Close-Up is a feature that spotlights films now playing on Mubi. Ken Loach's Poor Cow is showing on Mubi starting January 9, 2021 in the United Kingdom in the series First Films First.An aesthetic of Swinging London is established only to have its seams split in Poor Cow, Ken Loach’s first feature film from 1967. Donovan’s melancholic soundtrack is spiked with bright British Invasion b-sides, London’s industrial neighborhoods filmed in pop-art palettes, and Joy, played by Carol White, is lucent blonde with a fringe and bouffant. Halfway into the film, dressed in a mod-print floral housecoat, Joy finds her bouffant hair-piece destroyed, unhelpfully washed by her toddler as she overslept. The deflated hair-piece which Joy despairingly “can’t go out without!” and cost her “five and eleven” demarks Joy’s status in the narrative; a single, working-class mother with no way to get by but her looks. It...
- 1/19/2021
- MUBI
8 December 1967 While praising Terence Stamp’s acting, along with parts of the dialogue, Richard Roud finds Poor Cow ‘downright awful’
If I hadn’t seen Poor Cow (London Pavilion) with my own eyes, I would never have believed that a film with so much to offer could ultimately be so downright awful. I never saw any of the television films by the writer-director team, Nell Dunn and Kenneth Loach; Up the Junction was supposed to have been quite something, and there were moments in Poor Cow that hinted at a really penetrating examination of the mentality of the petty criminal.
Related: Poor Cow review – Ken Loach's debut masterpiece, still so fresh and artful
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If I hadn’t seen Poor Cow (London Pavilion) with my own eyes, I would never have believed that a film with so much to offer could ultimately be so downright awful. I never saw any of the television films by the writer-director team, Nell Dunn and Kenneth Loach; Up the Junction was supposed to have been quite something, and there were moments in Poor Cow that hinted at a really penetrating examination of the mentality of the petty criminal.
Related: Poor Cow review – Ken Loach's debut masterpiece, still so fresh and artful
Continue reading...
- 12/8/2017
- by Richard Roud
- The Guardian - Film News
★★★★☆ 1967 was the year of Carry On Doctor, Quatermass and the Pit and two James Bond movies. It also saw the feature debut of acclaimed television director Kenneth Loach with Poor Cow, starring Terence Stamp, fresh from his first brush of Hollywood fame and Carol White, who had starred in the television drama Cathy Comes Home that had propelled both its star and director into the national limelight. Based on Nell Dunn's novel - Loach had used her work before in another Wednesday Play Up the Junction - Poor Cow tells the story of Joy (White), a working class young mother whose progress through life seems beset with woes.
- 7/25/2016
- by CineVue UK
- CineVue
Released in 1967, Poor Cow was Ken Loach’s first cinema feature, after a string of successful TV productions. Adapted from a novel by Nell Dunn (whose earlier short story collection, Up the Junction, had already been filmed by Loach), Poor Cow featured Terence Stamp as a robber who starts a relationship with a single mother, played by Carol White (who again had previously collaborated with Loach, on Cathy Come Home). Poor Cow is released on 24 June, with Terence Stamp and Nell Dunn attending a preview screening on 23 June at the Barbican, London
• Warning: this clip contains scenes of domestic violence
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• Warning: this clip contains scenes of domestic violence
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- 6/17/2016
- by Guardian Staff
- The Guardian - Film News
Actor and producer who played Brad Majors in the original Rocky Horror Show in 1973 and Saffy's gay dad in Ab Fab
Christopher Malcolm, who has died of cancer aged 67, played Brad Majors in the original production of The Rocky Horror Show in 1973 and, as his life as an actor started to overlap with an interest in producing the shows themselves, he became, after co-producing the West End revival of Rocky Horror in 1990, the executive in charge of all subsequent worldwide productions.
His death came just a few days after his latest project, the revival of Oh What a Lovely War at Stratford East, opened to enthusiastic notices, probably sealing a West End transfer. The way the show turned out was a good example of the kind of creative partnerships he enjoyed and nurtured throughout his career. For more than 30 years, he worked as an "insider" producing link between such London...
Christopher Malcolm, who has died of cancer aged 67, played Brad Majors in the original production of The Rocky Horror Show in 1973 and, as his life as an actor started to overlap with an interest in producing the shows themselves, he became, after co-producing the West End revival of Rocky Horror in 1990, the executive in charge of all subsequent worldwide productions.
His death came just a few days after his latest project, the revival of Oh What a Lovely War at Stratford East, opened to enthusiastic notices, probably sealing a West End transfer. The way the show turned out was a good example of the kind of creative partnerships he enjoyed and nurtured throughout his career. For more than 30 years, he worked as an "insider" producing link between such London...
- 2/19/2014
- by Michael Coveney
- The Guardian - Film News
As the BFI celebrates his 50 years' work, the man behind Cathy Come Home reveals the tragedy that changed his world
Television has treated Tony Garnett well over the past 50 years. He lives in an apartment close to the Ritz Hotel, where Margaret Thatcher died, a far cry from his working class childhood roots in Erdington, Birmingham. His local cafe is Fortnum & Mason, where he wields a silver teapot with aplomb, but he still declares: "I am a revolutionary socialist. I think our society would benefit from fundamental change."
Charming, kindly, but still angry after all these years, Garnett, 77, was a leader of the generation of radical TV creatives who addressed big social and political issues in their influential BBC dramas of the 1960s and 70s. His work is about to be celebrated in a two-month season, Seeing Red, at London's BFI.
The season opens with his explosive dramas for the BBC's Wednesday Play,...
Television has treated Tony Garnett well over the past 50 years. He lives in an apartment close to the Ritz Hotel, where Margaret Thatcher died, a far cry from his working class childhood roots in Erdington, Birmingham. His local cafe is Fortnum & Mason, where he wields a silver teapot with aplomb, but he still declares: "I am a revolutionary socialist. I think our society would benefit from fundamental change."
Charming, kindly, but still angry after all these years, Garnett, 77, was a leader of the generation of radical TV creatives who addressed big social and political issues in their influential BBC dramas of the 1960s and 70s. His work is about to be celebrated in a two-month season, Seeing Red, at London's BFI.
The season opens with his explosive dramas for the BBC's Wednesday Play,...
- 4/28/2013
- by Maggie Brown
- The Guardian - Film News
The leftwing film director talks about the riots, his early work on television and the documentary he made for Save the Children 40 years ago that is about to be screened for the first time
About halfway through our interview, I call Ken Loach a sadist. The mild-mannered, faintly mole-like film director blinks hard, chuckles, and carries on. We are discussing a key aspect of his film-making: the element of surprise. Loach has spent his career depicting ordinary people, telling working-class stories as truthfully as possible, and he works distinctively – filming each scene in order, often using non-professional actors, encouraging improvisation.
They don't tend to see a full script in advance, and move through his films as confused as the audience about what lurks around the next corner. I ask Loach which surprise was most memorable, and he laughs incongruously through a few examples. He talks about an incident when an actor walked through a door,...
About halfway through our interview, I call Ken Loach a sadist. The mild-mannered, faintly mole-like film director blinks hard, chuckles, and carries on. We are discussing a key aspect of his film-making: the element of surprise. Loach has spent his career depicting ordinary people, telling working-class stories as truthfully as possible, and he works distinctively – filming each scene in order, often using non-professional actors, encouraging improvisation.
They don't tend to see a full script in advance, and move through his films as confused as the audience about what lurks around the next corner. I ask Loach which surprise was most memorable, and he laughs incongruously through a few examples. He talks about an incident when an actor walked through a door,...
- 8/29/2011
- by Kira Cochrane
- The Guardian - Film News
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