Technically speaking, "Look Back in Anger" is a well made film. Despite that, it's also an incredibly unpleasant picture...so unpleasant that I wonder how many people can actually see the entire movie.
Richard Burton plays a completely unlikable jerk. Despite having a college degree, he works a low-paying working class job and would do nothing else. This is because he is seething with contempt for the upper classes and would much rather be poor and angry than anything else. This is a super-serious problem considering he's married to an upper-class girl. And, he makes it his life's work to destroy her and make her feel completely devalued. Boht of these folks are friends with a guy who likes them both...which seems very tough considering he sees his friend mistreating his other friend all the time.
If you can stand Burton's very famous film, "Who's Afraid of Virginia Woolf?", then you MIGHT be able to appreciate and enjoy "Look Back in Anger". As for me, like is just too short to spend this much time watching someone emotionally (and occasionally physically) torture another human being. Very unpleasant.
Look Back in Anger
1959
Drama
Look Back in Anger
1959
Drama
Plot summary
Jimmy Porter is a loud, obnoxious man, rude and verbally abusive to his wife, Alison. Alison comes from an upper class family that Jimmy abhors and he berates Alison for being too reserved and unfeeling. Jimmy is college educated but works with a partner, Cliff Lewis, as a street vendor operating a candy stall. Cliff lives with Jimmy and Alison and is close friends with both. When Jimmy pushes Alison while she is at the ironing board she is burned. Alison visits her doctor where it is revealed that she is pregnant. She asks him if it is too late to do something about it but the doctor immediately tells her never to mention such an idea. When Jimmy leaves for work, Alison confides to Cliff that she is pregnant. She is frightened of Jimmy's reaction to this news, and has not told him. Jimmy is visited by his childhood nanny, Mrs. Tanner, whom Jimmy loves and calls "Mom." Alison tries to tell Jimmy of the pregnancy but is frustrated when Jimmy insults her for being cool towards Mrs. Tanner.. Alison tells Jimmy that her actress friend, Helena Charles, is coming to stay at the flat. Jimmy hates Helena. In his anger, he curses Alison for her cool demeanor, and wishes that she would have a child and that the child would die so she could feel anguish to break her cool demeanor. Helena arrives, and when she has had enough of Jimmy's bitterness toward Alison, she convinces Alison she should allow her to call Alison's father, Colonel Redfern, to take her to the family home and leave Jimmy. Jimmy then gets word that his nanny has had a stroke. Jimmy begs Alison to come with him to see her but Alison goes with Helena to church. Jimmy visits his nanny in the hospital and is convinced she is dying. Before Jimmy returns, Alison's father arrives and leaves with Alison. Helena stays in the flat. Jimmy returns and Helena tells Jimmy that Alison is going to have a baby. Jimmy says he does not care. When he calls Helena an evil-minded virgin, she slaps him. Then they kiss and make love, locking Cliff from the flat. Jimmy and Helena live for a while in the flat, apparently happy, with Cliff, while Alison stays at her family's home waiting to give birth. Cliff begins to feel out of place, having been close to Alison but not Helena. At the candy stall, Cliff tells Jimmy that he has decided to leave. He wants something better. Jimmy has decided to get out of the candy business, too. Cliff says good-bye to Jimmy at the train station and Jimmy tells him he is worth more to him than a dozen Helenas. Jimmy and Helena enter a train station pub where they find Alison seated at a table alone. Jimmy leaves and Alison tells Helena she lost her child in pregnancy. Helena feels that she has to leave Jimmy. Helena returns to the flat and tells Jimmy she is leaving him because she cannot stand the torment of their lives. Jimmy returns to the train station and finds Alison waiting to return home. They talk of the lost child and Alison tells him she can never have children. Jimmy and Alison reconcile.
Uploaded by: FREEMAN
Director
Top cast
Tech specs
720p.BLU 1080p.BLUMovie Reviews
Painful to watch and incredibly unpleasant
First of the kitchen sink genre of film-making
LOOK BACK IN ANGER has the distinction of being one of the first kitchen sink dramas that would become all the rage in the early 1960s. It's an adaptation of the famous John Osborne play about an angry young man and the love triangle in which he finds himself involving his wife and her best friend. I was surprised to see that Nigel Kneale adapted the story for the screen as this is well away from his comfort zone of science fiction and weirdness.
The film features a typically bullish performance from Richard Burton as the protagonist who spends the entire running time bullying the women in his life (apart from his mother, as he loves her). Yes, the film is in essence a couple of of hours of Burton abusing people, so I didn't find it particularly entertaining. The characters are certainly well drawn with plenty of depth and more than realistic, but as a slice-of-life story nothing much really happens during the running time (there are no character arcs or anything like that) and I was left feeling depressed about what I'd just watched more than anything else.
Blame the bloody Edwardians!
"Kitchen Sink" drama was in its ascendancy when this film adaptation of John Osborne's play was transferred to the screen in 1959.
Philosophically, it's very much in keeping with the conventional, (and by now extremely predictable) views of the counterculture, then viewed through the prism of "the beats" but ten years after through the prism of the hippies.
Thus, we have Richard Burton, playing a young man, (a role for which he is already far too old as he looks very middle aged here) who has chosen to eke out an existence as a street vendor of penny candy by day.
By night, he is an amateur musician and misanthrope, drowning in an ocean of self pity which he assuages with alcohol and wife beating.
His apartment is regulation 1959 degradation model A-1, with girlie pin ups for art, the ironing board in the middle of the room, last weeks newspapers piled everywhere, and walls as pock marked as his un-pancaked oily complexion.
Oh, and he has a wife, a platinum blonde, whom he slaps around, and who, discovers she is expecting in one of the film's climactic revelations.
But pending fatherhood is no reason to remain faithful, and, thus, when his wife, unable to tolerate more abuse, returns to her parental home, he takes up with a visiting actress.
That the actress is played by the exquisitely cultivated and beauteous Claire Bloom strains credibility to the breaking point, (why would she put up with such as this?).
And it is to Miss Bloom that he directs some of Osborne's more pungent counter cultural observations--blaming those bloody Edwardians with their Rupert Brooke notions of honor, duty, propriety and respectability who mucked up everything--got it all wrong--it's more honest to live in a flea bitten flop-house and play amateur trumpet by night.
Then there's his free love advocacy:, "you can't be both a saint and live--you have to choose one or the other." Did you hear that St. Thomas More? This achingly relevant study of a man in extended childhood, though technically well executed, is as tedious and false as its underlying and very bankrupt philosophy.