What must have seemed like a stunning piece of "kitchen sink" realism at the time, now looks a bit too staged and artificial because the performances are keyed to the stage rather than film. Ironically, they work against the natural, low-key settings of the dingy flat that is the centerpiece of the story--at least for much of the film.
Tony Richardson has opened the stage play with the result that he's had to cut down on all the expository stage dialog to give us a direct view of the angry young man (RICHARD BURTON) in his present surroundings. Burton attacks his role with a ferocity that is reminiscent of the way Kirk Douglas attacked such a role in YOUNG MAN WITH A HORN, another angry young man American style.
The film successfully followed the pattern of other such stories that emerged during the hectic '50s, the James Dean struggles for independence as a troubled youth, only here the accent is on the slowly disintegrating marriage of Burton and MARY URE, repeating the role she played on the London stage, while he lashes out at society for condemning him to a dreary working class life he knows is below his station.
RICHARD BURTON plays the lead with theatrical flourishes and GARY RAYMOND and CLAIRE BLOOM (as "the other woman") are fine in less showy roles.
Summing up: Stripped of most of the explosive dialog that made the play such a steamy hit in London, the film manages to be little more than an atmospheric B&W look at the squalor and depression of the times among the lower classes.
Tony Richardson has opened the stage play with the result that he's had to cut down on all the expository stage dialog to give us a direct view of the angry young man (RICHARD BURTON) in his present surroundings. Burton attacks his role with a ferocity that is reminiscent of the way Kirk Douglas attacked such a role in YOUNG MAN WITH A HORN, another angry young man American style.
The film successfully followed the pattern of other such stories that emerged during the hectic '50s, the James Dean struggles for independence as a troubled youth, only here the accent is on the slowly disintegrating marriage of Burton and MARY URE, repeating the role she played on the London stage, while he lashes out at society for condemning him to a dreary working class life he knows is below his station.
RICHARD BURTON plays the lead with theatrical flourishes and GARY RAYMOND and CLAIRE BLOOM (as "the other woman") are fine in less showy roles.
Summing up: Stripped of most of the explosive dialog that made the play such a steamy hit in London, the film manages to be little more than an atmospheric B&W look at the squalor and depression of the times among the lower classes.