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A KIND OF LOVING

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Friday, April 7 - Thursday, April 13

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Directed by John Schlesinger

Starring Alan Bates and June Ritchie

NEW RESTORATION

WINNER, GOLDEN BEAR, BERLIN FILM FESTIVAL

(1962) “You’re a filthy, disgusting pig!” In a grey Northern industrial town, Alan Bates (in his first starring role, following The Entertainer and Whistle Down the Wind) is an up-and-coming draughtsman in a large firm, lives with his housewife mum and engine driver dad (also part-time trombonist in a local brass band), talks non-stop about “birds” with his mates, cheers on the local football team (Bolton), peruses “mucky” books (naked pin-ups), but has eyes for the blonde “untouchable” typist, newcomer June Ritchie’s Ingrid (named for Ingrid Bergman after her mother saw For Whom the Bell Tolls —“If I’d been a boy, I guess I’d have been named for Gary Cooper”). But it’s another time, another life – just before the Beatles revolution:  Bates sits with his pals at the company dance, Ingrid with hers; he’s too embarrassed to buy condoms when the druggist turns out to be a matron; he has to leave the room when she undresses. And then, after their shotgun civil wedding, there’s her Mother, Dame-to-be Thora Hird (“flawless as the nagging, vengeful, mother-in-law” – Dilys Powell). Definitely of the kitchen sink school, but perhaps the first to avoid melodrama, and to treat lower middle class provincials with all the dignity and sympathy of the prevailing well-made drawing room plays. Debut feature for John Schlesinger – who grew up in a middle-class Jewish family in London – soon followed by Billy Liar, Darling, Far from the Madding Crowd, and Midnight Cowboy. Screenplay by Keith Waterhouse (creator of Billy Liar) and Willis Hall. DCP restoration. Approx. 112 mins. 

A RIALTO PICTURES RELEASE

Reviews

“STRIKINGLY DIRECTED AND PHOTOGRAPHED AMID URBAN GRIME AND SUBURBAN CONFORMITY.”
– Leslie Halliwell

“KEENLY OBSERVED...MOVING IN ITS UNPRETENTIOUSNESS.”
– Time Out (London)

“Captures the world of the job, the office party, the evening out at the pictures; and above all the sense of restriction, meanness, and nagging discontent.”
– Penelope Houston

 “Has the sense of desolation so dear to the new British directors: the rainy huddled alleys of the industrial city and the bleak flat spaces of the winter seaside; the mournful sexual colloquies, more explicit than usual... But Schlesinger knows also how to use the drift and scurry of a crowd to create mood and his performers preserve a living rhythm of speech … Ritchie shows an astounding command of the inflections and inconsequences of the half-educated.”
– Dilys Powell

 “Denys Coop’s fine photography makes the most of a palette devoid of sunlight. He transmutes grime and fog into a visual suggestion of the smell of tabloid newsprint… Schlesinger shows quickly that he has compassion and perception as well as an eye for composition and for angles which underscore mood…. He builds his film out of the interplay and rhythm of dialogue, rather than with intrusive editing or hypodermic musical score… Bates plays Vic with such direct goodheartedness that even his recalcitrance affects us as the sulkiness of a child whom basically we like.  His hushed infatuation and his puzzlement at its short life are equally touching.”
– Stanley Kauffmann