Exclusive: Lord of the Rings star Morfydd Clark and Under the Banner of Heaven’s Billy Howle will star in new versions of John Osborn’s Look Back In Anger and Arnold Wesker’s Roots, which will run in rep at London’s Almeida in what has been dubbed the Angry and Young season. Ahead of the season, Romola Garai will appear in Eline Arbo’s adaptation of Annie Ernaux’s exceptional Noble Prize-winning novel The Years.
Roots, with Clark in the central role of Beatie Bryant who returns to her family in Norfolk after living a highly charged political life in London, will run at the Almeida in Islington, North London, from September 10 through November 23, directed by Diyan Zora.
Howle will take a small part in Roots but in Look Back In Anger, which will run from September 20 through November 23, he’ll play Jimmy Porter, the theater’s original angry young man.
Roots, with Clark in the central role of Beatie Bryant who returns to her family in Norfolk after living a highly charged political life in London, will run at the Almeida in Islington, North London, from September 10 through November 23, directed by Diyan Zora.
Howle will take a small part in Roots but in Look Back In Anger, which will run from September 20 through November 23, he’ll play Jimmy Porter, the theater’s original angry young man.
- 5/20/2024
- by Baz Bamigboye
- Deadline Film + TV
Chris Barber’s death is a reminder of trad’s key place n the explosion of a film style that moved to the music of the era
In the opening scene of the 1959 film of Look Back in Anger, Richard Burton, as “angry” icon Jimmy Porter, establishes his nonconformist credentials by indulging in a sweaty jazz-trumpet freakout as the local youth bop in a frenzy nearby. The scene is an invention of the film-makers – the original play takes place entirely inside a single cramped attic flat – but the took its cue from play-Porter’s fondness for playing a trumpet offstage, to wind everybody up.
Well, it was a smart move by the film-makers – director Tony Richardson and writer Nigel Kneale – to ally their pioneering essay in the film kitchen-sink realism with trad jazz, then at the height of its popularity in the UK. The death this week of Chris Barber...
In the opening scene of the 1959 film of Look Back in Anger, Richard Burton, as “angry” icon Jimmy Porter, establishes his nonconformist credentials by indulging in a sweaty jazz-trumpet freakout as the local youth bop in a frenzy nearby. The scene is an invention of the film-makers – the original play takes place entirely inside a single cramped attic flat – but the took its cue from play-Porter’s fondness for playing a trumpet offstage, to wind everybody up.
Well, it was a smart move by the film-makers – director Tony Richardson and writer Nigel Kneale – to ally their pioneering essay in the film kitchen-sink realism with trad jazz, then at the height of its popularity in the UK. The death this week of Chris Barber...
- 3/9/2021
- by Andrew Pulver
- The Guardian - Film News
Movie adaptations of classic texts can be disappointing. Transitioning from one form to the next is dangerous, particularly when nothing original arises from the outgoing medium. Sometimes it’s as if the filmmakers have left the camera pointed at a stage-play or between the pages of a book. But the 1958 film adaptation of Look Back in Anger is a masterful translation of John Osborne’s (now-)classic play – incorporating the essence of the newly-emerging British New Wave and continuing the legacy of the “angry young men” literary movement.
Set in the grey and wet city of Derby, sweet-seller Jimmy Porter (Richard Burton) lives with his wife Alison (Mary Ure) and best friend Cliff (Gary Raymond). He is a stern, explosive individual – consistently aggressive and searingly misogynistic, even by the standards of 1958. Alison feels tired and trapped by him, never finding the right opportunity to say she’s carrying his child.
Set in the grey and wet city of Derby, sweet-seller Jimmy Porter (Richard Burton) lives with his wife Alison (Mary Ure) and best friend Cliff (Gary Raymond). He is a stern, explosive individual – consistently aggressive and searingly misogynistic, even by the standards of 1958. Alison feels tired and trapped by him, never finding the right opportunity to say she’s carrying his child.
- 4/17/2018
- by Euan Franklin
- HeyUGuys.co.uk
Above: UK one sheet for The Shout (Jerzy Skolimowski, UK, 1978)One of the greatest but perhaps less heralded of British actors, Sir Alan Bates (1934-2003) is being deservedly feted over the next week at the Quad Cinema in New York with the retrospective series Alan Bates: The Affable Angry Young Man. The title makes sense: before he had acted on film Bates was in the original West End and Broadway productions of Look Back in Anger, but he played not the disaffected anti-hero Jimmy Porter, made famous on film by Richard Burton, but the amiable Welsh lodger Cliff. Though a performer of great virility, intelligence and passion, he often played second fiddle to his more demonstrative co-stars—whether Anthony Quinn in Zorba the Greek (1964), Lynn Redgrave in Georgy Girl (1966), Julie Christie in Far From the Madding Crowd (1967) and The Go-Between (1971), or Jill Clayburgh in An Unmarried Woman (1978). Consequently, he is...
- 2/16/2018
- MUBI
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