As quirky British movies from the 60s go, this one, Morgan! takes the cake. It involves a wannabe artist, played by David Warner, who engages in frequent day-dreaming and his soon-to-be-ex a graceful, erudite Vanessa Redgrave. In the process of divorcing, they can't live with each other, but can't live without each other either. So goes the story with their on-again, off-again relationship, interspersed with Morgan's frequent flights of fancy and imagination.
Morgan! is a joy. It is full of quotable lines - the title being just being one of them - clever repartee, and goofy, almost surrealistic, situations.
Underneath this blithe situation comedy is a serious social commentary. Morgan was raised by Communist parents and his soon-to-be-ex is a member of the upper class. Part of the quirkiness of Morgan! is seeing this class struggle play out. Morgan, symbolizing the Proletariat, is truly down-trodden. Vanessa kicked Morgan out of her swank apartment, and he lives in his car. He is mocked by everyone, including his mother, who calls him a "class traitor." Throughout the movie Morgan taunts the Vanessa Redgrave character with images of the Hammer and Sickle, in response to which, true to her bourgeois class, Vanessa simply ignores.
Where else can you see this dynamic in the many movies from London's "Swinging Sixties"?
Morgan! is a joy. It is full of quotable lines - the title being just being one of them - clever repartee, and goofy, almost surrealistic, situations.
Underneath this blithe situation comedy is a serious social commentary. Morgan was raised by Communist parents and his soon-to-be-ex is a member of the upper class. Part of the quirkiness of Morgan! is seeing this class struggle play out. Morgan, symbolizing the Proletariat, is truly down-trodden. Vanessa kicked Morgan out of her swank apartment, and he lives in his car. He is mocked by everyone, including his mother, who calls him a "class traitor." Throughout the movie Morgan taunts the Vanessa Redgrave character with images of the Hammer and Sickle, in response to which, true to her bourgeois class, Vanessa simply ignores.
Where else can you see this dynamic in the many movies from London's "Swinging Sixties"?