A Taste Of Honey [VHS] [1961] | ![A Taste Of Honey [VHS] [1961]](http://ecx.images-amazon.com/images/I/51P229GWSQL._SL160_.jpg) | Director: Tony Richardson Actors: Rita Tushingham, Dora Bryan, Robert Stephens, Murray Melvin, Paul Danquah Studio: Bfi Video Category: Video
List Price: £12.99 Buy New: £11.99 as of 6/9/2010 07:00 MDT details You Save: £1.00 (8%)
New (3) Used (9) Collectible (3) from £2.99
Seller: qualityfilmsfromuk Rating: 7 reviews Sales Rank: 5753
Format: Black & White, PAL Rating: Suitable for 18 years and over Media: VHS Tape Discs: 1 Number Of Items: 1 Running Time: 96 Minutes Shipping Weight (lbs): 0.4 Dimensions (in): 7.3 x 4.2 x 1.1
EAN: 5035673000953 ASIN: B00006JY01
Theatrical Release Date: April 30, 1962 Release Date: October 21, 2002 Availability: Usually dispatched within 1-2 business days
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Showing reviews 1-5 of 7
The wonder of Tush... May 15, 2010 "filmfogey" (Cardiff, Wales, UK) The most lyrical of the 'kitchen-sink' dramas that altered the landscape of British cinema on the cusp of the Sixties began life on the stage as a riposte to the Rattigan school, a seemingly-calculated compendium of elements that would have given his fabled "Aunt Edna" the vapours - a dysfunctional bed-hopping mother, a neglected teenage daughter who gets pregnant by a black seaman, and a disconnected but caring gay student with whom she sets up house to await the birth. Tony Richardson transforms this controversial theatrical hothouse into a rich and fascinating movie experience, fully embracing the atmospheric poetry of sombre Mancunian locations and quirky haphazard lives, showcasing in the process the captivating debut of Rita Tushingham. The duckling-faced elf with the beautiful eyes and thrusting talent is marvellously alive to Jo's fluctuating highs and lows, her knowing bravado and stroppy humour but fear of "the darkness inside". Her youthful longing for independence and freedom is compromised by the need for security. She lives a tragi-comic double-act with her feckless mother Helen,in which they bond occasionally but always pull away. Her innocent-dangerous relationship with Jimmy the black sailor nets her a toy car, a ring from Woolworth's and finally - after a family row - "a bit of love, a bit of lust and there you are." He sails off down the canal the next morning and Helen leaves to start a new marriage. Jo gets her first job in a shoe-shop and invites one of her customers to share her abode after a visit to the fair. Geoff, the homeless gay, settles in following a cautious start and becomes, as she puts it, her "big sister". When she finds she's pregnant she needs his support all the more but refuses his offer to marry her. She seems to have found the perfect arrangement - until Helen comes back into her life, her marriage having failed. Geoff is rapidly bounced without Jo's knowledge (one icy stare from Helen says it all) and the old order is resumed with a crucial difference for the future - the demands of motherhood on both women. Not exactly a happy ending but a relieving one.
The theme of fleeting childhood is a constant throughout the film, Jo's brief independence is like a dream through which she wafts until brought down to earth with a bump - literally. John Addison's music score is sprung on a children's jingle which takes on different moods and colourings as things progress and the local kids are always around to accompany Jo and Geoff on their outings. Jo has an artistic streak (though as things turn out she will probably never develop it) and while still at school earlier on exhibits more delight in making soap-bubbles in the ablutions than playing netball. This is echoed in the final scene on Guy Fawkes night when a little boy lights her a glowing sparkler which she stares at fixedly. It may be impermanent but it's dazzling and pretty, it relieves the darkness and in that there may be possibilities even if they're only dreams. Like a taste of honey indeed. Or even like movies themselves..
The skein of plot is tenuous and a little contrived and Helen's husband is pretty much of a device to take her away and then send her back again. The stage-origins are sometimes evident in dialogue-passages and interior moments but performance triumphs. Dora Bryan is brilliant as the mother and Murray Melvin never puts a foot wrong as Geoff. As for Tush, she may play to the camera now and again and her accent slides around but you can't take your eyes off her. I was highly gratified to secure the BFI disc, long deleted on the High Street, with its treasurable comments from the stars and the cameraman Walter Lassally. (Thanks Molly).
