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Aspect ratio: 1.

Home Discomforts

Dolby Digital Audio English kbps 2. English SDH , none. Description: Anne Bancroft delivers a towering performance as a deeply troubled and tormented wife in this sharply observed portrait of a woman — and a marriage — in crisis. Jo Anne Bancroft leaves the banality of her marriage to second husband Giles Richard Johnson to wed her screenwriter lover, Jake Armitage Peter Finch , but insists her new husband adhere to her strict marital ideals.

Though their relationship is passionate, Jo, now a mother of six, begins to feel stifled in her role as a doting homemaker -- and increasingly isolated from Peter, who is filming on location in Morocco.

Film Forum · THE PUMPKIN EATER

Jo's sanity is shaken when it seems Peter is not being faithful. The Film:. Peter Finch and James Mason were "the two best screen actors of the English s, even when they work in rubbish," according to the gifted Alan Bates, who appeared in films with both of them. There's much support for that statement in The Pumpkin Eater, a spellbinding drama that's the opposite of rubbish, thanks to Jack Clayton's remarkably creative directing and Harold Pinter's boldly intelligent screenplay.

Her name is Jo Armitage, and at the beginning of the movie she's wandering aimlessly around her comfortable London house, dressed to go shopping but too moody and distracted to make it out the door. Flashbacks reveal some of her history. Years earlier she lived in a ramshackle barn with her second husband, a violinist named Giles, and their five rambunctious children.

It is rare to see a film that readily and insightfully enters in to the psyche of so inward not to mention, neurotic a personality.


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But The Pumpkin Eater does so successfully. What is more, it balances this deep, interior world with occasional glimpses of a world outside.

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While Jo is getting her hair done, there sits beside her a nameless young woman, played by the great Yootha Joyce. Things take an even nastier turn as misery morphs into anger and psychosis; the camera draws closer and close to the two women, and the nameless lady directs her rage at the only other left in the frame: Jo Armitage.


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  • We go in for a close-up of Jo, and rest awhile on her sad, empty eyes. At that moment, she and the audience share in the same realisation: beyond her existence is only another — a world just as sad, just as full of suffering.

    The image quality is immensely impressive with consistently strong contrast and a pleasing, and consistent, layer of grain. As usual, this is dual-layered with a max'ed out bitrate. It is neither glossy nor soft and shows beautiful black and white visuals with notable depth. There is some impressive detail in the film's close-ups. I would guess the 1. But could that dream be nothing more than a sentimental delusion? At the edges of vision the spectral children come and go, while our heroine, alert to the countless gradations of depression and the innumerable forms of betrayal, tries to make sense of it all: doctors, husbands, movie stars, bodies, grocery lists, nursery rhymes, messes, aging parents, memories, dreams, and breakdowns.

    How to pull it all together? Perhaps you start by falling apart. A subtle, fascinating, unhackneyed novel Not surprisingly, he frequently was asked to change parishes. Mortimer wound up attending seven schools while growing up. When she was 17, he tried to rape her.

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    I had a great longing to be loved. She often appeared in black leather with a cigarette dangling between her fingers. During this period she also worked as a book reviewer for the Times of London, published short stories in the New Yorker and succeeded Penelope Gilliatt as film critic of the Observer of London. In her second autobiography, Mortimer portrayed her longtime husband as callous and compulsively unfaithful.

    Peter, Peter, Pumpkin Eater - Mother Goose Club Playhouse Kids Song

    After they divorced in , John Mortimer married a much younger woman, also named Penelope, and would sometimes refer to his wives as Penny One and Penny Two. In the latter book, Penelope Mortimer later acknowledged, she came closest to drawing a self-portrait in a character named Rebecca.