In London, young lovers engage adulthood when they decide to share space, he (Robinson) an aspiring but "undisciplined" writer of esoteria, she (Penhaligon) unsure of a career but showing a flair for the physical arts. The marketing motifs and year of release will tell you the style of film (realism), yet, in opening frames director Platts-Mills (s/p) tells viewers very little about where we came from to get where we are (vagaries). Clarity comes as the principals get down to business, i.e., sex, finances, getaways, 3rd-parties and the unexpected. Both are gentry, attractive & spoiled silly, Peter commited to love but has an immaturity (rude to her parents, his agent) that can't possibly support his supposed talent (See; Almost-Famous), while Ann, simple at first, after coupling, turns impish, then practical, prodding Peter's penmanship, giving great hugs, eating with élan (long camera shots / Barker-Mill) and making a decision on personal autonomy that even today's film-makers haven't the wherewithal to storyboard.
You'll vest in the leads but it is the talented support who enhance their value. Robert Brown ("M" in Moore-Dalton Bond films) and Kathleen Byron, nearly unrecognizable as her troubled "Sister Ruth" in Powell-Pressberger's Black-Narcissus (47), are Ann's dedicated parents (no mention of Peter's), Patricia Cutts pleases as the patient literary agent, Hammond-Keogh-Sessions are the ad agency employers, better than the kid deserves, and Feast-&-Fenton are the friends, both in trouble, one drugs, the other politics. It's Feast & Morrissey who, late in the film, play its best scene, Steven's expression when Henry's comely but dour girlfriend, Iverna (Howe) turns topic, is priceless, while sharing insights with Peter who needs to hear them (nix the nuptials). The score is embryotic (everyone was trying to be The Beatles) but will grow on you, and when it's all over (89m), you'll wish there was more. Should be a cult (3/4).
You'll vest in the leads but it is the talented support who enhance their value. Robert Brown ("M" in Moore-Dalton Bond films) and Kathleen Byron, nearly unrecognizable as her troubled "Sister Ruth" in Powell-Pressberger's Black-Narcissus (47), are Ann's dedicated parents (no mention of Peter's), Patricia Cutts pleases as the patient literary agent, Hammond-Keogh-Sessions are the ad agency employers, better than the kid deserves, and Feast-&-Fenton are the friends, both in trouble, one drugs, the other politics. It's Feast & Morrissey who, late in the film, play its best scene, Steven's expression when Henry's comely but dour girlfriend, Iverna (Howe) turns topic, is priceless, while sharing insights with Peter who needs to hear them (nix the nuptials). The score is embryotic (everyone was trying to be The Beatles) but will grow on you, and when it's all over (89m), you'll wish there was more. Should be a cult (3/4).