Exoticalot People are voting emotionally.

Kailansorac Clever, believable, and super fun to watch. It totally has replay value.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Lela The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

elvircorhodzic Saturday NIGHT AND Sunday MORNING is a drama about a young and rebellious machinists, who shows a form of self-destructive behavior. Film is an adaptation of the 1958 novel of the same name by Alan Sillitoe.The main protagonist is a tough and robust worker at a Nottingham factory. He has a rebellious and somewhat cheeky attitude toward the lives of people around him. He is a diligent worker, but he spends his wages at weekends on drinking and having a good time. A wife of his older colleague is a his "pastime" during the weekend. However, he begins a more normal relationship with a beautiful single woman closer to his age. Problems start when his older mistress gets pregnant and demands his help in terminating the unwanted pregnancy...The main protagonist is a grouchy and skeptical young man. This is perhaps a disease of a young working class in industrial zones and traditional societies. The courage and dignity are, in some way, shaken in this film. Such relations seem impressive in an explicit and intimate story. A young man is faced with life's temptations. A solid relationship between people does not exist in this movie. It all boils down to a simple pleasure, as a form of escape from the loneliness and frustration. The word, responsibility, becomes very important.Albert Finney as Arthur Seaton is an unrealized hothead, which further emphasizes the rebellion in his character. Rachel Roberts as Brenda is a tragic character. In addition to her arrogance and shameless sexual relationship, Brenda is a reflection of an unfortunate women in a failed marriage.Shirley Anne Field (Doreen) is a quiet and beautiful girl, who is ready for marriage. Norman Rossington (Bert) is Arthur's faithful companion and sincere friend. Bryan Pringle (Jack) is a quite reserved Brenda's husband.Mr. Reisz has managed to make a credible drama based on realistic life situations in which there are no winners or losers.

Sindre Kaspersen British New Wave director and producer Karel Reisz' feature film debut, one of the earliest films from the kitchen sink realism movement, is an adaptation of the first novel by English writer Alan Sillitoe (1928-2010) from 1958. It tells the story about Arthur Steaton, a confident, charming and indignant young man who looks forward to every weekend when he can go out and have fun with women and his friends on the local pub. Arthur works at a factory operating on machines and lives a rather quiet life with his parents in Nottingham, England, but he has gotten himself involved in a secret relationship with a married woman named Brenda whom he has strong feelings for.This engagingly directed British production which was produced by director Tony Richardson (1928-1991) and Canadian producer Harry Saltzman (1915-1994) and shot on location in Nottingham and London in England, is a well-paced character-driven and dialog-driven romantic drama with acute portrayals of young love, interpersonal relations and everyday life. With his first feature film from 1960, Czech-born filmmaker Karel Reisz (1926-2002) creates exceptionally realistic milieu depictions of industrial working-class England during the early nineteen sixties and an accomplished study of character about a young man who keeps getting himself into trouble for acting on his strong opposition against a system which he thinks is suppressing the working-class and has left their evident mark on his parents.The prominent and heartened acting performance by English actor Albert Finney and the significant and understated acting performances by Welsh actress Rachel Roberts (1927-1980) and British actress Shirley Anne Field underlines the power of this unsentimental, humorous and gripping independent film which gained BAFTA Awards for Best British Film, Best British Actress Rachel Roberts and Most Promising Newcomer Albert Finney in 1961. The cheerful score and the great black-and-white cinematography by English cinematographer and director Freddie Francis emphasizes the poignant atmosphere in this ardent piece of social realism.

