Saturday Night and Sunday Morning

Saturday Night and Sunday Morning is a British realistic drama movie released in 1960, starring acclaimed actors Albert Finney, Shirley Anne Field, and Rachel Roberts. This classic film was directed by Karel Reisz, adapted from the novel of the same name by Alan Sillitoe. The film is famous as a significant part of the British New Wave of films, a cultural movement in the 50s and 60s that shifted the perception of British cinema by tackling controversial and social issues that were often depicted with a touch of raw realism.

The narrative centers on Arthur Seaton, a young and charming Nottingham lad, profoundly portrayed by Albert Finney. He is a factory worker who is rebellious, disillusioned, and full of life. During the week, he is submerged in the monotony and harshness of his life at the factory but transforms into a carefree and spirited individual every weekend, laying claim to his own hours.

On Saturday nights, Arthur immerses himself in the vibrant, local pub culture where he drinks excessively and parleys with friends, colleagues, and potential romantic interests. The character is established as a prototypical 'Angry Young Man', a literary and cultural archetype of mid-twentieth-century Britain, signifying a fresh wave of young, working-class individuals who express their disdain and dissatisfaction for the established norms and social inequalities.

Throughout the film, Arthur becomes involved in an illicit and passionate affair with Brenda (played authentically by Rachel Roberts), an older married woman whose husband happens to be Arthur's work colleague. This affair kindles, even more, the rebellious nature within Arthur as he despises the mainstream moral and matrimonial norms. During these romantic liaisons, Albert Finney captures the nuances of his character's tangled emotions effectively, successfully conveying a young man's struggle against the deciding powers of society.

Shirley Anne Field plays the equally compelling character, Doreen, a young woman who catches Arthur’s eye. Doreen embodies respectable modesty and virtuous ambitions of having a nice house and a comfortable life, which starkly contrasts Arthur's reckless and lively character. This dynamic serves as an interesting juxtaposition and effectively showcases the differing aspirations of young people of that time.

The film captures the essence of the working-class life of mid-20th century Britain, shedding light on the societal norms, the monotony of factory work, and the limiting expectations. The cinematography leverages the industrial landscape of Nottingham to underpin Arthur’s suffocating routine and offer a visual representation of the frustrating grind that many working-class citizens found themselves in.

The screenplay does an excellent job juxtaposing Arthur's reckless demeanor against the grinding monotony of his daily life. Karel Reisz's bold vision and strong storytelling abilities are evident throughout the film, with the narrative presenting an uncompromising view of post-war Britain. The interplay of various characters and perspectives in the narrative foregrounds the conflicts, struggles, and everyday life of ordinary Britons.

The film significantly challenged the conservative outlook of the British film industry at the time, thanks to its portrayal of working-class life, acknowledgement of societal disillusionment, and exploration of adult relationships in an honest, raw, and open manner. It resonated with quite a large section of the audience, directly addressing the angst of the upcoming generation against societal norms, which made it a powerful progressive film for its time.

Brilliantly acted and directed, Saturday Night and Sunday Morning is a compelling exploration of life, love, and rebellion in an industrial town of England. The movie stands out as an important milestone in British cinematic and cultural history, with Albert Finney’s strong, charismatic performance, excellent supporting cast, and stark depiction of working-class life providing an enduring testament to the British New Wave cinema.