A Taste of Honey an Important Film

 

A TASTE OF HONEY (1961)

Directed by Tony Richardson

British Lion Film, 100 minutes, Not-rated. (Black & white)

★★★★★

 

 

 

If all A Taste of Honey conjures is a pop song by The Beatles or a cheesier Herb Albert cover in 1965, you’re missing a lot. For the record, the song’s original release was by Billy Dee Williams in 1961. It refers to the sweetness of a first kiss that lovers carry away when parted.

 

The film that bears that name is a British classic worthy of such an appellation. It’s in black and white and trust me; you wouldn’t want it to be any other way once you cast your eyes on Walter Lassally’s gritty cinematography. Set in the Salford section of Manchester shortly after World War II, we enter an impoverished environment where life unfolds so close to the margin that is but a small step up from living in a landfill. At the movie’s center is Jo (Rita Tushingham), a surly 17-year-old who lives in challenging circumstances with her narcissistic man-hungry mother Helen (Dora Bryan). Mum’s drill is to shift from one hovel to the next and sneak away when the landlord demands back rent. Jo wants out and who can blame her? Especially when the floozy Helen acquires a new boyfriend, Peter (Robert Stephens), who makes no bones about wanting rid of Jo after a strained trip to Blackpool.

 

Jo leaves school, takes a job selling shoes, and rents a backstairs walk-up near the docks that looks like a cross between a small warehouse and a chicken coop. Both furnishings and utilities redefine the term sparse, but it’s Jo’s to refurbish. The neighborhood is the sort in which begrimed children play with flotsam that washes up in the canal, pieces of wood, and debris from closed factories whilst singing “The Big Ship Sails on the Alley Alley Oh.” Believe it or not, that’s relevant.

 

Jo fancies herself independent, but she’s more street urchin than adult. The aforementioned song links to her first lover, Jimmy (Paul Danquah), a Black ship’s cook on an ocean-going vessel. He is kind and helps Jo, but is bound for the sea and they part with few future expectations. In addition to the taste of a honied kiss and  unbeknownst to Jimmy, he also leaves a bun in the oven. Geoffrey Ingham (Murray Melvin) also comes into Jo’s life. If you wonder if this film could get any bolder for 1961, the answer is yes; Geoff is so obviously gay that there’s no closet in which to retreat. Against what one would expect, though, Geoff moves in with Jo–certainly not as a lover, but as someone who will take care of her. He’s even willing to consider a lavender marriage.

 

British cinema has the term “kitchen-sink realism” for films such as this. Mike Leigh is probably the director today who comes closest to what Tony Richardson did seven decades earlier. There is no attempt to varnish truth to invite imagining all obstacles will be surmounted, nor can we assume they won’t be. This is cinema with the guts to trust audiences to enter the frame and reach their own conclusions. Characters do not magically transform. When Helen reemerges to attend to her pregnant daughter, she remains as self-centered as she always was and Jo retains a limited capacity to take a stand on what she wants. Put another way, “The Big Ship Sails on the Alley Alley Oh” is a children’s song, but the boat’s not necessarily on a happy course.

 

A Taste of Honey might seem like a bitter draft but despite its age, it’s an amazing film dealing with issues years in advance of Western society. Richardson painted with shades and shadows as dark as any film noir, though this is not one–more like a dramatized documentary of how people with limited life chances cope within constrained social environs. Oddly, it’s not depressing overall because it’s about survivors. Tushingham and Ingham both won acting awards at Cannes for this film and well-deserved they were. And what a treat to see a film that doesn’t spoon-feed viewers.

 

As I have said before, a great film takes us places we can’t go on our own. The look of A Taste of Honey and the acting styles therein are quite different from those of today, but this is truly an important document that any serious film fan should view.

 

Rob Weir