The story concerns a trio of Londoners involved in an ill-fated love triangle. Daniel Hirsch (Peter Finch) a middle-aged Jewish doctor finds himself falling in love with a young kinetic sculptor named Bob Elkin (Murray Head) who refuses to commit to him. Bob is also seeing Alex Greville (Glenda Jackson), a recent divorcee who is also in love with him. While Alex is trying to reject the stifling, conventional marriage of her parents, she finds herself struggling with the idea of sharing Bob with Daniel.
Fractures in the tenuous setup begin to widen during a weekend that Alex and Bob are supposed to spend together house sitting for some bohemian friends and their five children. Alex views this time as a “proper weekend” for her and Bob to spend together; Bob on the other hand, leaves regularly, even spending an afternoon in bed with Daniel. Nonetheless, Bob isn’t above walking out on Daniel either. At one point he storms out of a party at Daniel’s and into Alex’s arms. Yet somehow, Bob is oblivious as to why his lover’s are jealous of each other.
The story, with a screenplay credited to Penelope Gilliat (though much of the dialogue came from an uncredited rewrite by David Sherwin (If …) has a structure that allows for scenes that don’t necessarily move the plot forward, but provide interesting insight into the lives of Daniel and Alex. Bob isn’t as important; it’s through the two older characters that the film’s core message is delivered. These are two people who understand you must make personal sacrifices to survive in this world. For example, Daniel isn’t bothered by his homosexuality and out to his friends. However, he hasn’t revealed his sexuality to his close-knit, traditional Jewish family. Letting them continue to try and find him a wife is a way to survive and keep the peace. Alex tells us late in the film, “Some people believe something is better than nothing, but I’m beginning to believe that nothing can be better than something.” Despite her claims, we tend to think she’ll settle for something next time around. After all, when it comes down to it, no one wants to spend their life alone. No set of personal beliefs is worth permanent loneliness.
Schlesinger’s direction is surprisingly low-key. Realistic and gritty, the action is confined to a very specific time and place. In this case, the economic crisis gripping Britain in the 1970’s plays a central role, as Bob prepares to leave for America with hopes of a better opportunity to make a living as an artist.
Sunday Bloody Sunday works so well largely because of the strong performances by Peter Finch and Glenda Jackson. The both effectively represent resigned acceptance. Their increasing jealousy is tangible. They are two people in the same boat, but come to contradictory conclusions: Daniel resigns himself to “half a loaf,” having convinced himself that the advice that he gave to a patient’s family, “people can manage on very little,” can be applied to his relationship with Bob. Alex, on the other hand, isn’t willing to compromise. She wants Bob to be hers and only hers, despite her supposed strains against convention.
If Sunday Bloody Sunday has a weakness, it’s Murray Head. While he definitely mastered Bob’s selfishness, but he doesn’t evoke any reason why Daniel and Alex fell in love with him. He such a capricious guy, it’s hard to believe anyone could fall in love with him. Perhaps Schlesinger wanted him to be one dimensional to prove the point that falling in love isn’t a rational act. Whatever the case, Sunday Bloody Sunday dwarfs Midnight Cowboy when John Schlesinger’s career is discussed, but both should be considered classics.
Presented in its original 1.66:1 theatrical aspect ratio, Criterion’s DVD release is as good as you will see in standard definition. The film’s gritty visual style is nicely captured. No signs of age are evident. Colors are fairly subdued, which represents the film very well.
The English Dolby Digital 1.0 Mono audio is clean, free of hisses and other anomalies.
English subtitles are available.
The following special features are included:
- Interviews with Cast and Crew: Criterion conducted several interviews in 2012 for inclusion here. Actor Murray Head (7:31) and Cinematographer Billy Williams (13:15). Williams discusses his contributions to the film and its unique qualities. Head discusses what it was like to participate in the film. Production designer Luciana Arrighi (9:34) discusses the unique design of the film.
- Interview with Schlesinger’s Partner, Michael Childers (7:01) Childers discusses how he and Schlesinger met and ended up collaborating during the course of their relationship. Most of his recollections involve the preparations for Sunday Bloody Sunday.
- Interview with Schlesinger biographer William J. Mann (25:00) Mann discusses the making of the film, its success and the controversy surrounding the film’s release.
- Trailer (2:35) Original trailer for Sunday Bloody Sunday.
- Booklet: A 30-page booklet featuring essays by film critic Terrence Rafferty and cultural historian Ian Buruma, as well as screenwriter Penelope Gilliatt’s 1971 introduction to the film’s screenplay.
