Despite success on the field, a rising rugby star senses the emerging emptiness of his life as his inner angst begins to materialize through aggression and brutality, so he attempts to woo his landlady in hopes of finding reason to live.
Murderous, sadistic London gang leader Vic Dakin, a mother-obsessed homosexual modeled on real-life gangster Ronnie Kray, is worried about potential stool pigeons that may bring down his ... See full 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. ...Written by
"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
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