Karel Reisz - The French Lieutenant's Woman (1981)

From Amazon.com reviews:
It's a real shame that so few people have seen this film. It is a hidden treasure. Meryl Streep and Jeremy Irons play present-day actors who are making a film about two people having an affair in Victorian England. The actors themselves are also involved in an affair, making the story a sort of movie-within-a-movie.The story, the performances, the settings, the cinematography and the writing are all first-rate. All connected with this film obviously took a lot of time and effort to make a visually stunning film. It still looks great 20 years after its release. Possibly the reason this film has been largely forgotten is the timing. This film was released in 1981, a year or two before Streep's blow-you-away performance in Sophie's Choice. That performance was so spectacular that many have forgotten just how good 'French Lt.' is. If you want to see one of the finest actresses of our time, Meryl Streep in 'The French Lieutenant's Woman' is a performance you will not want to miss.






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no pass

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Subtitles --> http://www.all4divx.com/subtitles/The+French+Lieutenant%27s+Woman/any/1
No Pass

Karel Reisz - We Are the Lambeth Boys (1958)

Description: Karel Reisz's We Are the Lambeth Boys (1959) has much in common with Lindsay Anderson's Every Day Except Christmas (1957). It was produced by Leon Clore, sponsored by Ford for its Look at Britain series, filmed by the usual Free Cinema technical staff - in particular cinematographer Walter Lassally and editor John Fletcher - and delivered in the same 50-minute format.

The film once again took a sympathetic approach to an aspect of working-class life largely neglected by commercial British cinema. After Every Day's dignified depiction of market workers in Covent Garden, Lambeth Boys attempted to deliver a positive portrait of the lives of ordinary teenagers, far from the usual violent 'Teddy Boy' stereotype. In a sense, the film also developed the theme initiated by Reisz and Tony Richardson in Momma Don't Allow three years earlier.

Lambeth Boys was shot over six weeks in the summer of 1958 in and around the Alford House, a youth club in the Oval area of South London. It follows a group of teenagers at work, at home and in their leisure time, giving them space to express their frustrations and aspirations.. The film is never so good as when it lets the camera move around the group or capture their faces in close-up, rather than providing facts and figures or a sociological analysis.

In a famous article on the film in Sight and Sound, sociologist Richard Hoggart talked of it as a 'film essay' rather than a documentary, because, as he claimed, "it sets out to show, not the whole truth, but some aspects of the truth, wholly". From that perspective, the film succeeded in embodying "the strength and variety of these young people's vitality, their lively, tolerant and complex sense of community".

However the film suffers similar drawbacks to Every Day Except Christmas: the unnecessary voice-over commentary gives it a paternalist tone which undermines the sensitivity of Reisz's images and natural sound, and seems obsolete to today's spectator. The film also loses some of its 'poetic authenticity' by trying too hard to show how nice these youngsters are.

A success at the Free Cinema 6 screenings at the NFT in March 1959, Lambeth Boys won the Grand Prix at the Tours short film festival in France and represented Britain at the Venice film festival. By that time, though, Reisz had already moved on to direct his first feature, Saturday Night and Sunday Morning (1961).

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no pass

Karel Reisz - Saturday Night and Sunday Morning (1960)

Synopsis
The sights and sounds of industrial Nottingham resonate with a grimy thud as Arthur Seaton works his tedious factory job. Through ale, women and practical jokes, he vents his frustrations against the "establishments" of work and marriage... until his reckless ways lead him to a night that changes his life. Forced to reevaluate his convictions, Arthur must decide exactly what he stands for.












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no pass

Karel Reisz - Night Must Fall (1964)

Allmovie.com:

"Albert Finney stars in this second film version of Emlyn Williams thriller about an innocent looking but psychopathic killer named Danny. Danny is a Welsh hotel bellboy who commits an axe murder near the home of Mrs. Bramson (Mona Washbourne), a well-to-do widow. Danny disposes of the body in a nearby lake and charms Mrs. Bramson and her maid Dora (Sheila Hancock) into allowing him to stay with them. At Mrs. Bramson's home, Danny plays psychological games with Mrs. Bramson while seducing her daughter Olivia (Susan Hampshire)."














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no pass

Karel Reisz & Tony Richardson - Momma Don't Allow (1956)

Description: In March 1954, Karel Reisz and Tony Richardson submitted a proposal to the BFI Experimental Film Fund for a short documentary. At the time, Reisz was working for the bfi as programmer of the National Film Theatre, while Richardson was a young BBC television director. The film, originally titled Jazz, was about a Saturday evening in a North London jazz club.

The film was shot on 16mm film during Winter 1954-5 with a total grant of just £425 (the pair had requested only £232). By the time the it was completed in November 1955, its title had been changed to Momma Don't Allow.

On 25th January 1956, a few days before the Free Cinema event, Momma Don't Allow was screened as part of a programme of bfi-funded films for press and industry representatives at the NFT. Press reviews were very encouraging.

Momma Don't Allow was warmer and more sympathetic to its working-class subjects than Lindsay Anderson's earlier O Dreamland (1953), which also formed part of the first Free Cinema programme. The film captures the emerging 'youth culture' - a term unheard of before the 1950s - contrasting the relaxed, confident working-class Teddy Boys and their girlfriends with the more awkward 'toffs' whose arrival threatens to change the mood of the evening.

Following Momma Don't Allow, Richardson became increasingly involved in theatre and film production, and never made another Free Cinema film. He was, however, the first of the Free Cinema figures to make the move into feature films, setting up Woodfall Film Productions with playwright John Osborne. Woodfall's first release was an adaptation of Osborne's stage hit Look Back in Anger (1959), directed by Richardson.

Reisz was appointed film officer by car manufacturer Ford, which later funded Lindsay Anderson's Every Day Except Christmas (1957) and Reisz's own We Are the Lambeth Boys (1959).






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no pass

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