User reviews

There's a very angry lad by name of Jimmy, lives on a squalid upstairs floor, that's rather dingy, seems to hate his gorgeous lass, because she has a bit of class, a perpetual complainer whose quite whingey. Things get worse when wife's friend Helena arrives, as they lock horns, and he goes into overdrive, rage and fury then ensue, there's nothing Alison can do, she calls her father, who picks her up, and off they drive - and right on cue, Helena drops her drawers!

Why on earth would such a lovely lass marry a person with such an uncontrollable rage, almost to the extent that it comes across as a mental illness. For me, Richard Burton layers on the anger so much that it detracts from the frustration a man in his position would more realistically feel, and the way it would present.

Fine dialogue, the rest of the cast are brilliant, just an over the top performance from someone playing the most melodramatic way they can, detracts from the whole, unfortunately.

Before George and Martha there were Jimmy and Alison, the vituperate couple at the heart of Osborne's legendary play and I suppose you could say the British Kitchen Sink movement started here. The difference, of course, being that while the Arthur Seatons and Colin Smiths of this world were unequivocally working-class kicking against the system and the intelligentsia, Jimmy and Alison were the intelligentsia playing at being working-class. And therein lies the rub; unlike later 'kitchen sink' movies "Look Back in Anger" isn't so much looking back as mired in the past, an uneasy amalgam of the kind of British films that were coming out in the late fifties and the kind of ground-breaking British cinema that would come to prevail in the early sixties.

There is no denying it is extremely well played. Burton is loudly splendiferous as Jimmy yet he seems strangely miscast at the same time. Perhaps it's that booming, melodious voice; this is a Jimmy that is more Shakespeare than Osborne, (note how Olivier completely subsumed his Shakespearean tendencies to become the definitive Osborne hero in "The Entertainer"). By the time Burton got around to playing George in "Who's Afraid of Virginia Woolf" you could say he had grown into the part.

Better cast are Mary Ure as Alison and Claire Bloom as Helena. Their performances feel new and edgy, a move away from the traditional kind of performances that British actresses had been giving up to then while Gary Raymond is an admirable Cliff and a miscast Edith Evans does what she can with Ma Tanner. Tony Richardson opens it out from the Porter's depressing flat to give a more 'cinematic' feel yet it still feels stagey and not in a good way. It's a refreshingly 'grown-up' movie but you may still wonder what all the fuss was about when the original play first opened.

"Look Back In Anger" is a mostly good reproduction of John Osborne's stage play about a college-educated Englishman trapped in a dank working class existence and lashing out at everyone around him. The performances are excellent all around; Mary Ure's I found the most moving as the fragile upper-class wife. My only complaint is the elements of staginess that were not expelled from the original incarnation: what Richard Burton does in this movie works better on the stage than it does on film. The screen is already larger than life, he doesn't need to expand the performance the way he does. As I was watching it, I found myself easily picturing Robin Williams performing the same material as a parody of gross overacting. For this, I blame the director Tony Richardson for not restraining him somewhat. I've actually liked Burton better in more modulated performances in lousy movies (the VIPs, The Comedians). Burton is a great talent, but he sometimes has the effect of a baseball pitcher with "great stuff"; he attacks the batters with pure heat and no finesse. There are also bits of business that should have been excised, like Burton and Gary Raymond's occasional breaks into Music Hall skits. That is exclusively a stage bit; it doesn't develop the characters and stops the dramatic flow.

Richardson, otherwise, shows good understanding of the film medium. The look of it is about right- the characters are the right distance from the camera to deliver their lines for maximum impact (in other words, the shots aren't cramped with close-ups in an already cramped apartment). And some scenes are shot exceptionally well: the last scene in the fog and mist with Burton and Mary Ure silhouetted is superb, as is the shot in the small doorway where Miss Ure must decide whether to join her husband or go to church with Claire Bloom's character, while Miss Bloom holds open the tiny door that exposes a flurry of street activity.

"Look Back In Anger" is a well-done film, although I think Richard Burton's assault of the audience as well as the other characters keeps it from true greatness. 3 *** out of 4

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.

