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Friday, March 11, 2011

Classic Films: Sunday, Bloody Sunday

Sunday, Bloody Sunday                                                                     March 4, 2011
MPAA Rating: R
Suggested Rating: R for Adult Themes, Nudity and Sexuality
Distributed by United Artists
Starring: Peter Finch (Dr. Daniel Hirsch), Glenda Jackson (Alex Greville), Murray Head (Bob Elkin)
Directed by John Schlesinger

“When you're at school and you want to quit, people say 'You're going to hate it out in the world.' Well, I didn't believe them and I was right. When I was a kid, I couldn't wait to be grown up, and they said 'Childhood is the best time of your life.' Well, it wasn't. And now, I want his company and they say, 'What's half a loaf? You're well shot of him'; and I say 'I know that... but I miss him, that's all' and they say 'He never made you happy' and I say 'But I am happy, apart from missing him. You might throw me a pill or two for my cough.' All my life, I've been looking for somebody courageous, resourceful. He's not it... but something. We were something. I only came about my cough.” – Dr. Daniel Hirsch.
Sunday, Bloody Sunday exists within a state of stagnancy, it addresses the issues of the end of conservative principles, and the beginning of liberalism, yet these people are indecisive and anxious in whether they should adhere to their older principles of bourgeois culture or whether to embrace their new social identity to the extent of which their identity entails. Paradoxically, it causes the two protagonists on which this film centres to question the radical principles which encouraged individualism and questioning. It is about the inevitability of change and the gradual acceptance of this.
 ‘Can you feel anything?’ Dr. Daniel Hirsch asks a patient of his, by the end of this film he is asking himself this question, I believe this quote addresses the characters and their conflicts. The scene begins as Dr. Daniel Hirsch (Peter Finch) is pushing down on the stomach of his patient in order to detect his area of pain; the exposed human flesh is a key component in this film, it corresponds with the the fallibility, or perhaps the vulnerability of the human condition, particularly that in the characters. Ultimately Sunday always felt like a missed opportunity. One can never do anything on a Sunday except for contemplate and reflect upon their day lamenting what could have been. This is a parallel of the characters depicted in this film, whose lives have ultimately served no purpose, they question why they had invested time into such a lost cause and all they can do to alleviate the pain is reflect upon their lives.
Britain is in the thrall of an economic crisis, during this and their isolation middle-class citizens Daniel Hirsch and Alex Greville (Glenda Jackson) find solace in their lover Bob Elkin (Murray Head) whose preoccupation with his bourgeoning career causes a distance between he and his lovers. When he interchanges between them they embrace him and aver their love towards him ‘I love you’ they both say to him. Yet, they are both aware of the existence of the other lover, lest Bob leaves them; they don’t seem to mind because he accommodates them with his presence. Daniel and Alex have personal conflicts, from which they are able to escape when Bob visits them. Bob frequently speaks about the possibility of leaving Britain and moving to New York for the purpose of selling a product, they realise their generational gap and the difference between their principles.
Bob exhibits indifference towards middle-class principles; he cannot stand children and leaves Alex at home to care for their good friend’s children, as they were assuming responsibility for them when their friends were absent, Bob left and decided to spend time with Daniel. Alex and Bob later quarrel over this incident.
“Don’t come to me like a possessive wife!” Bob exclaims, Well, I wouldn't if you hadn't left me with five children and a dog!” Alex responds bitterly. “Look, I know you feel you're not getting enough of me, but you're getting all there is.” Bob explains, Alex responds with “Well, you're spreading yourself a little thin, aren't you?”. Bob had been preoccupied with his bourgeoning career than contact with his lovers, she is bitter due to this. She is educated and possesses a piercing intellect and yet, she is unable to form meaningful relationships with others. In one scene when Bob is not present she sleeps with a man who is a client of hers, for the purpose of making contact with someone, anyone, out of sheer desperation.
John Schlesinger does not condemn these characters, he perceptively observes these characters and their conflicts with a sympathetic eye, their conflicts are caused by being inhabited by a social stigma. Alex is 35 years of age and has not yet married due to her inability to form relationships. Daniel is also middle aged and also not yet married, although this is due to his homosexuality, his attitude towards his sexuality is nonchalant and yet he has not informed his family of this, who pressure him into meeting women regardless of his indifference.
This film depicts the aftermath of the counter culture of the 1960s. These people are uncertain of the direction in which their lives are headed, they question the purpose of their own revolution and why they had invested time into it. What did happen to the children of the sexual revolution? They grew up, and now must decide whether to adhere to their previously established principles or adhere to the new radical principles towards which they were previously confident.
Bob chooses his career over his relationships with these two isolated individuals, why do we choose to be with someone for the remaining years of our lives? Because without human contact and relationships, we’re ultimately an indistinct memory in the minds of others, of as much value as 100 kilograms of meat. These characters were not in love with Bob but the notion of being in love, they yearned for a greater purpose and fulfilling relationship with someone was close. Inevitably, he was a lost cause. Daniel and Alex now exist within a indeterminate state, existing but not living, and they all must re-evaluate their subjective definition of the word ‘love’ and accept the inevitable.
They had planned the weekend with ambition and yet we always seem to land on Sunday, the inevitably unsatisfying.

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