User Reviews

Up-and-coming short story writer Peter (Bruce Robinson) meets pretty young secretary Ann (Susan Penhaligon) at the publishing house. Shunning her rather old-fashioned parents, Ann begins an intense love affair with Peter and the two seem to spend all their time together. Peter's laid back lifestyle and bohemian friends seems to appeal to Ann, who has been raised in mainly middle-class surroundings. The two head off to the country where they seem to grow bored of each other, and Ann gets pregnant. Peter doesn't really care about the novel he's been told to write but is forced to get a steady job to support the unborn child.

If my description doesn't exactly grip you with it's exciting synopsis, I don't blame you. Private Road is really as laid back as its young characters. It's the kind of film which will disappoint if you're expecting a straight-forward beginning, middle and end - but, if you allow what plays out just to wash over you, then it's profoundly moving, sweet, and funny. I don't usually take to bohemian types, but Bruce Robinson's (writer of Withnail & I and The Killing Fields) natural charm, and the lack of self-awareness that plagues the Facebook generation warmed me to the characters.

One film that Private Road really brought to mind was Harold And Maude. Although it's not as blatantly comic or quite as dark, the film does have a subtle comic undertone that plays out throughout, usually in the conversations between Peter and his friend Stephen (played by the brilliant Michael Feast). It almost has a feel of Withnail & I (without being quite as clever). It also has a serious note when Stephen becomes a heroin addict, played with an amazing realism by Feast. The naturalistic wordplay and the nice soundtrack add up to make this the only BFI Flipside release that I've really enjoyed. Recommended!

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I recently purchased this movie on DVD, hence my review. For those of you looking for it the DVD is available direct from the writer/director Barney Platts-Mills website www.platts-mills.com, price £13.

I was expecting great things from this film judging by the reviews already on IMDb and the critical reviews by professionals quoted from newspapers and magazines. And it is certainly a good film, but sadly not a great film in my opinion. Platts-Mills has an unusual style of script-writing/direction, perhaps comparable only to Mike Leigh (Abigail's Party, Nuts in May). This movie has a simple enough story, and stars the lovely Susan Penhaligon as Ann Halpern. She is the rather spoilt daughter of a wealthy stockbroker. She meets struggling author Peter Morrissey (Bruce Robinson) and their relationship develops. They go away to live together, initially in a remote cottage in Scotland, then subsequently in a London flat. He takes a job in London in an advertising agency as he can't get his books published. This movie centres around Ann and Peter's own relationship, their relationship with Ann's parents, and the relationships with their rather close circle of friends, one of whom is junkie.

All the characters are well-played in a semi-improvised style - it's just that, for me at least, the story doesn't really go anywhere. And some things I didn't like: far too many fluffed lines are left in the final cut in the interest of 'reality' and the sole use of the f*** word (by Ann) is dipped out from the soundtrack even though this DVD is distributed in the U.K with a 15 certificate.

We do at least get to see some classic British cars from the 1960s/70s in this film. Ann's father drives a Rover 3500 V8 and Peter drives a Triumph Herald convertible belonging to Ann (her father bought it for her but she doesn't have a full licence to drive!).

In summary: a good film but ultimately disappointing for me as I was expecting more.

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).

I bought a copy of this film from the writer/director some months back, having, if I remember correctly, traversed a few IMDb links and read some favourable reviews, including a co-poster's tip about where to get hold of it.

I've always had a fondness for films that focus on personal relationships and carry little in the way of political baggage. When done well, and 'Private Road' is done well, they become quite timeless, so much so that it's sometimes hard to appreciate that this film is now nearly forty years old. On one level the film is a sort of middle class kitchen sink drama, while on another it is a universal tale of a journey into adulthood which starts with passion and goes on to labour under the collective burden of real world responsibilities and the changing nature of friends and family.

I enjoyed the naturalistic handling and Platts-Mills' light touch. The couple and the friends had just enough style to involve, but not so much as to alienate the viewer. The use of the sub-plots of Peter's friends' lives and other, unexpected incidents, to test the maturity of the couple was effective and quality cameos, such as Patricia Cutts' literary agent, gave a certain richness to the texture of the film, without diverting from its main focus.

Director was in attendance for this one, interesting guy, stopped making films in the 70s but recently started again, and will release "Zohra: A Moroccan Fairy Tale" this year, having been convinced that there are now acceptable distribution routes for his work so that he can make enough money from it. Shh don't mention the m word Barney! Another pretty much unknown British director has his work resurrected by the Edinburgh film festival, most famous for his movie Bronco Bullfrog (1969) a film about skinheads.