Burton overacts and the dialogue is not that of a normal person but that of considered script. It doesn't ring true. Jimmy is just abusive to his wife, his friend and her friend. Through a modem lens, few would put up with him. Is this an insight into post war Britain? I don't know but I can imagine an angry post war generation. Maybe this notion makes the film more compelling and bleak.

Rebellious youth has always been a good subject for movie makers and Look Back in Anger for the United Kingdom became what The Wild One and The Blackboard Jungle were on this side of the Atlantic.

Though like Marlon Brando, Richard Burton should have been way too old to portray a rebellious youth, he certainly overcomes it with a bravura performance. Burton saw the play on the London stage and went to author John Osbourne and told him he wanted to do the screen version.

For the screen version the producers had the good sense to hire Osbourne to write all the additional scenes needed for a film. The play as presented on stage takes place entirely within the apartment of married couple Richard Burton and Mary Ure. He's a lower class youth who's married well beyond his station. Class and station are quite a bit more rigid in Europe than they are here. He's got a dead end job with a peddler's license in an open air market.

In generations gone by the character of Jimmy Porter would have been off for adventure in some faraway place with a strange sounding name that the United Kingdom had as a part of its empire&commonwealth. But the empire is no more and British society as a whole was adjusting to it in the post World War II years. So all Mr. Burton can do is play his raging trumpet and take out his frustrations on all around him.

Mary Ure repeated her role from both the Drury Lane and Broadway productions and she and Burton are joined by a good ensemble with Claire Bloom, Edith Evans, Gary Raymond in the main feature parts. Also look for Donald Pleasance in an early role as an officious inspector at the market, the kind of bureaucrat you love to hate.

Although the UK is still around minus the empire, Look Back In Anger is a fascinating look back to post World War II Great Britain.

Those people in Britain who hark back to some kind of mythical golden age. Meet Jimmy Porter from 1959. Here is a well balanced individual. He has a chip on both shoulders!

Jimmy Porter (Richard Burton) is an angry young man in Derby. A working class lad with a university degree who is bitter at the world and whatever injustices it holds.

Jimmy works in a market stall with his amiable Welsh lodger Cliff, both enjoy jazz in the evenings. Jimmy is married to an upper middle class wife Alison (Mary Ure) who he is constantly mean to. Cliff tries to keep the peace.

When Alison invites her actress friend Helena (Clair Bloom) to stay with them. Tension between the couple increases especially with someone close to Jimmy becoming seriously ill. Jimmy also despises Helena and Alison leaves him unable to tell him that she is pregnant.

In a twist, Helena who also loathes Jimmy ends up becoming his lover. It leads to the viewer to think if she engineered Alison's departure.

Director Tony Richardson was inspired by the French New Wave of realist cinema. It features a powerhouse performance from Burton. All rage and fury yet compassionate to the little fellow, here an Indian market trader constantly discriminated against.

Looking back at the film, Jimmy Porter comes across as a petty mean bully against his wife rather than a grey bleak post war Britain unsure of itself with the loss of an empire. He could had social climbed the corporate ladder with his degree but seems to have wasted any potential opportunities.

Look Back in Anger heralded a new type of film with a different portrayal of the working classes, more raw and honest. Ironically writer John Osborne who wrote the original stage play became a country squire later in life. The original angry young man ended up being rather fond of the establishment that he once detested.

If you're a fan of Burton shouting, and if you're a fan of Burton not shouting, then this film is very well worth watching. If you're indifferent about him, watch at your own risk. If he's never appealed to you, skip it for sure.

I came away from it frustrated, respecting it nonetheless. Some classy camerawork. Makeup stands out in a good way. And given their performances, the supporting actors absolutely save the film.

It's important to take this movie into context, meaning when it was made and the lack of knowledge of mental health issues at the time. At best, Burton's character is a bully surrounded by codependents. At worst, he's an angry sociopath. Anger is a byproduct of fear.

Richard burton does what he does so well in so many films... make a scene. Lots of anger, yelling, so certain that he's in the right. Night of the iguana. Virginia woolf. Staircase. Sandpiper. Jimmy's a musician, with a temper, and worse, a cruel streak... living in cramped quarters, with extra roommates. Wife troubles. Fighting authority, as usual; in this case, the local big shot hurst (donald pleasence). Co-stars claire bloom, mary ure, gary raymond. Gritty, british life.. in the 1950s. It's okay. A study of a group of people sharing a flat, with their trials and tribulations. No laughs here. Just brutal honesty. At one point, he even stands up for the little guy. From the play by john osborne. This film was nominated for four baftas! Directed by tony richardson. He and burton also made laughter in the dark, ten years later. Sadly, burton died young at 58. Nominated for seven oscars during his lifetime.