One of the greatest movies of the 60s! March 18, 2009 FAMOUS NAME (UNITED KINGDOM) 2 out of 2 found this review helpful
Certainly one of the greatest, well-acclaimed and most significant pictures to come out of the early 1960s.
'A Taste Of Honey' is about a young teenage girl (Rita Tushingham) who's just left school and looking to 'escape' the unhappy and unfulfilled life she's had with her neglecting and man-loving mother. (Dora Bryan)
This film made Rita Tushingham a star, who then went on to make several more well-acclaimed movies during the 60s which saw the peak of her career. This also stars Murray Melvin, who plays the 'gay friend' of Tushingham's character, and at a time when such a role was something new, and pretty daring! When I was to ask Murray to talk about his making of the film and his role some thirty years later, (he was still being asked about it) he replied by saying that if he was to respond to all those who still wished to know more of how he felt about the role, he would have little time for anything else - and one can see why!
Every star in this surpasses themselves and with a great script this just had to be one of Britains biggest successes winning at the Cannes Film Festival.
Great stuff!
TRIVIA: Supposedly features Hazel Blears the MP as an extra at aged just five - but I don't spot her...
Classic Gritty Northern Realism February 16, 2008 David R. Bishop (Plymouth, UK) 3 out of 3 found this review helpful
We are so used to this kind of drama on TV now, that it is difficult to imagine how new and sensational fims like this were back in 1961.
None of Audrey Hepburn's characters ever did a flit through a cellar window to avoid paying the rent, then caught a bus across Manchester/Salford, complete with a stinking cold. This was groundbreaking stuff.
The story almost tells the future we live in. School girl pregnancy, homosexuality, mixed race relationships and less than perfect parenting. It is all presented in a fairly neutral way. It just tells it like it is, and neither condemns nor praises.
Dora Bryan is very good in her role, as is Rita Tushingham. Their Mother and daughter combo seems so real. Dora especially adds comedy to it, and makes it lively and more interesting.
This is an important piece of British cinema. 'Saturday Night Sunday Morning' is another in the same genre that is equally good.
Kitchen sink-tastic! March 23, 2005 Shelby Mustang (Isle of Lucy, Scotland) 5 out of 7 found this review helpful
All the previous reviews have summed it all up, all I will do is remind people that if they like their 'grim up North' kitchen sink dramas then this is one of the best there is (on par with 'Cathy Come Home')It's a classic and important slice of British cinema from the 1960's, check it out!
Defines an era June 4, 2004 Carl Rowlands 37 out of 37 found this review helpful
This film defines the beginning of the sixties, with Britain emerging out of the long years of postwar austerity, and as such, is useful for students of postwar history as well as cultural studies. More than anything, it depicts, without romanticism, the working class ! The pub scenes and a crowded Blackpool depict a bygone age when youth culture was becoming available to all, technology hadn't wiped out people's jobs and much of the Victorian housing hadn't been cleared in favour of housing blocks. For people now in their 20s and 30s, this film marks the start of "our time" - which could mean single parenthood, awkward adolescence and materialism - amongst other things... and I'm sure our heroine Jo would make a good mother, in her own way. Does she remind anyone of their own mother? Time has aged this film like a classic wine. Whilst the film doesn't romanticise the people involved, it is certainly a film with a sweeping romantic current. Expression of this is through the powerful and consuming but often clumsy, doomed relationships depicted in the film. Arguably this is the first and last social(ist) realist love films. Salford does look pretty grim in this film, littered with smokestacks and factories, but there is so much depth in the performances of Murray Melvin, Rita Tushingham and especially Dora Bryan, that an eventual view of the city emerges as a human, even compassionate place. Of course if the director and writer had set out to make such an epoch-defining film it wouldn't have happened. But it appears they stumbled into making what I would argue is one of the finest British films ever made.
Showing reviews 1-5 of 7
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