While I was watching Saturday Night And Sunday Morning on Mubi, I came to realise that there would probably be rather a lot of people from nations other than the UK watching this film and attempting to understand what the hell people were talking about here. Which amuses me greatly, especially as they didn't provide subtitles.

So, for those of you from outside this country struggling with some of the terminology in this film or about to watch it for the first time, here's a short glossary of some of the terms you will hear more than once in this film:-

* bleeder: A person of ill-repute - "Some bleeder in Wal-Mart stood on my foot!"

* summat: Another way…

A few weeks in the life of Arthur Seaton, a Nottingham factory worker played by Albert Finney who fancies a pint, a fag, and a tumble; who's even more pathetic than the townsfolk he loathes; who's a terminally selfish and self-destructive asshole. Here are three incidents from late in the film:

1) Arthur foolishly climbs onto a carnival ride alongside the married woman (Rachel Roberts) with whom he's been sleeping. Two soldiers in league with her mild-mannered husband are standing on the outer perimeter of the ride as it goes 'round and around, waiting for Arthur to hop off. The camera catches Arthur and Brenda in a series of tight two shots on the ride itself, with light and shadow…

Albert Finney is on fire in this 1960 entry from the "Kitchen Sink/British New Wave" movement. Based on Alan Sillitoe's excellent novel of the same name, Finney plays Arthur Seaton, a young lad working as a machinist who loves nothing better than drinking, smoking, and fucking. He's having an affair with a co-worker's wife (Rachel Roberts) when he meets Doreen (Shirley Anne Field). He juggles both of them for a while but it isn't long before one of them in pregnant and he finds himself having to make some grown-up decisions.

Finney is extraordinary in this. Honestly, I feel like he's severely unappreciated as an actor. He's had a fantastic career with memorable roles spanning 50 years. I'll plug one…

Very watchable. It portrays the same hopelessness of British domestic life as the other 'angry young man' new wave films of the time, but with a slightly lighter touch - Finney's performance is riveting and his journey in the film is less a fall from grace than a growing understanding of the nature of his existence. In some ways it's a very conventional, orthodox film - an errant male learns the error of his ways and settles down.

Whether it truly reflected the reality of not, this is brilliant on the nature of courtship and working class social life in the post-war era, in fact probably right up to the birth of social media. The scene waiting for the deaf…

One of the more infamous 'kitchen sink' dramas that is actually an extremely well made and involving story of life at a certain level at the end of the 50s and beginning of the sixties. yes, those 60s but nothing is swinging yet. Controversial and shocking for many at the time for its openly admitted sexual scenes and matter of fact approach to abortion (then illegal). Finney is great, almost larger than life but just about grounded, growling at his dad for watching too much TV, dutifully giving his mum a good chunk of his pay packet and giving the girls the eye. Oh and working bloody hard in the factory (Raleigh Bicycle Works, Nottingham) as he wonders if there…

For the first time, I get the anger behind the angry young man of the kitchen sink drama era of British New Wave. All Arthur Seaton wants is a good time, and one night a week is the only time he gets it.

To live a week for the chance at a scant few hours of fun? What a pitiful existence. I'd be angry too if that were me. Nevermind everything that happens as a consequence of those sacred hours....

And yet, you can't really feel bad for Seaton. His situation is his own, and so are his mistakes. He behaves poorly and must deal with his decisions and their outcome. It's easy to feel compassion for the situation but…

A rebellious, hard-living factory worker juggles relationships with two women in this BAFTA-winning British romantic drama directed by Karel Reisz.

Ever since Saturday Night and Sunday Morning was released in 1960, it has continued to remain as one of the most popular British films, not just of the 1960s, but in my opinion, all of time and it is very easy to understand why.

Adapted from the novel by Alan Sillitoe, which was published just 2 years earlier, the film is set in a Nottingham factory, where Arthur Seaton (Albert Finney) works in a boring haze, but the weekends are not much better for him either, as he is romantically involved with two women.

One of them is Brenda (Rachel…