johnnyboyz Saturday Night and Sunday Morning is a really stripped down, down-and-dirty covering of both life and the people in and around an early 1960s working Britain. At a time and in a place, you feel, in which living and getting by is hard enough all in itself, and that confrontation which comes with exterior events instigated by third parties would preferably be kept to a minimum for all involved such are life's other worries, the film centres around a man so embittered and carefree in relation to his actions and others around him that such events can only become apparent. Karel Reisz's film is a covering of this man; a man whose actions and feelings towards both the world and those he works with causes chaos and confrontation about every-which way of the place. Lumped, I read, with the 'X' certificate upon British release for its stark and confrontational attitude towards life in an English city seemingly devoid of soul, smiles and all else remotely pleasant; Saturday Night and Sunday Morning is a pulsating, stark and confrontational look at the dishevelment of the working class, sternly uninterested in conforming to either genre or concrete narrative framework, but morbidly fascinating as a result.The loose cannon at the heart of it all is Albert Finney's Arthur Seaton, a quite glorious portrayal on behalf of Finney of a factory worker pummelling himself into the ground both inside and outside of the work place. Occupying a simplistic terrace house overlooking a bricked up thoroughfare for pedestrians only, further more neighbouring a less-than-busy bricked up public street, Arthur lives a life amidst the gossipping middle aged female neighbours of sleaze, filth and unease. He's engaged in an affair with Brenda (Roberts), the wife of a co-worker, despite already living in with another woman, and spends most of his time drinking; womanising; smoking and as a rather hate filled man complete with big build and a mouth to match. He additionally has a penchant for gambling which, when challenged on the subject, merely replies with the hapless notion that "it's not a waste of money, I quite enjoy betting". There just isn't much talking to him.When we first encounter him, it's through his own narration to himself highlighting the disdain and dishevelment he feels towards all of his job; his boss and his co-workers in there with him. The dismissive manner at which he brushes aside the elements with the tone he adopts as the heavy machinery whirls away enraptures us straight away; the combined noise that the machinery creates twinned with the movement from the man as he works it in a manner that seems just as strange and as alien to us as it does with a calculated sense of aggression painting immediate portraits of danger. Where the film will take us after this confrontational opening is a quite harrowing descent into this man's life and mind, those around him and their lives which he makes somewhat of a misery, given ample attention.By nights, predominantly weekends, Arthur works himself into a state of numbness or until he drops in another incarnation; specifically, in the way of alcohol at a local public house rather than at hard graft in a factory. His suiting up to go out to some jazz music post-work during the evening is deceptively upbeat, as if two different personas exist within the man's life and the deliberate montage of the man, quite literally, changing in-front of us so as to venture out and become someone away from the workplace with a different set of rules deliberately ringing false, effectively instilling even more of a sense of bleakness about things. Like the scary and dystopian world in which it is set, there is no neat little core around which a stone-wall narrative may unfold or revolve around for the best part. The atmosphere of aggression and general feeling of pained immorality is everywhere; Arthur's affair with Brenda standing alongside the relationship he's in with another woman named Doreen (Field) whereas the sorts of ill-conceived and childish antics he gets up in toying with other locals offers fleeting amusement away from the dirge of everything else in everyday life.The item that brings the film to a hilt is directly linked to that of Brenda; Arthur's affair with her resulting in a pregnancy as her husband Jack, a character of a downplayed and hushed nature played by a certain Bryan Pringle, continues to mingle around heightening tension and threatening things to a point of escalation. Jack's fairly innocent persona and victimisation has us dislike Arthur more than we might've done had he been of a similar ilk; his calling in of a brother who's in the army and his friends of a hardened nature to find the man Brenda committed infidelity with a taking of action we don't believe is ordinarily the run-of-the-mill for Jack. His actions that are taken puts things into perspective, his emotions effectively established to be running dangerously high. A brief retort even sees Arthur speak of how he once saw one man take on two soldiers and beat them half to death, the sight of so much blood causing him to look away – the unsettling sense that Arthur may have been that man involved first hand in the fight a rather than the onlooker another ingredient handled remarkably. Czech born director, and future producer of the similarly themed 1963 film This Sporting Life, Reisz takes us to the edge in his feature debut; revolving every scene around the character of Arthur and his stance on life and those around him; his film is taut, terrifying and tumultuous in equal measure as a gritty, realist piece is executed marvellously.

BJJManchester "Saturday Night and Sunday Morning" was at the time a fresh,innovative opus about the British working class that had previously been stereotyped and patronised by the public school,middle class dominated domestic cinema.Time has inevitably diminished it's impact,but it still remains a raw,no-nonsense,gritty and utterly absorbing slice of life with a sharp script,well-judged direction,excellent cinematography and a fine cast topped by an outstanding,star-making lead performance by Albert Finney.Arthur Seaton (Finney),a lathe operator at Nottingham's Raleigh Bicycle factory,is disillusioned with his humdrum life and surroundings,and compensates for the boredom with his rebellion against all kinds of authority,drunken weekends,his affair with a married woman,Brenda (Rachel Roberts) while courting the younger Doreen (Shirley Anne Field).Brenda becomes pregnant and Arthur tries to assist in having the baby aborted,but after being beaten up by some of Brenda's in-laws,seems to settle for conventional married life with Doreen on a new housing estate.The events described are pretty mild by modern standards,but this was startling and unprecedented for the late 50's/early 60's,as was the behaviour of it's working class anti-hero.As brilliantly portrayed by Finney,Arthur Seaton is a boorish,boozy,amoral,lying,selfish reprobate, yet audiences then and still do empathised with all the frustrations,disappointments and anger of a character who was prepared to rebel wholeheartedly against convention and his depressing lot.It is a tribute to Finney that he makes such a surly,unlikable,anti-social character as this oddly sympathetic,adding touches of warmth and humour while delivering some memorable lines written by Alan Sillitoe.Director Karel Reisz was admittedly from a patrician,public school background,but Finney (Salford) and Sillitoe (Nottingham), used experience of their humble backgrounds to great artistic advantage, which influenced many others from similar beginnings to express themselves artistically in years to come.The authentic locations are immaculately lensed by Freddie Francis,adding a kind of poetic realism that French cinema would be proud of,with fine acting work all round by Roberts,Field,Norman Rossington,Hylda Baker (better known for her comedy but giving a fine straight performance here),Bryan Pringle and others.The influence of"Saturday Night and Sunday Morning" cannot be denied enough,bringing forth a new,more realistic if not compassionate view of the British working classes,with warts and all,and allowing new acting,writing and directing talent to express itself to the fore after years of stuffiness and stultification.Other New Wave films were to follow (A TASTE OF HONEY,LONELINESS OF THE LONG DISTANCE RUNNER,etc) and CORONATION STREET,still going after half a century,began on TV not long after with it's depictions of Northern working class life becoming an extraordinary success, but it is to this film, and talents like Karel Reisz,Alan Sillitoe and Albert Finney, that the breaking down of such barriers began, and that made it possible that realism in film could be every bit if not more entertaining than escapism.RATING:8 and a half out of 10.