Flame in the Streets
あらすじ
No synopsis available.
作品考察・見どころ
AIが作品の魅力を深く読み解いています
スタッフ・制作会社
監督: Roy Ward Baker
脚本: Ted Willis
音楽: Philip Green
制作: Roy Ward Baker / Earl St. John
撮影監督: Christopher Challis
制作会社: The Rank Organisation / Somerset Films
No synopsis available.
AIが作品の魅力を深く読み解いています
監督: Roy Ward Baker
脚本: Ted Willis
音楽: Philip Green
制作: Roy Ward Baker / Earl St. John
撮影監督: Christopher Challis
制作会社: The Rank Organisation / Somerset Films
It wasn't just in the USA that racial tension was rife in the 1960s, it was also pretty toxic for many living in urban Britain too. That's exemplified here by the young "Peter" (Johnny Sekka) who works at a factory where there's a sort of truce between the colours that's striven for by union man "Jacko" (John Mills) who just happens to be the father of "Kathie" (Sylvia Syms) who just happens to be the girlfriend of "Peter". Small world, but not an happy one. Her mother "Nell" (Brenda de Banzie) is more openly hostile to this pairing but dad isn't a great fan either. It's so much because they are racist in themselves, but more that they have a concern for their daughter in a big city where mixed-race relationships were distinctly frowned upon and "half-caste" babies even more so. These aren't just paper-based threats, we can see from the stirring that goes on at their workplace that the young locals are just as keen on causing trouble; making their lives awkward and even dangerous. It's all building to a Guy Fawkes night bonfire that's likely to burn more than old wood from bomb-damaged buildings. There's some good and poignant writing underpinning this drama and the solid efforts of Mills, Syms, Sekka and Earl Cameron help condense quite a lot that's visceral into this tautly directed feature. It's de Banzie, though, who stands out for me. The conflicted mother whose not just concerned about her daughter, but also about the state of a marriage that she feels has systematically neglected her at the expense of her husband's union career and her family. That all comes to a boil too, leaving us with quite a lively and thought-provoking series of conclusions. It's violent at times, but ultimately Roy Ward Baker has let the words and the imagery do most of the heavy lifting here, and I thought it a potent piece of British cinema.