This film is powerful! The acting, writing, direction all superb! Richard Burton can deliver lines on-screen like no other actor. A "how-to" film in film-making.

Claire Bloom sizzles with Burton, you can feel the passion and desire on the screen. His friendship with his Welsh room mate is touching and serves as an anchor for the plot. Tension is always present and the attitudes of the time are perfectly portrayed. His relationship with his wife is interesting in his domineering, passionate and fiery temperament, as only Burton can render it. Today the only word that would be used to describe Burton's behaviour would be "abusive", but there was a reason for this, as Ma Tanner's death would later show.

Jimmy Porter, as played by Burton, seems like an irascible creature but there are many good points in his character. Anger is not a "dirty word" in this movie as it would be portrayed in today's films. Society then would try to understand other peoples' foibles by trying to ascertain the underlying root cause.

We could learn a lot from this movie today. A "must see" for any intelligent audience. A tremendous film portrayal! Worth owning!

A movie carried almost entirely by Richard Burton's powerful performance. Plot is quite basic: young married man is angry and everything and everyone. Not much is explained, and his anger sometimes seems contrived or manufactured. Conclusion isn't entirely satisfactory.

Burton's portrayal of the young man is something to behold. Intense, overwhelming and with the ever-present threat of him committing some sort of physical violence. It does wear thin though. After a while the whole "What you angry with? What you got?" type routine is overdone and you feel some positivity is in order. Surely nobody is that grumpy, cynical and malicious all the time?

There is a respite eventually, but it is very late in the piece.

Good support from Claire Bloom, Mary Ure and Gary Raymond.

The ultimate British "kitchen sink" drama, filmed in gritty, atmospheric black and white, "Look Back in Anger" depicts a rough period in the married life of Jimmy and Allison Porter, a young English couple of disparate backgrounds whose turbulent relationship appears doomed. Richard Burton gives an intense performance as Jimmy, whose love for Allison, played by the ethereally lovely Mary Ure, only occasionally breaks through the anger he takes out on her in merciless verbal assaults. But when the clouds do part, their mutual devotion is beautiful to behold. Gary Raymond, as the couple's stalwart and sweet-natured friend Cliff, and Dame Edith Evans, as the one person Jimmy loves and respects unconditionally, contribute wonderful supporting performances. The delicate, dark-eyed beauty of Claire Bloom, as Allison's brittle best friend, provides a striking counterpoint to Ure's fragile blonde looks.

This film is simplistic genius. The acting and character development is superb. Mary Ure reprises the role of Allyson as she played it in the original stage production of the play. Claire Bloom excels quietly. But it is Richard Burton who (again) steals the show. As Jimmy he displays talent for passionate speeches delivered quickly which he would later use in Cleopatra. His powerful performance will never be matched. He is venomous, he is tender, he is human.

The use of light in the film is remarkable. Look out for silhouettes and shadows, blinds, smoke and steam, pillars and the way light shines though it. This so called 'kitchen sink' drama has all the lighting effects of a film noir.

I think you probably have to be British to have a full understanding of all the films implications, but dont let this hinder your viewing of a taught, powerful, emotional slice of flawlessly directed humanity. Burton is as magnificent as ever.

Jimmy Porter (Richard Burton) is an angry trumpet player in a poor industrial town. He dominates his fragile wife Alison (Mary Ure). They live with his best friend Cliff Lewis (Gary Raymond) and Jimmy runs a street sweet stall with him. The guys spend their nights drinking and he playing the trumpet. Alison's friend Helena Charles (Claire Bloom) starts staying with them.

So much of this is about the acting power from Richard Burton. He's a Mack truck plowing through this movie and running right over Alison. He is a sad loser seething with rage energy. This was nominated for 4 BAFTA. I don't necessarily like what happens with Helena. I don't know what I expected. I can't tell if she's simply a male writer's construction. Alison is much more understandable. There are issues but Burton's performance overpowers everything else.