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Simply A Masterpiece

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

This filmed play, full of up close and very personal close ups and mirror shots. Is really just a show case for flamboyant actors, though in truth this long forgotten John Osborne masterpiece of kitchen sink realism, the first shout from the British new wave of 1958-1965. Echoes a long gone dirty street realism of post war British disillusionment, angry at something scratching scrapping at just living . Watching this 4K restoration now, is like walking into an old recurring dream, you if you are my age age faintly recognise the gritty dirty streets, the grotty railway stations, empty streets and the odd token car, all viewed through Squalid damp living conditions, choking cigarette smoke and that Sunday best rigid moral society, Britain had won the war, but the victory had little polish amid continued rations and a new age reality - Austerity! Watching this cutting edge British neo-realism piece now, the Greek god like handsomeness of Burton, with his classic Brando-esk! roman masculinity at odds with the squall-er and failure of the character and the mood of the piece, seems not the master class of social realism It's theatre inspired makers intended, but a self indulgent exercise in left wing politics to show case great acting in ultra close up. Now, Burton is no Brando, but in one context Burton was is in the realm of the god like , that of his amazing voice, at once incredible, yet a deep robust brogue, hardly Gallic yet profoundly Welsh possessing a international baritone sound as timeless as his ridiculous good looks.

"Look Back in Anger" marked the beginning of what would become known as the "Kitchen Sink" drama. In addition, John Osborne's play signalled the beginning of a new breed of actor in the British acting industry. There would be actors who would make plays and films which would reflect life in Britain as it really was. If Richard Burton had made more films like the above, then his film career would have been infinitely more satisfying. He is a tower of strength as the original angry young man, Jimmy Porter. Suffering from having an inferiority complex and also a chip on his shoulder, he voices his anger and unhappiness upon his long- suffering wife (well played by Mary Ure). Claire Bloom scored a triumph as Porter's lover. Richard Burton's highly distinctive Welsh voice is put to full use and exercises a wide range of emotions as a result. The film is an excellent adaptation of the play and it highlights the struggles of one man who feels he doesn't belong anywhere except where he is - running a market stall 5 days a week. He was actually a university student and is reduced to wasting his potential. His bitterness is aimed at his in-laws, his mother- in-law in particular. The way he describes her in a tone of mockery and being smarmy, sums up the situation pretty well. You never quite know when the next verbal assault will happen and you brace yourself for when it does. Underneath the anger, there lays a sadness and vulnerability about Porter. His affair with Claire Bloom reveals a more calm and sensitive side to his personality. The scene at the beginning which takes place on a Sunday morning, shows Jimmy Porter staring out the window at the nearby church. The church bells are ringing and Porter screams at the top of his voice, wanting the ringing to cease. Such fiery passion is produced by Burton's voice, I have rarely witnessed such a vocal display. The only other exceptions I can immediately think of, are Robert Shaw, Rod Steiger, Marlon Brando, Gene Hackman and Patrick McGoohan. This is a landmark film and it is just as powerful now as it was back in the 1950s.

This film was based on John Osborne's very successful autobiographical play. When a press release of Osborne's 1956 play called him an 'angry young man,' this coined the phrase and started the movement.As the movie begins, we see Jimmy Porter (Richard Burton) with his trumpet jamming at a jazz club. This may be one of Jimmy's freeist and happiest moments in the whole movie, because here he is free to be rebellious, and the audience in the jazz club loves it and appreciates it. When he gets home to his cramped attic apartment, he must face his demons---life with his wife, Alison (Mary Ure) and their friend, Cliff (Gary Raymond), who cohabits the apartment with them and serves as sort of a peacemaker between them, just by his presence. As Jimmy rants, we realize that he is from the lower class and Alison is from the upper- middle class. Before they were married, Jimmy had to campaign hard against her family's disapproval in order to marry her. Jimmy's anger is not so much against Alison as it is against what she stands for by continuing to write letters to her mother. He hates to compete against Alison's family for her love. He wants her to make a decision between him or them, and Alison is unable to do it: reference in continually made to her as a fence sitter—unable to commit to one side or the other.For income, Jimmy and Cliff operate a sweet stall in a public market that is owned by Jimmy's friend, 'Ma' Tanner (Edith Evans). Ma makes an appearance to see how her investment is going. But, the symbol of evil petty middle-class values is best shown by the constant badgering from the market's inspector, Hurst (Donald Pleasence), who is always threatening to have them closed down for one violation or another. Next, we find out that Alison is pregnant and, temporarily, wants to abort the baby. She first tells Cliff about the pregnancy; Cliff urges her to tell Jimmy about the baby as soon as possible. But, before she can tell Jimmy, he learns that Alison's friend, Helena (Claire Bloom), is going to stay with them for a week while acting in a local play. Jimmy openly despises Helena. As tensions grow, Alison returns to live with her parents after Helena sends them a telegram to come and rescue her. When Cliff learns of this, he leaves Helena behind to give Jimmy the news about Alison's departure. Jimmy is angry because he is informed by a note that Alison left behind with Helena rather than in person. As far as Alison having a baby is concerned, he 'could care less' because he has been busy looking after Ma Tanner while she is dying. When Ma Tanner dies, he is angry because Alison doesn't think to send a letter of condolence or flowers to the grave site.After Alison leaves, Helena stays with Jimmy and Cliff for a while longer. Unlike Alison, Helena is up to Jimmy's anger; when he slaps her, she slaps back and the two of them fall in love. The chemistry between Burton and Bloom in this film--neither of which was in the original stage play—is electric. As Cliff notices their closeness, he tells Jimmy that he wants to strike out on his own and leave the business. As Helena and Jimmy are at the train station to say good bye to Cliff, Alison reappears and tells Helena she had lost the child. Feeling guilty, Helena leaves Jimmy, and Jimmy and Alison make up. In their happier moments in the movie, the two had compared themselves to a bear and squirrel. As the movie ends, they again use this comparison. Somehow, the loss of the child seems important in bringing them back together again. Now, Alison had learned the pain and uncertainty of life and death. Now. Alison is no longer sitting on the fence. And now, Jimmy knows that Alison understands his rage and its cause.

Simply miserable film with Richard Burton angry at the whole world. Was he practicing for "Who's Afraid of Virginia Woolf?"Jimmy (Burton) can be described as being angry at society. What's his gripe?The tragic Mary Ure appears as his wife. Her tragedy was that she was a wonderful actress who unfortunately died so young. She is subjected to Burton's outbursts and eventually walks out on him.How lucky Edith Evans was to die in this film. Dame Edith had to contend with this incredible bad writing.A young and lovely Clare Bloom comes to visit and gets her friend (Ure) to leave this abuse. Then what happens? Bloom takes up with Burton. Come on. This is amateurish at best. Everyone seems to be walking out on poor Richard in this film. Yes, too many of us lost parents at a young age,but we didn't act with such hostility as Richard Burton did in this film.Even a plausible ending can't rescue this mess.I loved Burton on the trumpet.