source: A Taste of Honey

I first saw this film on LA television around 1965. Every Saturday night KHJ channel 9 would air foreign films. At first it was difficult to pay attention, specifically because of its stark realism of the day-to-day existence of a British, school girl(Tushingham). But, that aspect is what probably increased my interest. It was as if I were eavesdropping on humanity. I wish that more American films would deal with sexuality as maturely. Instead, sex is either used to exploit the viewers senses or used to propagandize certain sexual behavior. This film revolves around the life of a high-school girl, her mother, and a homosexual. As the film evolves, we realize that who they are sexually is not as important as who they are as human beings. And, this is what makes this film a wonderful experience; in each character something more primal than sexuality is divulged: the need for belonging. As Jo stands gazing at the sparkler while children at play dance around her, humanity shines, dazzling in the glow of her beautifully somber eyes.

Thanks to the Flix Channel, I have seen this excellent film a few times, and managed to track down the superior BFI DVD version of this film. From the moment Geoff walks into the shoe store, Murray steals the film, for me. As he says in the commentary track, he's had over a year of experience playing Geoff in the theatre, but it was all new doing it on film. It shows - every line he speaks, every gesture, every darting of the eyes....just incredible. A jewel of a film - in my top ten. What a fantastic bit of acting. Not to take away from the other actors/actresses, but I just wanted to mention how much this role of geoff played by Murray affected me.

Unwed teenage mother leaves home and lives with a homosexual companion. Slice-of-life look at the working class poor in early 1960's England. Quality performances, natural script, but relentlessly dreary atmosphere. Groundbreaking (in 1961) subject matter still has impact today. (Rating: A)

For a film in the "new wave" genre which is supposed to provide a stark view of the gritty realism of 60's Britain, the film throws one unrealistic plot contrivance after another. The lead character and her mother supposedly "sneak" out of their weekly-rental room in the least-quiet, least-graceful escape this side of "Bonnie and Clyde", then they hop on a bus to a new rental room which magically is ready for them, stocked with supplies. The girl does it with the first guy who crosses her path and then he proceeds to stalk her for the rest of his scenes, despite the age difference and the fact that having sex with (not to mention impregnating) a minor was most likely a crime in the UK at that time. She magically gets a job, then she invites a homeless man to move in with her, despite knowing nothing about him except that he likes Italian Casuals (except any gay man would have known what a "casual" was and wouldn't have to have been told. Mopey gay guy magically takes over the running of the household, despite having no visible means of support (but has money for new shoes and all the food for the household). Mother treats her like dirt through the entire movie but suddenly develops a conscience at the end, and we're supposed to believe the girl would rather trust that harlot than the gay guy who cared for her and fed her throughout her pregnancy. The playwright obviously threw every shocking cliché she could into this "kitchen sink", but forgot to add rinse water to clean this muck of a production.

There are several aspects about this film that I find absolutely clever. First, the way of representing characters' feelings through acting rather than speaking. Helen, Jo or Geoffey's faces give away more than they could say. Helen is a masterpiece of selfishness only by looking at the way she puts on lipstick or combs her hair or lits a cigarette. She's so self-concerned, she never allows Jo into her own body space. At the same time Jo becomes more and more despondent, tragically aware of her mother's lack of love (the acme when she throws away Peter's chocs in Blackpool) and her bent shoulders speak out for her. She carries the weight of being unwanted. Then, the dialogues never convey a proper explanation of things; the characters never explain themselves clearly or are able to articulate a description, crying out for their own feelings. The people in this film don't even know theirs, they haven't got the means to express them and it's up to the watchers to understand everything. Probably that's why I felt so overwhelmed while watching it. I really felt the public was called to read through the lines of such a powerful representation of life.

The 1960's brought about many of my favourite films about the English working class experience: The Loneliness of the Long Distance Runner; Saturday Night, Sunday Morning; This Sporting Life and - naturally - Kes. Coming from the North and being around - just - during the sixties helps naturally. I dislike the term "kitchen sink" because it puts too many people off a film that while bleak remains so true it almost hurts. There isn't a word, phrase or scene in this movie that I don't believe and remember: I was there, although not in Salford! A dimly lit world of booze, cups of tea, canals, seaside trips, bonfires, repressed emotions, unprotected sex (and what follows) and the limits and cheap thrills of the Northern English working class. In 1961 this must have looked like the start of a new age of film. Real stories about real life. Almost a docu-drama in the modern parlance. However it never really happened. Why? Because there is more skill required than you might imagine and even this verges on going over the top. You could say it is tries to tick too many boxes. And isn't really true drama because it stops at a point in which so many threads remain loose. (I suppose you could say it ends with the characters facing up to the realities that they have been so long running away from - but will they actually achieve it?) Star of the show is Rita Tushington who never went on to do much with her career after being given the part of a lifetime to start it all off. Murray Melvin is also good as the homosexual boyfriend who wants to help out - although maybe in a misguided way. A Taste of Honey has its limits and you could attack it for being snobbish. It is an artistic product born of the middle class - but it remains utterly true in a way that is mostly absent in cinema today.

Taste of Honey is evocative of life in Lancashire in the 1960's. The scenes of what were called the "Whit Walks" must bring back memories to many Lancashire folk, as must the scenes of England's most famous seaside resort; Blackpool. The film made Rita Tushingham a houshold name. Her portrayal of the the schoolgirl "done wrong" is second to none. Her large wide eyes show the fear and her innocence at the same time. Dora Bryan is magnificent as the "couldn't-care-less" mother who's quest for a good time is at the expense of all others. The film is well worth a watch, particularly if you are a fan of British films of the 60's. Watch out for a continuity gaff in the scenes on the pier!

'A Taste of Honey' provides a grim slice-of-life look at the working class poor in early 1960's England. Teen pregnancy, an openly homosexual companion, a negligent single mother and homelessness are featured- mainstream topics in today's movies, but this was released in 1961, folks (beats me how they got it past the censors). This sensitive, remarkable film should be required viewing for junior high schools.

I knew nothing about this movie before seeing it. I then spent the entire movie trying to figure out whether it was trying to be a drama or a comedy. I suppose light drama describes it best, but I feel the movie would have had considerably more impact if it was played as a straight gritty drama. The material was there and taboo subjects were tackled in a mainly intelligent way. The Salford locations were spot on, bringing home the working class struggle experienced by so many. The lead character Jo, was difficult to like. She was clearly, deeply affected by her mothers promiscuous behaviour and pushed away anybody who showed her affection. This was a lovely performance by the actress, who was totally believable. Dora Bryan played her role the lightest, although she looked way older than 40, her song in the pub was a delight. Geoffrey the gay friend was a sad character, a shame he was portrayed in such a stereotypical way. I would have liked to have seen Jo's relationship with the sailor explored more and given more depth, it was so crucial to the story. Overall, this was a thought provoking, realistic film which was successful as no attempt was made to glamorise the setting or situation.