georgewilliamnoble This filmed play, full of up close and very personal close ups and mirror shots. Is really just a show case for flamboyant actors, though in truth this long forgotten John Osborne masterpiece of kitchen sink realism, the first shout from the British new wave of 1958-1965. Echoes a long gone dirty street realism of post war British disillusionment, angry at something scratching scrapping at just living . Watching this 4K restoration now, is like walking into an old recurring dream, you if you are my age age faintly recognise the gritty dirty streets, the grotty railway stations, empty streets and the odd token car, all viewed through Squalid damp living conditions, choking cigarette smoke and that Sunday best rigid moral society, Britain had won the war, but the victory had little polish amid continued rations and a new age reality - Austerity! Watching this cutting edge British neo-realism piece now, the Greek god like handsomeness of Burton, with his classic Brando-esk! roman masculinity at odds with the squall-er and failure of the character and the mood of the piece, seems not the master class of social realism It's theatre inspired makers intended, but a self indulgent exercise in left wing politics to show case great acting in ultra close up. Now, Burton is no Brando, but in one context Burton was is in the realm of the god like , that of his amazing voice, at once incredible, yet a deep robust brogue, hardly Gallic yet profoundly Welsh possessing a international baritone sound as timeless as his ridiculous good looks.

Xikar Outstandingly written and directed movie, that many people simply won't like. It has some overly acted scenes but is easily understood if you know the actors' style. The passion that they portray in this movie seems overdone, but still amazing. At times, it's confusing, illogical and angry but again, amazing. Regardless, I could hardly wait to see what would happen next. There's jealously, sex, infidelity and death. Some of which is way ahead of it's time in 1959.Angry was Burton. Reviewing movies just to write for the negatives in their reviews, like EdwardC, (37), all reviews are one star except two, is similar to the role Burton was playing.

Maddyclassicfilms Based on the play by John Osbourne this classic from 1959 not only features one of Richards best performances,but is a very early introduction to the string of so called kitchen sink dramas of the 60's. Films like Saturday Night Sunday Morning,which brought a young Albert Finney to a greater audience.These films focused on angry young men rebelling against their working class roots and the world.Look Back In Anger tells the story of sweet seller Jimmy Porter(Richard Burton)who is angry with his life,the world and the traditions and values of the time.Most of all he is angry with himself for marrying the love of his life upper class Allison(Mary Ure)and forcing her to live in a way she is not used to.He loves her very much and she him but he can't stop his feelings of hate for the way they live overwhelm him at times.They share a small flat with friend and boarder Cliff Lewis(Gary Raymond).Cliff is the referee who always tries to stop the couples massive and emotionally draining arguments(brought on by the sight of Allison doing everyday tasks which Jimmy knows she shouldn't really be doing given her background).After discovering she is pregnant but is afraid to tell him Allison on the advice of her close friend Helena(Claire Bloom)leaves to stay with her parents.Although he has always hated Helena Jimmy soon finds himself beginning a passionate affair with her,partly out of mutual desire and as a way of relieving his pain over Allison.Emotionally draining with raw and powerful performances especially Richard and Mary,Look Back In Anger is a must see with strong support from Edith Evans as an old friend of Jimmy and Donald Pleasence as Hurst who makes the market stall holders life hell.

ianlouisiana "Look back in Anger" was not an instant hit as a play.It took the transmission by ITV of a truncated version starring Richard Pascoe as Jimmy Porter to bring it to a wider less theatrically sophisticated audience and,by extension,popularise it.This action was also incidentally the intention of John Osbourne who,along with the others in the so - called "Kitchen Sink" movement was to reclaim the theatre for ordinary working people by writing about lives and situations that had some relevance to their own. The play was to some extent autobiographical as far as it reflected Osbourne's first marriage,but Osbourne himself was no Jimmy Porter , rather he invented Porter as a character to give himself a platform on which to articulate those views that no one would listen to if he personally was to express them. Once Porter was accepted as a "voice",Osbourne could happily say whatever he liked(and frequently did) without necessarily believing in any or all of it. The form of the play was reassuringly traditional - nothing of the Beckett or Brecht about it - but the content was viciously "anti - theatre". With Osbourne's known admiration for Music Hall and Variety it is tempting to see parallels between Porter and the great Tony Hancock. Both inveterate snobs,prone to stream of consciousness dialogue,world class ranters living in seedy digs with subordinate pals.Both these great creations talk the talk but ultimately fail to walk the walk. In using Richard Burton for the movie version Tony Richardson made a fatal - if understandable - error.Too physically beautiful,too "Actorish",paradoxically too well - known,too recognisably not an embittered University Man running a market stall in order to remain true to his principles and prejudices.And once your lead has been compromised everything else around it begins collapsing. Taking Porter away from his soapbox and out onto the street further weakens the film.The efficacy of the play is to a large extent dependent on the claustrophobic gloomy set. Mr Osbourne was not a poet of the working - class,he was a poet for the working - class,not the same thing at all.He may have had hated all that he believed England had become,but like Jimmy,he chose to do nothing about it.Instead,through his mouthpiece,he chose to bellow clever words that appealed to the Armchair Revolutionaries of half a century ago and still appeal to their counterparts today. The trouble is the same snouts are still deep in the trough and the same people are still out in the cold.And it's still deeds,not words,that count.