Despite success on the field, a rising rugby star senses the emerging emptiness of his life as his inner angst begins to materialize through aggression and brutality, so he attempts to woo his landlady in hopes of finding reason to live.
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Resnaisian editing brings us into their relationship without preamble, and the images drop us into the spaces between them, seeing each with the other, creating fragmentary sequences of formal and emotional weight.
A disparately visceral film that has the building blocks for something satisfying but, despite taking fire in select episodes, fails to truly engage. At first this seems the fault of the choppy flashback narrative, but the fault lines sit more firmly with mute character motivation and development. As was so often the case Anderson has a good grip on situation if not cohesive narrative: all brick and little cement.
The similarities between this film and RAGING BULL, (content, structure, style), have been noted frequently. As impressive as Scorsese's film is, it's more one to admire at a distance. Anderson's masterpiece creates real flesh and blood people, with soul. RICHARD HARRIS, at his best, can play the sensitive brute better than anyone, including Brando or De Niro while RACHEL ROBERTS has the power of a Bergman actress.
A “Raging Bull” before “Raging Bull,” and while not as amazing a film as that (because c’mon, it’s “Raging Bull”) it is pretty damn great in it’s own right, and the best showcase of British social realism I’ve yet seen.
Importante filme que marca el inicio de una gran década británica. Anderson retrata a un personaje ambiguo. Una mezcla de Brando con La Motta, apasionado y hosco, sentimental y violento. Machin, el minero que por un "golpe de suerte" (y esto es literal) se volvió famoso. En paralelo, usará su misma agresividad para enamorar a una mujer que convive con un fantasma. Esa escena de sexo/violación es como el amor/odio.