when i used to go on interviews for high school teaching gigs i would almost be guaranteed to be asked if given the choice what book i'd want to teach. my answer was always ALAN SILLITOE's novel about working class masculinity SATURDAY NIGHT AND SUNDAY MORNING (1958) of which the legendary KARL REISZ film was based.
british kitchensink dramas of the 1960s tended to deal with working class-related themes such as class and domesticity, which for me makes them far more interesting and real than their american counterpart films. there is rawness to the subject matter as well as the production, as it is obvious these were made quickly at low cost.
but what drew me to both to the film and the book was this idea of exploring the performative nature of masculinity. in working class midlands england in the post-WWII period, where this films takes place, the main character ARTHUR SEATON struggles to come to terms with how to transcend his repetitive factor job and womanizing ways. for he doesn't get any satisfaction from his work and the only avenue for being dominant was swooning the bored housewives of what he deemed "slow husbands." its as if his conquests was more of a badge of honor to his male mates than an expression or projection of his will. essentially this behavior was a ironically a form of impotence.
i'm almost certain this dynamic, as well as the geographical and cultural similarities of nottingham (where the film takes place) to manchester are what drew a young MORRISSEY to transpose the line "why don't you ever take where it's lively and there's people" into THE SMITHS' iconic song THERE IS A LIGHT THAT NEVER GOES OUT. just saying.
i saw this idea of male identity defined through work almost everywhere growing up but especially in the arab world, where at times you would see young men of immeasurable means doing dangerous things out of sheer boredom. this was in kuwait and since their financial, social and political connections were bulletproof, it was as if they had to develop a new pissing contest to set themselves apart. as a foreigner it was fascinating to watch and mock but at some level i really pitied them and their circumstance. it was like they were neglected and were in a dead-end.
this book and film present to me a dead-end scenario that is transcended through hard fought self-reflection. and for me that concept is one meaning that both the novel and film explore effectively: the need for self-analysis apart from your circumstances.
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