Film - Feature | October 13 | 7 p.m. | Berkeley Art Museum and Pacific Film Archive
Lindsay Andersons first feature plunges into the muck of manhood: it opens in the midst of a blunt, muddy clash of bodies on the rugby field. A tooth-crushing punch batters footballer Richard Harris and knocks loose a series of fragmented flashbacks, to the mines and to a boarding house where a pretty widow (Rachel Roberts) resists Harriss ungainly advances, until a violent need erupts. These temporal dissociations create the effect of a narrative, and a life, with little forward motion. Harris gives a Brandoesque yet distinctive performance as a bruised, hulking man, harboring secret sensitivities, angry and not particularly young. Hes just a bit dazed, his handlers say after the knockout; meandering through a bleak northern landscape, his murky stream of consciousness shapes the films subjective form of realism, the roar of the crowd mingling with voices in the mind.
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