John Osborne Movies
Angry and acerbic British playwright/screenwriter John Osborne had a special knack for angering his fellow Britons with his rebellious and sometimes poisonous comments about the English tendency to hold themselves and their society in what he may have considered inordinately high esteem. Osborne burst onto the British theatrical scene in 1956 after penning his seminal play about youthful rebellion, Look Back in Anger, in a mere 17 days. It was a hard-hitting work that left audiences reeling and created a new symbol of the educated 1950s rebel, his character Jimmy Porter. The play and the resulting film (in 1962, starring Richard Burton) provided the launching pad for a wide variety of socially conscious dramas. As a screenwriter, Osborne is best known for penning the Academy Award-winning screenplay adaptation of Fielding's Tom Jones (1963). Born in London to a father he adored and a mother (according to his memoirs) he hated, Osborne originally aspired to act on-stage, but ended up a journalist and playwright. Look Back in Anger was his first play. Later he worked alone or in collaboration on screen adaptations of his plays. He has also acted in a couple of feature films. In addition to enjoying his plays, audiences (who apparently loved to hate him) were often entertained by details from Osborne's private life. A diabetic and a heavy drinker with a tendency toward irascibility, Osborne was married five times. He seldom hesitated from vindictively verbally bashing each of his ex-wives and former colleagues. Still, his admirers stood up for his bald honesty, his unflinching willingness to express his views, and the rich way in which was able to do it. ~ Sandra Brennan, All Movie Guide- 1995
This British biopic attempts to chronicle the life of 17th-century tunesmith Henry Purcell. The filmmakers have had to do much speculating about Britain's first great composer, as little is known about his life back then. It is known that Purcell had been a chorister as a child and then became the court composer for three kings: Charles, James and William. Before his death at age 37, Purcell penned over 1,000 songs and sired a few children, most of whom died at birth. While little is actually known of Purcell, the film successfully recreates the tumultuous era in which he lived. Also running parallel to Purcell's story is a set in the 1960s when English society and values seemed to be rapidly eroding, just as they were in the composer's time. The story concerns a playwright's attempts to research the life of Purcell for his next play. In the last part of the film, several lavish musical numbers from Purcell's vast repertoire are presented. ~ Sandra Brennan, All Movie Guide
- 1995
Director Tony Palmer explores the mysterious life of English composer Henry Purcell in this award-winning film. Recognizing that little is known about the secretive Purcell, a group of 1960s-era actors travel back to the 16th Century in search of clues to the composer's mystery shrouded past. ~ Jason Buchanan, All Movie Guide
Made for British television, 1989's Look Back in Anger is the third film adaptation of John Osborne's legendary "kitchen sink" stage drama. Kenneth Branagh plays working-class roisterer Jimmy Porter, the archetypal "angry young man" whose college education has led nowhere. Stuck in a go-nowhere job at a candy store, Porter rebels against the establishment through his boorish treatment of his wife (Emma Thompson) and mistress (Siobhan Redmond). Branagh's forceful performance allows us to ignore the structural shortcomings inherent in the play (Osborne writes in fluent tract). Earlier filmizations of Look Back in Anger starred Richard Burton and Malcolm McDowell. ~ Hal Erickson, All Movie Guide
The second film in the trilogy made by director Istvan Szabo and actor Klaus Maria Brandauer -- hammocked between Mephisto and Hanussen -- Colonel Redl continues Mephisto's fascination with a man overwhelmed by history. In that film, Brandauer played an actor who tried to ignore the rise of the Third Reich, and here he's an ambitious military officer in pre-World War I Austria whose career path is set early on. In military school, he's forced to inform on a student who's the source of a practical joke; though he beats himself up for being a Judas, he soon realizes that to rise in the ranks he must overcome his peasant background and hide his homosexuality by ingratiating himself with his superiors. In time, he becomes Chief of Military Intelligence for the Austro-Hungarian empire.
Though he professes to hate politics and politicians, Redl also can't avoid them. When the leader for whom Redl is supposedly spying among the officer corps, draws up a list of who can't be exposed for traitorous activities (including Austrian nobles, Hungarians, Czechs, Serbs, Croatians, and even the usual scapegoats, Jews -- the aftershocks of the Dreyfuss affair are still rumbling), he tells Redl that he must find a double of himself, a Ukrainian. Now certain that he will be exposed, Redl surrenders to fate, quoting to his wife from Montaigne: "It's no sin to be involved. It's a sin to remain involved." Brandauer is a wonder as the self-loathing Redl, and Szabo's camera picks up every nuance on his expressive face. The film eschews music except for several party scenes, and the absence of a score is most effective in the final shots of Redl's fellow officers awaiting his fate. ~ Tom Wiener, All Movie Guide
Though he professes to hate politics and politicians, Redl also can't avoid them. When the leader for whom Redl is supposedly spying among the officer corps, draws up a list of who can't be exposed for traitorous activities (including Austrian nobles, Hungarians, Czechs, Serbs, Croatians, and even the usual scapegoats, Jews -- the aftershocks of the Dreyfuss affair are still rumbling), he tells Redl that he must find a double of himself, a Ukrainian. Now certain that he will be exposed, Redl surrenders to fate, quoting to his wife from Montaigne: "It's no sin to be involved. It's a sin to remain involved." Brandauer is a wonder as the self-loathing Redl, and Szabo's camera picks up every nuance on his expressive face. The film eschews music except for several party scenes, and the absence of a score is most effective in the final shots of Redl's fellow officers awaiting his fate. ~ Tom Wiener, All Movie Guide
- Starring:
- Klaus Maria Brandauer, Hans-Christian Blech, (more)
- 1980
Malcolm McDowell reprises his stage performance as Jimmy Porter, the quintessential British "angry young man," in this video adaptation of John Osborne's ground-breaking play. The play begins one dreary Sunday morning, as Jimmy rants and raves against the entire world, including his family, British society, politicians, and women, especially his own wife, Alison. About the only person he does get along with is Alison's close friend and near-constant companion Cliff Lewis, a member of the working-class that Jimmy so strongly identifies himself with, despite his education and comfortable upbringing. Given his continually abrasive, hate-filled manner, it is no wonder that Alison is afraid to share an important secret with him: that she has become pregnant. She invites an old friend, Helena Charles, to visit, seeking advice; this only provokes Jimmy further, as he considers Helena a mortal enemy. Tensions soon grow stronger amongst the members of this makeshift household, and after a sudden tragedy, allegiances shift in a rather unexpected fashion. Director Lindsay Anderson, who had previously collaborated with McDowell on if... and Oh Lucky Man!, translated Ted Craig's Roundabout Theatre production to the screen, taping the end result in merely three days. ~ Judd Blaise, All Movie Guide
- 1976
John Osborne scripted this made-for-TV adaptation of Oscar Wilde's novel, which charted the rise and fall of one tragically tempted man. Dorian Gray (Peter Firth) is a privileged man who sits for artist Basil Hallward (Jeremy Brett). Gray is so happy with the results that he wishes he could look that way forever; Hallward tells him it could be so, but for a terrible price. Gray soon discovers that he no longer ages, but his portrait does instead, and as he becomes more corrupt and stops putting a check on his appetites, he discovers just how great a toll is portrait is forced to bear. The Picture of Dorian Gray also features Sir John Gielgud. ~ Mark Deming, All Movie Guide
- 1975
This Americanized remake of John Osborne's play changes the locale from a seedy British amusement pier to an equally seedy burlesque house in Santa Cruz, California. Jack Lemmon assumes the Laurence Olivier role as Archie Rice, a third-rate entertainer who's a failure but won't admit it. Selfishly feeding his own ego, Archie destroys the lives of those around him, including his long-suffering wife (Sada Thompson), his formerly famous father (Ray Bolger) and his disenfranchised grown children. This made-for-TV film is set in the 1940s to allow for several period-flavor tunes by Marvin Hamlisch, the best of which is the jaunty "Honolulu Lulu". ~ Hal Erickson, All Movie Guide
- Starring:
- Jack Lemmon, Ray Bolger, (more)
Adapted for the screen by Edward Anhalt from the play by John Osborne, Luther stars Stacy Keach as religious leader and "heretic" Martin Luther. In minimalist fashion, the film traces Luther's disillusionment with the Catholic Church, and his eventual spearheading of the Reformation movement. Over the course of the film, Keach ages from an ingenuous seminarian to a disgruntled, middle-aged firebrand. Director Guy Green does little to cinematize the material, instead favoring a theatrical approach and thus allowing the rich dialogue to be better appreciated. Luther was a production of the American Film Theatre. ~ Hal Erickson, All Movie Guide
- 1968
Based on a play by John Osborne, this is one of those movies where the audience pulls for the protagonist but has a hard time actually saying that he IS a protagonist. A highly unlikeable fellow, this protagonist is an attorney in all the ways that make this more an epithet than a profession. He's hated by his office personnel as much as his associates. He's unfaithful to his wife, lousy to his clients, and miserable with his children. Surprisingly, though, Nicol Williamson has taken this nasty person and made us still somewhat care what happens to him. Quite an accomplishment considering the lack of anything at all to love about this misanthrope, but somehow we see just a glimmer of humanity. ~ Tana Hobart, All Movie Guide
- Starring:
- Nicol Williamson, Eleanor Fazan, (more)
Tony Richardson's adaptation of Henry Fielding's classic novel was one of the most critically acclaimed and popular comedies of its time, winning four Academy Awards, including Best Picture. The film follows Tom Jones (Albert Finney), a country boy who becomes one of the wildest playboys in 18th century England, developing a ravenous taste for women, food, and rowdy adventures. Over the course of the film, Jones tries to amass his own fortune and win the heart of Sophie (Susannah York). Not only does John Osborne's Oscar-winning screenplay stay true to the tone of the novel, but the cast -- including Lynn Redgrave in her first screen role -- tears into the story with spirited abandon, making the movie a wildly entertaining and witty experience. ~ Stephen Thomas Erlewine, All Movie Guide
- Starring:
- Albert Finney, Susannah York, (more)
Laurence Olivier recreates his stage role of Archie Rice in this in-your-face film adaptation of John Osborne's play. The son of a legendary music hall comedian (Roger Livesey), Archie is strictly a third-rater, headlining a tacky music hall revue in a seedy seaside resort town. Archie can't admit that he's a failure, and his grim insouciance destroys everyone around him. Archie finagles his dying father into financing one last revue; he cheats shamelessly on his alcoholic wife (Brenda De Banzie); and he all but forces one of his sons (Albert Finney) to run off to join the army, only to die in the Suez. Through all his personal crises, Archie jigs and jabbers before his ever-diminishing audience, but by the end of the film he isn't even entertaining himself. Joan Plowright, who married Olivier shortly after completing The Entertainer, plays the film's one sympathetic character: Archie's daughter, whose love for her father blinds her to his flaws. The Entertainer was remade for television in 1976, with Jack Lemmon as Archie Rice and original songs by Marvin Hamlisch. ~ Hal Erickson, All Movie Guide
- Starring:
- Laurence Olivier, Brenda de Banzie, (more)
Archetypal British "angry young man" Jimmy Porter (Richard Burton) is a college-educated bloke who can't seem to get any better job than working in a candy store. Jimmy's relationship with his wife Alison (Mary Ure) alternates between hugs and kisses when he's feeling good and verbal abuse when he's down on himself, which is often. Alison's best friend Helena Charles (Claire Bloom) advises Alison to escape her injurious marriage. Left with no one for a punching bag, Jimmy romances Helena. Having suffered a miscarriage, Alison returns, and Helena walks out of Jimmy's life. In keeping with its depiction of the dead-end existence of most of England's working poor in the late 1950s, nothing is truly resolved in Look Back in Anger. Playwright John Osborne (at that time married to Mary Ure) uses Jimmy Porter as a spokesman for Osborne's own spleen-venting harangues against the British government and class system. Not only did Look Back in Anger spawn a new genre of British social-protest films, but it also inspired two remakes, both filmed for television. ~ Hal Erickson, All Movie Guide
- Starring:
- Richard Burton, Claire Bloom, (more)