It fits into the post-the-Wave theme of the festival well, although initially it seems quite otherwise. A young writer, Peter, who is very cool and dismissive of dad and all that word represents, sum total of the stodgy prudish corporate world of the post-war generation. He lays a dopey but pretty publisher's assistant and they have a great time together, he's like firecrackers, but not scary, defo weaving the right magic for her. Artist status and a clown, and pretty, yeah he's been dealt a royal flush in the romance stakes. Anyway the two of them think they are Belmondo and Karina, and above everything, and head off to the Scottish highlands. He soon discovers though that life requires some discipline, even the life of an artist, and the radical invention that they've come up with, their silly lackadaisical Bohemian life starts to become a credit card that they can't finance.

The initial hate figure of Mr Halpern (Ann's father) gradually comes to be seen as someone who has everyone's best interests as heart. The film develops well and is very very natural. In the end it's about friendship and how having real friends is the most important possession you can have, how they get you through the hard times.

The acting is very good and Platts-Mills seems to have encouraged everyone just to act themselves. It all comes off superbly, he shoots without artifice, yet cleanly and efficiently, and with some kind of a spartan beauty, very natural.

Highly intelligent and realistic fare, seems totally shocking that this has fallen by the wayside. Platts-Mills films are available via his personal website.

Deliciously handsome, Bruce Robinson, plays affable, dilettantish author, Peter, who quite understandably falls for the adorably timid, emotionally frail pixie, Ann (Susan Penhaligon), and their sweetly tumultuous relationship, fraught with obtuse parental meddling, financial woes, erotic exultation, and naïveté makes for compelling cinema, this uniquely photogenic pair are one of the more charming screen lovers! Private Road is a delicate, witty, playful, earnestly romantic film; a memorable, smartly written love story told without sentimentality, replete with engaging, naturalistic performances, pithy dialogue and a refreshingly light directorial touch. It is both a rare and hugely satisfying experience to watch such a humane, emotionally intelligent film dealing so sensitively with the exquisite travails borne of nascent love as the eminently lovable Private Road.

The enervating conflicts between, Ann's reserved, controlling, conservatively middle-class family, along with boyfriend, Peter's profound anxiety over his best friend, Stephen's (Michael Feast) disturbing drug addiction, and his own mounting frustrations regarding the crass, innate emptiness of copywriting, plus his pronounced lack of ambition has lost none of its tender pathos. Gifted filmmaker, Barney Platts-Mills nuanced follow-up to cult classic Bronco Bullfrog (1969) vividly remains no less enthralling seen today than upon its initial theatrical release in 1971. Wholly deserving of its status of forgotten mini-masterpiece, if the colour palate were, perhaps, a little cooler, originating from navel-gazing Scandinavia, 'Private Road' may well have been unearthed a little sooner! The meticulous BFI restoration is sublime, images are sharp, colours are warmly appealing, soundtrack is perfectly crisp, and the two exciting bonus shorts are most welcome additions!

I saw this film in Notting Hill Gate, London, when it first came out in 1971; I was 22 at the time, and probably stoned. Its advertising slogan was 'we saw the stars in Private Road' which somehow caught my attention. It was one of those films that seemed to speak to me personally (Zachariah was another) and had a profound effect on my life, particularly in sending me to Scotland, which set in place a whole fascinating sequence of transformational events in my own personal life and spiritual development. I remember little of the story, although I always fancied Susan Penhaligon; but the filming of the Scottish scenes somehow stirred in me a longing for that clear, wholesome fresh air and natural beauty which has been an inspiration for me all my life. If I could get hold of a copy, I would love to see it again.

I am watching (!)'WITHNAIL & I' on TV , and was reminded that Bruce Robinson was in 'PRIVATE ROAD', a film I saw on TV (undoubtedly BBC 2) over 30+ years ago, and thought it was truly wonderful, but I have never seen it or anything about it since........ Given the cult status (Definition "Small viewing figures" -Alan Partridge)and wide availability of 'WITHNAIL', what has happened to PRIVATE ROAD......??? At the time I was 16, and identified with the 'Quiet is the new loud/Reject the Rat Race/Back to nature' theme. I remember it as an excellent film, but,sadly, I have been unable to see it again.With endless copies of junk films freely available ,is it not possible that a film of this rarity can see the light of day ? bfi where are you when we need you most?

Is one of the best films i have seen in a long time. I felt like my kidneys were being squeezed in opposite directions; what a laugh! As a Withnail fan i was amazed to see Bruce's performance. What an all rounder. A film full enough of greatness that i wanted to undo my belt and fall asleep on the sofa. Platts-Mills, give me more.? What's happened to him? and Susan Penhaligon. Why have artists such as these not blossomed into view and been able to create more of such richness. I was delighted to see Presburger and Powel star Katheline Byron. Puts this film squarely into the deserved lineage of great British movies. I recommend this film greatly. Get out and see it.