Look Back in Anger (1958)

Look Back in Anger

Based on John Osborne's excoriating play, Tony Richardson's "Look Back in Anger" burst onto the screen in 1958 with piercing dialogue reflecting the stultifying state of the British lower classes. Richard Burton (in his prime) is electric as Jimmy, imbuing the malcontent with his own dark, scathing intensity. And Richardson evokes the Britain of cold-water flats and endless drizzle with a grim authenticity. Look for veteran stage actress Dame Edith Evans playing Mrs. Tanner, Jimmy's surrogate mother, and the only woman he trusts. June 26, 2007

That's Acting

There are great performances by many great actors. but Burton's portrayal of Jimmy Porter is in a class by itself----even with a stellar supporting cast Burton is impossible to catch and even the audience needs to hang on to keep up with the pace. One of the most memorable screen performances in the history of cinema. May 9, 2007

interesting but overrated

This is interesting as a period piece. The interest is not, however, in the somewhat untypical and sometimes unbelievable personalities portrayed, as in the streets, the houses, the clothes and some of the attitudes depicted. For example the class warfare, racial attitudes, and the fact that both Porter's wife and her actress friend, for all their sense of superiority towards Porter and the lower orders, (Porter acts similarly, with his own reverse snobbery) both easily and unquestioningly assume the fifties' feminine roles of ironing and folding clothes, and making meals. The children's games and demeanor are also typical of the times portrayed.

Both Porter and his wife are somewhat typical of their social class, although Porter is far more poetic in his verbal expression than anyone I ever knew back then, and far more emotional. He is domineering, controlling, and egotistical; he has a chip on his shoulder. His wife is unemotional, cold, snobbish, and unfeeling. It is no surprise that they don't get on.

He is too self-centred and doesn't enquire as to his wife's thoughts and feelings; he is too busy describing his own state. He does see that his wife lacks any strong feelings of her own, is merely unthinkingly conventional, and is too easily swayed by others,especially her folks and her friend. She is unhappy and unloved by him, but is all too ready to run away from the situation, and have her unborn child aborted (she doesn't abort because the doctor indirectly warns her not to). She is unwilling even to go with her husband to see his dying "ma" although he tells her he needs her to.

Porter is, like most of us I suspect, too willing to see his own imagined virtues and the weaknesses of others. This is good for the ego but very bad for human relations.

In the end they each realize their own faults. He sees that he is actually "slightly satanic" for example, and overcritical, and she sees that she is too vulnerable, dependent, and emotionally undeveloped. It takes a tragic event to bring them together. Things work out quite well in the end; they seem to each learn something valuable but much of the dialogue is stinted and unconvincing. All actors and actresses do a good job with the material provided. November 5, 2006

Important to see

Despite strong acting on the part of all, I didn't think that the film adaptation was entirely successful, due to the script and direction. It remains a filmed play. Burton being always so angry doesn't ring true. But the film remains something important to see - and see again. In comparison with the majority of films coming out today, the films of the '60s had something to say and the acting and writing in general were superior. September 1, 2006

Gary Raymond

The standout for me was this underrated handsome Brit who later wound up on "Rat Patrol" as Sgt. Moffitt. He plays Porter's pal who bears the anger and trumpet outbursts.
Nice period piece. Always good to watch Claire Bloom,, too. July 25, 2006

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