This Is My Street

This slice of so-called British realism came after a slew of really outstanding kitchen-sink dramas and was really something of a let-down. As directed by the lack-lustre Sidney Hayers it's more of a throwback to the British films of the forties and fifties, watchable certainly but nothing to get excited about. It's also let down by the highly inadequate performance of the pretty but vacant June Ritchie, cast here as the unhappily married housewife seduced by randy neighbour Ian Hendry. He's excellent, certainly a lot better than his material. However, none of the supporting cast, including a very young John Hurt, make much of an impression.

What Stands out in this movie for me is the Eric Rogers music, he did all the music for the carry on films, and it's so distinctive in this, sometimes sounds like a comedy, but he gets away with it, adds a style which is so 1960's. Love these British dramas, as many agree they have more story power and character than a lot modern films, and it's always charming to see London in a different light, how it's changed so much since then, filmed in south London nr Clapham. Good film, fully recommend it if you like B&w British class.

In the 1950's and 1960's UK cinema became more gritty and realistic. It examined the human cost of relationships focussing on the fact that people can get hurt.

"This is my Street" pulls no punches: Marge has lived in Jubilee Terrace all her life and wants to get out. She is married to Sid who is happy to pop down to the pub for a few beers and a game of darts – he sets his targets pretty low. Bad boy Harry rents a room next door (from Marge's mum) and provides the potential escape Marge dreams of. But does Harry want love or just sex? Marge has a pretty sister who pops along midway through the film, she seems to be well set – will her dreams be dashed? Down the street is Maureen who is happy to provide the sex but expects something permanent. But does her lover just want sex or does he want love? This film was made 50 years ago and some of its topics must have been challenging at the time.

Ian Hendry's unsympathetic portrayal of Harry must have been difficult to take in the 1960s. Quite possibly realistic but not the sort of manner the public would want to face up to.

June Ritchie gets under your skin as Marge. You want to like her but she also presents an unsympathetic profile. In fact few of the leads come out with any sympathy which I guess was the intention of the makers. Jubilee Terrace is a metaphor for life in general – we all have our dreams, sometimes these come true but other times we get a kick in the teeth and fall back into line.

I think the film still rings true today. We all have our aspirations. This is rather a blunt way of showing how we can be disappointed.

That Anglo-Amalgamated were now making kitchen sink dramas showed that by 1963 the genre had reached the commercial mainstream. Reuniting June Ritchie & Ian Hendry from the now forgotten 'Live Now - Pay Later', this isn't even included in the filmography of executive producer Peter Rogers' autobiography, although it's probably as good as anything he ever made. (The one thing betraying that it came from the same stable as the 'Carry Ons' is Eric Rogers' score.)

When I last saw this film on the occasion of it's only screening on BBC2 as the Midnight Movie on the night of 11 June 1977 it was less than fifteen years old and already seemed a period piece. Hendry (still a familiar face on TV) had long since become old and haggard compared to the dashing young fellow he then was. Now he's been dead nearly thirty years and John Hurt - who here looks barely old enough to shave - would be eighty were he still with us. But the film still lives!

First off, anyone reading this , do not be under any impression that I have any regrets about my London younger days.

This is an accurate portrayal of how men treated women also how some women often lead men along a path of intimate desire , often ending with no result. Added to which, Harry's ( Ian Hendry ) were as predatory for anything lacking responsibility , so you can certainly discount marriage .And if the woman became pregnant , the man would go out of his way to ensure his water tight disappearance .All that said, many women got taken in , first by good looks, which Harry certainly has and a man that was bold and forward in his sometimes forceful and suggestive words and body language . All these folk, women and men were unique to 1950s to 1970s cultural British attitudes. The well known early film with Michael Caine ' ALFIE ' remains as powerful today as it was then, albeit only dealing with one male , one female as opposed to multiple ladies and gents in this narrative. Take note, the man always drives an expensive , often flashy car, especially Harrys imported American , which in those days was referred to as ' very well heeled man ' Best Italian suites, and only the best shoes silk ties and best luxury cars .In some viewers minds , one critical point are the slightly posh accents which would not be the case for people living in a rather run down London suburb , apart from the son, , whose accent is noticeably at a lower level ! Also, everyone is well dressed . When do theses people go to work and where does their income come from for all their trappings ? An interesting film, although i noticed a number of gaps in the narrative ? The bottom line of my first sentence is due to the fact I never fitted in with these characters, bearing no grudge, as my cars were always ordinary, and my dress sense casual , with no expensive shoes.