A Touch of Love

1969
M/PG
1h 47min

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MA NOTE

Une jeune femme londonienne, étudiant pour son doctorat au British Museum, passe ses nuits à essayer d'éviter l'admiration sexuelle des hommes dans sa vie.Une jeune femme londonienne, étudiant pour son doctorat au British Museum, passe ses nuits à essayer d'éviter l'admiration sexuelle des hommes dans sa vie.Une jeune femme londonienne, étudiant pour son doctorat au British Museum, passe ses nuits à essayer d'éviter l'admiration sexuelle des hommes dans sa vie.

Voir les informations de production sur IMDbPro

NOTE IMDb

6,3/10

531

MA NOTE

Voir les informations de production sur IMDbPro

Récompenses
- 1 nomination au total

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Anecdotes
Margaret Drabble's original novel was titled "The Millstone", an ironic reference to the baby the unmarried heroine finds she's expecting, while trying to complete her doctorate. This was the working title for this movie, but it was deemed unsuitable and not commercial. In the U.S., this movie was released as "Thank You All Very Much", the sarcastic remark the heroine makes to a group of student doctors after they have studied her case at length, without ever speaking to her, nor making any acknowledgment of her as a person.

Gaffes
At 6:41 minutes, Rosamund takes off her blue blouse. She then walks to the bath and she has her blouse on again.

Citations
Lydia Reynolds: But you ought to tell somebody, Ros. Somebody ought to help you out. What about your sister?
Rosamund Stacey: My sister's got three of her own.
Lydia Reynolds: Then get your mother home.
Rosamund Stacey: Lord, Lydi', the last thing on Earth I want is my mother home.
Lydia Reynolds: It's none of my business but what about this man, whoever he is?
Rosamund Stacey: Look, Lydia, you don't know him, he doesn't know it's happened and I'm not going to tell him so let's forget about him shall we?
Lydia Reynolds: Sorry. Do you love him, whoever he is?
Rosamund Stacey: Love him? I hardly know him.
Lydia Reynolds: [finding what she was looking for] I don't know, this place is so chaotic.
Lydia Reynolds: You know, I was pregnant once. Of course, I was determined not to have it. So I got this man to give me the name of one of those really expensive chaps who do it legally on psychological grounds. You know, private nursing home and all that lark. So I made an appointment. And off I went to convince this man that if I had this baby I was going to be a complete mental and physical wreck. He seemed quite moved actually; very sympathetic. I thought I was well away. And then, he said he was awfully sorry but he couldn't possible recommend termination of pregnancy in my case. And do you know why? Because I was too nutty.
Lydia Reynolds: He said I was far too sensitive and neurotic and if I had an abortion I'd just have a breakdown with guilt feeling. I tried to explain that I hadn't the least intention of having a breakdown. So he said why was I there then? He'd got me either way, you see.
Lydia Reynolds: This is the funny bit: I was in such a panic that I rushed straight across the road without looking and got knocked down by a bus. And that did the trick. The shock, I suppose. So I got carted off to hospital, all innocently bleeding, and all for free.
Rosamund Stacey: What a stroke of luck you had then.
Lydia Reynolds: Quite one of life's little ironies.

Connexions
Referenced in Monty Python's Flying Circus ; Absurde, n'est-il pas?: Full Frontal Nudity (1969)

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6/10

Pregnant after a night of passionlessness

Not sure I find Sandy Dennis very credible, it's a mannered performance, at times impassive and disengaged, at times the opposite - for no discernible reason other than perhaps to maintain her familiar unfathomable screen personna.

Clearly written by a woman, judged by the savage portrayal of the sadistic hospital matron who needlessly blocks the young mother from even glimpsing her recovering infant under the pretence of efficiency and rules, in contrast to the kind (male) consultant who is only too happy to allow this.

Ian McKellan plays a pleasant young man who one would assume seduces the Dennis character only that she seems neither stirred nor shaken by his advances. Nevertheless clearly we gather from her change of costume into something more comfortable and it being morning, that intimacy has taken place. Somehow this significant event has, while changing her state irrevocably, left her manner as neutral and unchanged as if it never happened. And, oddly, the film ended suddenly leaving me feeling exactly the same - as if nothing of interest or significance had happened.