Seeing the credits fade to the terrific slice of Ealing class Johnny Frenchman (1945-also reviewed),I decided to take a look at the credits of Johnny director Charles Frend, and found an intriguing title, leading to me meeting the girl on approval.
View on the film:
Aiming at the incoming Kitchen Sink style of British cinema, the screenplay by Kathleen White, (who worked in childcare, with this being her lone credit) attempts to contrast the meek, mild (from the appearance of those looking on the outside) middle class Howland family, with the disenfranchised Sheila.
Entering the Howland household hating the very sight of them, White has Shelia act as a snot-nosed git, cutting clothes, smashing the house up, getting into physical fights with the Howland's, stealing/ hiding a large pair of scissors, constantly threatening to leave, (and using this to getting the upper-hand in relationships, just like psychopaths do) and permanently being set on passive-aggressive.
Attempting to show progress near the end of the film between Shelia (played with a real rough edge grit by Annette Whiteley) and Howland, which ring out as false, due to how abruptly and forced-in the sequences feel,each coming straight after scenes of the relationships suffering huge deterioration, while director Charles Frend & future Sam Peckinpah's regular cinematographer John Coquillon unlock an up-close and personal atmosphere of tightly coiled panning shots round the confine house, breaking to stark close-ups,on the girl on approval.
View on the film:
Aiming at the incoming Kitchen Sink style of British cinema, the screenplay by Kathleen White, (who worked in childcare, with this being her lone credit) attempts to contrast the meek, mild (from the appearance of those looking on the outside) middle class Howland family, with the disenfranchised Sheila.
Entering the Howland household hating the very sight of them, White has Shelia act as a snot-nosed git, cutting clothes, smashing the house up, getting into physical fights with the Howland's, stealing/ hiding a large pair of scissors, constantly threatening to leave, (and using this to getting the upper-hand in relationships, just like psychopaths do) and permanently being set on passive-aggressive.
Attempting to show progress near the end of the film between Shelia (played with a real rough edge grit by Annette Whiteley) and Howland, which ring out as false, due to how abruptly and forced-in the sequences feel,each coming straight after scenes of the relationships suffering huge deterioration, while director Charles Frend & future Sam Peckinpah's regular cinematographer John Coquillon unlock an up-close and personal atmosphere of tightly coiled panning shots round the confine house, breaking to stark close-ups,on the girl on approval.