of her co-star, but she was a fine, fine actress.
Both these man characters were simple and complex, at the same time. This is why I looked at this film as a character study of two people, instead of a depressing melodrama, which some have labeled it. Yeah, it's not "Mary Poppins" but I didn't find it that depressing. I also enjoyed William Hartnell as "Dad" Johnson. I wish his role had been bigger. He was a very intriguing guy. The rugby team's owners were portrayed - as many were back then - as nothing but exploitive.
Another big part of the reason I basically enjoyed the film was the excellent direction and photography, and the fantastic DVD transfer given to us by Criterion. This is a pristine print: no spots, now flaws - just a fabulous picture. If you enjoy the cinematography of film noir, you'll like this. If you appreciate powerful human dramas, you'll find it worth your while.