The late fifties marked the beginning of the short lived new wave in British Cinema. This was largely influenced by the burgeoning of the American cinema and stage as opposed to the staid outdated state of affairs in British culture. In that brief period a number of films were made which broke new ground in an effort to portray the often harsh reality of life for millions of Britons. Tony Richardson was perhaps the most prominent exponent of the kitchen sink/angry young man genre and "Look Back in Anger" one of his finest works.
Time has not been kind to a lot of the films which at the time may have seemed important. "Look Back in Anger" is one of the few which have retained its power, due to John Osborne's writing, Richardson's direction and outstanding performances by all.
It must have been an exciting time with the emergence of some exceptional young actors, (Alan Bates, Albert Finney, Tom Courtney, Rita Tushingham, Vanessa Redgrave, to name but a few) as well as a new generation of writers and directors. But it was not long before this exciting movement petered out and British cinema would be once again dominated by largely mediocre films.
"Look Back In Anger" has an emotional rawness to it which is still extremely effective. Osborne does not shy from exposing the ruthlessness his characters are capable of. It's a ruthlessness born of frustration and pain and as such one we can comprehend if not forgive.
Richard Burton in the lead gives a virtuoso performance, but it's the kind of acting which belongs on the stage. Burton, unlike many of his theatrical peers never quite got the hang of screen acting. He's always a number of shades to big. Still, when at his best (such as in "Night of the Iguana"), it's fascinating viewing, despite the overt theatricality.
Claire Bloom who had partnered Burton often on stage, is a fine match for the fiery Burton. The lesser known Mary Ure (Osborne's wife at the time) gives a remarkably touching portrayal as the torn and suffering spouse. Gary Raymond lends much charm in the role that was created by Alan Bates on the stage. And then there's the great Edith Evans in a small role; but then you know what they say about there being no small roles, only small actors. She certainly was one of the greats.
This is classic film making and one of the high points of British cinema, which has never regained its position in the making of exciting, intelligent and important films. Sadly director Tony Richardson too, never really fulfilled the promise of his outstanding early works.
Not one to miss.
Time has not been kind to a lot of the films which at the time may have seemed important. "Look Back in Anger" is one of the few which have retained its power, due to John Osborne's writing, Richardson's direction and outstanding performances by all.
It must have been an exciting time with the emergence of some exceptional young actors, (Alan Bates, Albert Finney, Tom Courtney, Rita Tushingham, Vanessa Redgrave, to name but a few) as well as a new generation of writers and directors. But it was not long before this exciting movement petered out and British cinema would be once again dominated by largely mediocre films.
"Look Back In Anger" has an emotional rawness to it which is still extremely effective. Osborne does not shy from exposing the ruthlessness his characters are capable of. It's a ruthlessness born of frustration and pain and as such one we can comprehend if not forgive.
Richard Burton in the lead gives a virtuoso performance, but it's the kind of acting which belongs on the stage. Burton, unlike many of his theatrical peers never quite got the hang of screen acting. He's always a number of shades to big. Still, when at his best (such as in "Night of the Iguana"), it's fascinating viewing, despite the overt theatricality.
Claire Bloom who had partnered Burton often on stage, is a fine match for the fiery Burton. The lesser known Mary Ure (Osborne's wife at the time) gives a remarkably touching portrayal as the torn and suffering spouse. Gary Raymond lends much charm in the role that was created by Alan Bates on the stage. And then there's the great Edith Evans in a small role; but then you know what they say about there being no small roles, only small actors. She certainly was one of the greats.
This is classic film making and one of the high points of British cinema, which has never regained its position in the making of exciting, intelligent and important films. Sadly director Tony Richardson too, never really fulfilled the promise of his outstanding early works.
Not one to miss.