Morgan, an aggressive and self-admitted dreamer, a fantasist who uses his flights of fancy as refuge from external reality, where his unconventional behavior lands him in a divorce from his wife, Leonie, trouble with the police and, ultimately, incarceration in a lunatic asylum. —IMDb
Karel Reisz was born in 1926 in Czechoslovakia. He came to England in 1938 as a Jewish refugee, one of the six hundred children rescued by Sir Nicholas Winton. After attending Leighton Park School, he joined the Royal Air Force towards the end of the war. Both his parents died at Auschwitz. Following his war service, he read Natural Sciences at Emmanuel College, Cambridge, and began to write for film journals, including Sight and Sound. He co-founded Sequence with Lindsay Anderson and Gavin Lambert in 1947.
Reisz was a founder member of the Free Cinema documentary film movement. His first short film, Momma Don’t Allow (1955), co-directed with Tony Richardson, was included in the first Free Cinema programme shown at the National Film Theatre in February 1956.
His first feature film Saturday Night and Sunday Morning (1960) was based on the realist novel by Alan Sillitoe, and used many of the same techniques as his earlier documentaries. It won several BAFTA awards including the… read more
not to take away from david warner's individuality since he's terrific in the film, but if tom courtenay & malcolm mcdowell had a love child, he'd look like warner!
one of the most interesting, zaniest films of the 1960s in terms of form & narrative. & most likely one of the least viewed, sadly. an ultra-key film of the british new wave, if we're talking about the significance of periodising films. it bridges the early 60s films like Billy Liar (1963), A Kind of Loving (1962 & the total anarchy of If... (1969).
i've been looking for this film for years! it has made a lifelong fan of david warner,how about more of him?
I was 16 when I saw this simultaneously exhilarating and unsettling film in 1966. At the time, I loved MORGAN: A SUITABLE CASE FOR TREATMENT so much that I named my dog Morgan.
"There are few contemporary filmmakers who grasp narrative as an expressive instrument in itself, and even among them Apichatpong Weerasethakul