Sunday Bloody Sunday

1971

Action / Drama

23
IMDb Rating 6.9/10 10 7994 8K

london, england love triangle sexuality bisexuality artist romance

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Plot summary

Recently divorced career woman Alex Greville begins a romantic relationship with glamorous mod artist Bob Elkin, fully aware that he's also intimately involved with middle-aged doctor Daniel Hirsh. For both Alex and Daniel, the younger man represents a break with their repressive pasts, and though both know that Bob is seeing both of them, neither is willing to let go of the youth and vitality he brings to their otherwise stable lives.

Director

John Schlesinger Photo
John Schlesinger

Top cast

Aileen Lewis Photo
Aileen Lewis as Woman Under Umbrella
Martin Lawrence Photo
Martin Lawrence as Barmitzvah Guest
Arthur Goodman Photo
Arthur Goodman as Rabbi
Helen Lindsay Photo
Helen Lindsay as
1080p.BLU
1.64 GB
1920*1080
English 2.0
R
Subtitles
23.976 fps
1 hr 50 min
Seeds 10

Movie Reviews

Reviewed by CinemaSerf 7 / 10

“Bob” (Murray Head) rather has his cake and

“Bob” (Murray Head) rather has his cake and eats it here as he enjoys being the centre of a consensual love triangle between older Jewish doctor “Daniel” (Peter Finch) and the bored “Alex” (Glenda Jackson). It’s not a venal arrangement, but he does play them off one and other by giving them enough to stay interested but never enough to get tired of him, or the scenario. Their young plaything is an artist - think Meccano rather that Monet - and when an opportunity to visit New York comes he has a new choice to make and difficulty telling his partners while they have to get to grips with the prospect of having none of him at all in their respective lives. Recently divorced “Alex” is weary. Of her job; of screaming kids around her all the time, of sharing her beau. She has tried other dalliances, but somehow this youthful man has an hold over her that has a rejuvenating effect. “Daniel” is steeped in a culture that fully expects him to wed a suitable young woman - or even a divorcée - to augment his professional status. He isn’t “out” nor is that a possibility, nor is he really in love with “Bob” either. He realises the man is toxic (with a small t) for his life, but like “Alex” reckons he’s better with him in it than the unthinkable alternative. As the week before his trip unfolds, we follow this trio through the trials of that time where truth melds into fantasy and each much face their own demons. Finch probably has more meat on his part and he plays the conflicted gent with a subtle positivity - even with some of his more hypochondriac patients. Jackson, likewise, adopts a smilingly stoic characterisation with a degree of realism that makes her performance come across as entirely natural. It’s Head, though, whom I think really stands out. Ostensibly flighty and selfish, but actually the more he portrays “Bob”, the more lifelike and complex his character becomes and the more unsatisfying his almost transient existence starts to appear. It’s not the quickest of films, pace-wise, but I think that lets the performances and quite a potently observational script permeate a little deeper before a denouement that is probably the only one that would have worked. It has dated, with much of the shock factor now dissipated, but it’s still quite an interesting dissertation on early 1970s mores.
Reviewed by

Reviewed by Xstal 7 / 10

Now You See Me, Now You Don't...

You spend your time flitting from one nest to another, you kind of toss a coin, follow your nose, to find what you discover, could be Alex for a while, then might be Daniel's time to smile, the best of both worlds if you get time to recover. Alas, both partners find it trickier than you, as you leap from pad to pad one feels eschewed, because they want you to themselves, want you to put back on the shelves, the other copy, and close the door, as you withdraw.

A little bit dated but three fine performances that are as engaging as they were back then, although you may have a stronger connection if there are similarities in the characters plights that link to your own tale.

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