Beard styles for thin beards Beard styles for men Different beard styles for men pictures Beard style for men Beard style for round face. FILM VIEW - 'High Hopes' Votes No On Thatcher -

Cyril, in his 30's, born and bred working class, is a political militant cut off at the knees. He has nowhere to turn in Margaret Thatcher's Tory England. As he sees it, the rich get richer, and the poor, who are getting poorer, are too dazzled by the affluence they see around them to realize that they're not a part of it. The seeming economic boom has defused intelligent protest, leaving a few ineffectual fanatics like Cyril's friend Suzi. Beard styles for pointy chin.

Suzi still attends meetings where they talk about the coming revolution. ''The time is ripe,'' says Suzi. ''You must be out of your mind,'' scoffs Cyril. When she isn't dreaming of a new world as conceived by old, out-of-date lefties, Suzi dreams of opening a jewelry boutique, that is, as soon as she learns how to make jewelry. She's a closet capitalist.

Cyril treats Suzi with as much disgust as he directs toward his bird-brained sister Valerie, who lives in a dreary new community on London's edge and is married to a successful, thoroughly gross used-car dealer whom Cyril calls ''the jerk in the Merc.''

''A bit noisy, isn't it?'' Cyril says when he walks into Valerie's garishly furnished living room. ''I don't hear anything,'' says Valerie. ''We're detached.''

In Mike Leigh's fine new English film, ''High Hopes,'' there's a lot more to Cyril than sarcasm. Among other things, there is his sweet, enduring, not always serene relationship with Shirley, a woman whose humor, compassion and grit match his own.

As splendidly played by Philip Davis, with a reddish beard of Whitmanesque proportions, and Ruth Sheen, whose pointy chin and deep-set eyes would suggest a Vermeer except for her spectacular overbite, Cyril and Shirley are the most engaging lovers to be seen in any new movie in a very long time.

They are the rational, steadfast center of Mr. Leigh's film. They are so sane and so fully realized that they allow ''High Hopes'' to embrace sketches that veer off into melodramatic burlesque and hilarious satire without shattering the film's coherence.

''High Hopes'' is by far the best, most serious, most original new film to open here so far this year, and Mr. Leigh the most gifted English director to come onto the scene since Stephen Frears took us by surprise with ''My Beautiful Laundrette.''

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The movie is also further evidence of the remarkable vitality of film and television production in England, where such works as ''The Singing Detective'' and ''My Beautiful Laundrette,'' bitter, scathing reports from society's underside, coexist with romantic evocations of the past on the order of ''Brideshead Revisited'' and ''A Room With a View.''

There is no contradiction. One kind of fiction doesn't negate the truth of another. There is only unbridled creativity, backed by sources of financing that would seem to be as enlightened as the artists they finance.

Equally singular, to any American observer, is the enthusiasm with which disaffected English artists have been tearing into Prime Minister Margaret Thatcher's Tory Government, to, one must assume, the delight of at least some audiences.

In this country, we have no comparable tradition of loyal opposition, certainly not among the people responsible for our film and television entertainment. That tradition is so strong in England that it survives now, even after the collapse of the Labor Party as an effective opposition force. Indeed, the theme common to England's most outspoken, socially and politically concerned artists, whether they are in the theater, films or television, is the sense of frustration at the loss of an opposition.

The result is a subgenre of political work devoted to what might be described as the passion of the aimless, to the plight of people disconnected from the mainstream, most vividly dramatized by David Hare in ''Plenty,'' Dennis Potter in ''The Singing Detective,'' Mr. Frears and Hanif Kureishi in ''Sammy and Rosie Get Laid'' and now by Mr. Leigh in ''High Hopes.''

Mr. Leigh, 45, has been a long time refining his style. It's not easy dramatizing something that isn't there. It's like trying to analyze a vacuum.

''Bleak Moments,'' his first feature, made in 1971 and shown here briefly in 1980, was realized through the improvisational methods for which Mr. Leigh is known, first as a theater piece and then as a film. Yet it is a work with such a strong identity as a film that it's difficult to see how it ever could have been a play.

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Much like ''High Hopes,'' made 17 years later, it's about people living lives that are forever slightly off-key, inhabiting spaces so cramped that no character can to go through a door without squeezing around someone else. Communication is limited by almost terminal shyness, sometimes by inarticulateness, often by both. The world outside is chill and damp, the trees leafless. In a Leigh film, it seems always to be either mid-November, perhaps mid-March.

''Bleak Moments'' is about no-win situations, about Sylvia, a pretty, youngish woman who works in an accountant's office, takes care of her retarded, 29-year-old sister and has a brief brush with liberation in the person of a suitor, Peter, a schoolteacher who is not only shy but also prissy. The situation is bleak, but the movie is full of such extraordinary life that the effect is revivifying.

The film is an act of compassion on the part of the film maker and his mesmerizing actors. It's composed of quick, clean cuts that, like short declarative sentences, do not invite sentimental responses.

It is also, from time to time, acutely funny, as when Sylvia and Peter are tyrannized by a rude waiter in a Chinese restuarant. In addition to walking away several times as they are in mid-order, he insists on correcting them, with some severity, by translating each item ordered into its proper number on the menu. He is a waiter who has nothing but contempt for customers who don't measure up.

''Abigail's Party'' (1977), originally devised as a piece for London's Hampstead Theater and later adapted for television, is something of a technical feat in that it takes place in the real time of the play itself. The occasion is a funny, god-awful evening of cocktails and furious feelings, set in a new suburban community where people introduce each other by their house numbers. Alison Steadman is sensational as the brassy hostess.

''Meantime,'' which was shown here several years ago on Channel 13, is described by its BBC announcer as ''a wry look at life in East London.'' It is, in fact, a harrowing tale of working-class joblessness, mental retardation and the sort of family ties that strangle. The principal setting: a small, gone-to-seed flat in a housing project.

''High Hopes'' is a far easier work to respond to than ''Bleak Moments,'' ''Abigail's Party'' or ''Meantime.'' It is much more spare and, in Cyril and Shirley, it has characters who provide the audience with a point of entry into a most particular world. As Shirley watches Cyril with concern for his increasingly bitter frustrations, the audience watches the two of them. Their self-awareness - their intelligence, really - is worth attending to.

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For the first time, Mr. Leigh, ever so hesitantly, allows what seems to be his own voice to be heard when Cyril and Shirley once again battle over whether or not they should have a baby. Cyril says absolutely not. The world is too rotten. Shirley asks him what he would want the world to be, if he could will it. At first he refuses to answer. It would sound too, well, naive. She urges him to say it. He does, and it is naive. Cyril would wish for a world in which everyone had enough to eat, a place to live and jobs.

It's a surprising, dramatically risky moment that works. It is possibly the first time that Cyril has been able to recognize his naivete for what it is without having to disguise it or to be apologetic.

Mr. Leigh is apparently an actor's dream of a director. Since each actor participates in the conception and shaping of his/her own character before there is any formal story line, the actor appears to be fully in charge when shooting begins. There are times in his earlier film and television dramas when one senses that the actors are going on a bit too long, when they should be reined in. Not in ''High Hopes.''

It has the sharp, pared-down quality of life condensed to essentials. There isn't a minute that could be cut.

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