Sunday, Bloody Sunday
Sunday, Bloody Sunday was made by director John Schlessinger, a year after his Academy-Award winning Midnight Cowboy. As in his previous film, Sunday, Bloody Sunday examines themes of bonding and commitment via unconventional relationships. But the themes that emerge are as relevant to even the most conservative couples.
The telephone features prominently in this film. Thanks to telephones, we can try to gain access to people whenever we want; similarly, we can make ourselves selectively available. The same is true of relationships in general. Here, it just so happens that two of the characters, Alex, and Daniel, share not only the same answering service, but the same lover: a flighty young man called Bob, who flits between them, fleeing from one and seeking solace with the other when things become too difficult.
Although there’s an emphasis on the bed-hopping, this film is not about sex, and despite its “R”-rating, the sexual content is extremely tame by today’s standards.
Bob’s problem is not one of sexual infidelity, or promiscuity, but of his sheer inability to make a mature commitment to either of the people with whom he is involved. Instead, he makes them feel as if they are unreasonable for wanting “too much” from him.
This film has much to say about the politics of modern relationships. In one scene, for instance, attendees at a social gathering recoil as a woman descends into a drunken barrage regarding her husband’s affair with their au pair. Yet an encounter between Bob’s two lovers is surprisingly civilised.
Sunday, Bloody Sunday explores the sacrifices that we make in order to establish and maintain a long term bond with others, and what is required in order to make it successful.
Can we have it all? Are we settling for second best if we compromise? Is Alex’s relaxed attitude towards relationships modelled on her mother’s relationship to her father? And is Daniel happy to have illicit moments of homoerotic intimacy behind the veneer of his more acceptable persona as a middle-aged Jewish doctor? Other themes have probably become more prominent since the film was first made, such as: how liberal should parents be, when raising their children?
The only flaw in this film, is that the camera should have focused more on Peter Finch. So much of his character is revealed by his facial expressions, rather than what he says. While the performances of Glenda Jackson, and even a small role by Peggy Ashcroft are very good, it is Finch whose performance is outstanding and very, very moving.
Sunday, Bloody Sunday has certainly stood the test of time and is gently thought-provoking. The use of predominantly classical themes throughout the film (most notably the recurring strains of Soave soa’il vento from Cosi fan Tutte), imbue the film with a transcendent feeling: is it the carnal or true emotional intimacy, or being at peace with what life offers?