“There’s life beyond birth.”
Genres, Themes, Actors, and Directors:
Her decision to leave Johnson and marry Finch is never explained (is it love at first sight?), but the downward spiral that quickly ensues — as Finch’s career takes off and their marriage hits the rocks — makes it clear that her desire for an idyllic family existence will become more and more remote.
While we can’t help wanting to understand more about Jo’s addiction to having children (which plays a pivotal role in the dissolution of her marriage to Finch), Bancroft’s performance is nonetheless impressive, and she deservedly earned an Oscar nomination for her work; she embodies her depressive London housewife so fully that it’s easy to forget she’s Brooklyn-born rather than British.
Peter Finch as her philandering husband is appropriately duplicitous, while both James Mason and Maggie Smith are deliciously unforgettable in supporting roles. While it’s rarely enjoyable to watch chronic infidelity played out on-screen — and The Pumpkin Eater is no exception to this rule — the film remains must-see viewing simply for Bancroft’s memorable central performance.
Note: Interestingly, while director Jack Clayton helmed several provocative films about the complex lives of children (The Innocents, Our Mother’s House), Bancroft’s kids aren’t given much of a role here; it’s all about the dysfunctional adults instead.
Redeeming Qualities and Moments: