New review: Look back in anger 31.07.2016



In the film version by Tony Richardson, play John Osborne’s “Look back in anger”, which he first put on the stage we have Jimmy porter, the hero is of a special kind — not just the embodiment of spontaneous vitality, but one who “had to be born in the era of the French Revolution” (as he says one of the characters of the play), the one who “without the efforts of flying in lunar mist, but a gigantic, unseen, wings prevent him to walk upon the earth.”

He is the forerunner of aestheticism rebels in the second half of the 1960s, which was a little areas of implementation that have left their mark in politics, art, unites like-minded people, creating with them the theory of the party of the commune, capturing universities, always choosing the alternative of the conventional model of self-realization.

Jimmy porter, like the embodiment of such a human type, completely unbearable in person. Richard Burton, who embodied this role on screen and on stage, do not skimp on the negative emotional accents — monstrous in its tactlessness intolerance porter to his wife (the British equivalent of Chekhov’s darling) and friends, directness in communication, bordering on contempt and misanthropy, lust for tearing off all masks, amounting to psychological torture of others and motivated by the hypocrisy and pettiness of their interests, — all that pervades it, Jimmy, adding to a group portrait of any European country, mid-twentieth century, the countries of “little people”, living the tiny dream and more than anything afraid of radical life changes. Being heroes of the Russian literature of the XIX century, they were still sympathetic, because side by side with Incurabili, Balkanskimi and Stolz, was not ubiquitous, as in the twentieth century, becoming the dominant psycho “mass man.”

In the film version by Tony Richardson, play John Osborne’s “Look back in anger”, which he first put on the stage we have Jimmy porter, the hero is of a special kind – not just the embodiment of spontaneous vitality, but one who “had to be born in the era of the French Revolution” (as he says one of the characters of the play), the one who “without the efforts of flying in lunar mist, but a gigantic, unseen, wings prevent him to walk upon the earth.”

He is the forerunner of aestheticism rebels in the second half of the 1960s, which was a little areas of implementation that have left their mark in politics, art, unites like-minded people, creating with them the theory of the party of the commune, capturing universities, always choosing the alternative of the conventional model of self-realization.

Jimmy porter, like the embodiment of such a human type, completely unbearable in person. Richard Burton, who embodied this role on screen and on stage, do not skimp on the negative emotional accents – monstrous in its tactlessness intolerance porter to his wife (the British equivalent of Chekhov’s darling) and friends, directness in communication, bordering on contempt and misanthropy, lust for tearing off all masks, amounting to psychological torture of others and motivated by the hypocrisy and pettiness of their interests, – all that pervades it, Jimmy, adding to a group portrait of any European country, mid-twentieth century, the countries of “little people”, living the tiny dream and more than anything afraid of radical life changes. Being heroes of the Russian literature of the XIX century, they were still sympathetic, because side by side with Incurabili, Balkanskimi and Stolz, was not ubiquitous, as in the twentieth century, becoming the dominant psycho “mass man.”


New review: Look back in anger 31.07.2016

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