Review: ‘Sunday Bloody Sunday’

John Schlesinger's Sunday Bloody Sunday is a low-keyed, delicately-poised recital of triangular love in which Glenda Jackson and Peter Finch share the affections of AC-DC Murray Head. The visible sexplay, however, is diffident, the storyline sparse. Observation and character are all.

John Schlesinger’s Sunday Bloody Sunday is a low-keyed, delicately-poised recital of triangular love in which Glenda Jackson and Peter Finch share the affections of AC-DC Murray Head. The visible sexplay, however, is diffident, the storyline sparse. Observation and character are all.

The story’s bi-sexual triangle differs in that it’s not menage-a-trois stuff. Head goes from one pad to the other. Scripter Penelope Gilliatt with nice economy of dialog, is herein observing the emotional incompleteness of people and how they try to cope.

Jackson is a career femme on the rebound (separated from husband), Finch is a Jewish doctor, and Head, youngest of the trio, is a sculptor-designer oscillating between homo and hetero affairs and career.

Sequence after vignette after sequence larded with deft little touches, all add to this story’s cumulative message, namely that half a loaf is often better than none.

1971: Nominations: Best Director, Actor (Peter Finch), Actress (Glenda Jackson), Original Story & Screenplay

Sunday Bloody Sunday

UK

Production

United Artists. Director John Schlesinger; Producer Joseph Janni; Screenplay Penelope Gilliatt; Camera Billy Williams; Editor Richard Marden; Art Director Norman Dorme

Crew

(Color) Available on VHS, DVD. Extract of a review from 1971. Running time: 110 MIN.

With

Glenda Jackson Peter Finch Murray Head Peggy Ashcroft Maurice Denham Vivian Pickles
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