Films made from novels are usually unsatisfactory, because they fail to break away from literary terms films derived from plays are worse still, because they seem to bring out all the latent theatricality in film-makers.
I think that this may be of particular interest in this instance, because of the style of the novel.
Alan Sillitoe’s article in NLR 4 suggested that in filming the novel there would be no basic changes in theme or tone so in this case there may be a chance to look at the way in which the matter of the novel has been translated into the terms of the film. The reason for commenting on Saturday Night and Sunday Morning two years after publication is, naturally, the film (which presumably accounts for its appearance in paper-backs): and the object of the exercise is to assemble some ideas about the book while it is still simply a book, before the film arrives and changes things.
Alan Sillitoe’s brilliant novel has been filmed by the Osborne-Richardson company, with Albert Finney and Shirley Ann Field, directed by Karel Reisz.
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