Product Details

• Amazon Sales Rank: #21812 in Books
• Published on: 1982-11-18
• Original language: English
• Number of items: 1
• Binding: Paperback
• 96 pages

Features

• ISBN13: 9780140481754
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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Review
Play in three acts by John Osborne, performed in 1956 and published in 1957. A published description of Osborne as an "angry young man" was extended to apply to an entire generation of disaffected young British writers who identified with the lower classes and viewed the upper classes and the established political institutions with disdain. Although the form of the play was not revolutionary, its content was unexpected. On stage for the first time were the 20- to 30-year-olds of Great Britain who had not participated in World War II and who found its aftermath lacking in promise. The hero, Jimmy Porter, has reached an uncomfortably marginal position on the border of the middle class, from which he can see the traditional possessors of privilege holding the better jobs and threatening his upward climb. -- The Merriam-Webster Encyclopedia of Literature

Customer Reviews

Be prepared for an onslaught of cynicism
You'll never meet a more unique character than Jimmy Porter, a 20-something British Archie Bunker. He's filled with rage at the absence of ... something ... and spews forth venom, sarcasm and utter misery relentlessly. Sounds horrible, right? Well, it's fascinating. I couldn't put it down, and I'd like to see the current revival of the play in NYC. I've seen a few people like Jimmy Porter, people who have so much potential, energy and creativity, yet for one reason or another it's all squandered. They fail to surround themselves with people of equal passion, and the result is that they hurt the ones around them, who are more at peace with themselves. The question is, how does someone so young get this way?

This play has a message that modern readers could make use of...
Writer John Osborne presents in Look Back in Anger an antithesis to the `drawing room dramas' of the period by writers such as Noel Coward which were popular in the 1950's. These dramas often featured polished and wealthy characters from the middle and upper classes, at their leisure within their homes and drawing rooms. Such plays fuelled what one newspaper reviewer from `The Express' termed as the `Illusion of Comfort' which pervaded the 50's.
After reading or watching Osborne's play no one can argue that he was under such an `illusion'. The play can be seen as a reaction both against the `drawing room' dramas and the general society which they represent. Rather than a drawing room with wealthy characters, Osborne selected as his setting a cramped and dismal one attic apartment and filled it with rough down and out lower class characters that were in so0me cases seen as uncivil for the theatre. Their language was coarse, their setting was harsh but worst of all to the original audience of this play (which no doubt had drawing rooms of their own) these characters presented to them a world which was uncomfortably realistic. It is this realism which may account for the fact that many viewers initially did not like Osborne's play as they did not like the world that it presented.
Jimmy Porter, the eternally angry young man who believes that he has life potential beyond being a sweets salesman is frustrated by the notion that he is never given the opportunity by society to fulfill this potential, he can never pull himself up from his social position, he is effectively `stuck.' The sense of being trapped in a monotonous cycle that he cannot break free of is reflected in the setting of the play, the fact the entirety of the action occurs within the small and confining attic/ apartment, and that each of the three scenes opens in an identical fashion further underlines the notion of monotony, of being static. Jimmy (like most of a whole generation) where raised on socialist principles yet when this generation emerged into the real world, they frustratingly discovered that the class system was still intact. Look Back in Anger explores this frustration, the agony of being promised potential (through things such as Jimmy's university education) and then to have that potential snuffed out by a society which is not yet ready to let go of its class hierarchy.
No doubt many readers will find this play disturbing or at the very least depressing, as the notion of being trapped in a dead end job or a situation where ones potential is not being fulfilled or even recognized is a common fear in modern society. Even though Look Back in Anger is very much so a play of its time, the themes that it traverses still has resonance in contemporary society, one only has to take note of the number of university educated waiters and barman to draw a modern analogy or parallel.

Angry Young Rebel
"Look Back in Anger", first performed at London's Royal Court Theatre in 1956, is often cited as marking a theatrical revolution. The British theatre of the early fifties, dominated by playwrights like Noel Coward and Terence Rattigan, was widely regarded as genteel, well-mannered and middle-class. John Osborne's play can be seen as a deliberate reaction against those values. Its plot is conventional enough. It centres around the stormy marriage of a young couple, Jimmy and Alison Porter, who separate after a series of quarrels. Unknown to Jimmy, Alison is pregnant at the time, and he starts a relationship with her best friend Helena, an actress. Six months later Alison, having lost her baby, returns, and Helena ends her affair with Jimmy so as to allow the couple to be reunited.

What was shocking about the play was its social setting and the attitudes displayed by the characters, especially Jimmy. He is from a working-class family and, although he has a university degree, has turned his back on the sort of well-paid white-collar job that such an educational background would normally have led to in the fifties, working as a trader in the local market, running a sweet stall with his friend Cliff. He and Alison, with Cliff as a lodger, live in a dingy bed-sit in a large Midlands town. Alison herself is from the wealthy upper middle classes (her father is a retired Indian Army officer) and her family resent her marriage to Jimmy.

It was in the late fifties that the term "Angry Young Man" was coined by the critics to describe not only writers such as Osborne, Kingsley Amis and John Braine, but also their characters such as Jimmy Porter and Amis's Lucky Jim, who were seen as the mouthpieces of their creators. Jimmy is, to borrow the title of a famous film of the period, a rebel without a cause.

In another Osborne play from around the same period, "An Epitaph for George Dillon", the hero, himself a playwright, is advised by his agent to cut out the long speeches from his latest play, which are seen as being "too Bernard Shaw". This is not advice which Osborne took himself, although the passionate, emotional "Look Back in Anger" is very different in style to Shaw's plays, which at times can read like extracts from the proceedings of a debating society. Jimmy gives vent to his feelings in a series of long, angry speeches. (As Osborne himself was to point out, there is something formal about these speeches, which he likened to operatic recitative).

In these speeches, Jimmy attacks the state of British society, and often takes the opportunity to have a go at Alison and her family (especially her mother) whom he sees as part of the traditional British ruling class. He is instinctively suspicious of any form of authority and of the establishment. He is hostile to religion and to the growing "never had it so good" conservatism of fifties Britain. He does not, however, himself really subscribe to any alternative system of values such as Communism or Socialism. A frequent theme of his complaints is that there are no longer any good causes to fight for; he envies his parents' generation who could fight the anti-fascist battles of the thirties and forties. (His father was a veteran of the Spanish Civil War).

Jimmy's relationship with Alison is a complex one, perhaps best expressed by the cliché that they can neither live with one another nor without one another. On the one hand, the differences in their personalities and their social backgrounds is the cause of constant friction between them. On the other, they have a deep emotional need for one another, shown by their game of "bears and squirrels". To an outsider such as Helena this is mere sentimental whimsy; to them, it is a way of expressing their mutual love.

One reviewer complains that Osborne had a "tin ear" for dialogue and quotes some of Helena's lines in support of this complaint. The problem lies not with the playwright's "tin ear" but rather with the fact that some people have tin voices. There are plenty of people in Britain, especially from Helena's upper-middle-class stratum of society who speak in precisely that stilted, formal tone of voice as a substitute for feeling. In the fifties there were probably even more.

Although it had enthusiastic supporters such as the critics Kenneth Tynan and Harold Hobson, "Look Back" was highly controversial when it was first produced, being too shocking for many critics and theatregoers in the fifties. Today it has largely lost its power to shock, kitchen-sink realism, bad language and anti-establishment opinions having become commonplace in the theatre over the last fifty years. Nevertheless, when well produced its emotional power and sincerity mean that it can still be an impressively memorable experience in the theatre.