I understand that there was a real problem getting this film a theatrical release and that it is more a mid-sixties film than a late 60s one, not being released in the UK until 1969. I can understand the reluctance of distributers. With the best will in the world and considering that this may have been a heart felt effort to produce a European style thought provoking drama, it is hard to see this as anything other than a misguided and pretentious, vanity project. It starts disastrously with a reunion with a working class chum (who over does it enormously) with whom because he is now rich and famous somehow cannot relate. Plus the unforgivable homoerotic messy food prank in the posh restaurant. Things go from bad to worse, I don't know whether Shelagh Delaney's script was scrapped or that this drivel really was hers, either way the only saving grace are those fantastic Lancashire city and landscape shots. The views of what I assume to be the Manchester ship canal an added bonus, as for the rest, no thanks. Oh and the miscasting of Liza Minnelli is inexplicable, she is dreadful.

A few unwelcome scatological moments of surreal humour not withstanding, Albert Finney's only film as a director, "Charlie Bubbles", remains both a remarkable period piece and one of the most imaginative British films of the sixties, perhaps not the masterpiece I first thought it to be, (it was my best film of the year),but unmissable nevertheless. Finney made it in 1968, from an original screenplay by Shelagh Delaney, a time when the Kitchen Sink was no longer fashionable and a new kind of New Wave, typified by films like Nicolas Roeg and Donald Cammell's "Performance" and Richard Lester's "Petulia", was coming into play. This is certainly good enough to make you wish Finney had directed again.

He plays a working-class writer who has made it big, (he drives a Rolls and his books have been turned into films),and the film is set over the weekend he drives North and back to his roots with his unofficial secretary in tow, (a very good, if unlikely, Liza Minnelli),to see his nine year old son, (a first-rate Timothy Garland),who lives on a farm with Charlie's ex-wife, (a terrific Billie Whitelaw). Not much happens and at times Delaney's screenplay is a little too Pinteresque for its own good, but it's also a richly observant picture of Britain at a particular moment in time and is greatly enhanced by the superb cinematography of Peter Suschitzky.

"Charlie Bubbles" actually won Billie Whitelaw a Best Supporting Actress award from the New York Film Critics circle back in 1968, but it is mostly remembered today as Liza Minnelli's film debut. She's in it for about a third of the running time, and it's an assured comic performance, quite different from her later screen personas. Albert Finney's direction and performance are fresh and intriguing, and Whitelaw deserved her accolade--she walks off with the last third of the film. You'll either love or hate the ending.