My god, Burton just fucking kills it. He's just in that zone that actors rarely get in. Yes hes incredibly too old to play a recent college grad, but who cares. This is legit stuff here. Best kitchen sink film, easily. Long Distance Runner and Sporting Life are close though. Still getting over this one. I was spellbound. 5 stars
Potente melodrama. Por su historia fundada en los ásperos suburbios británicos (casi un eco de los bajos fondos noir que incluso cita al jazz), por ese doble romance (uno turbulento y otro entre estable y falso) y por sus grandes actuaciones; en especial la de Richard Burton. El actor británico es fascinante para los roles hostiles. A propósito, el filme de Richardson es una antesala a "Quién teme a Virginia Woolf".
Look, I know this opinion is likely to get me lynched by fellow film fans, but this is a good film held back from greatness by a first act that makes it too difficult to connect with any of the main characters. Burton is blisteringly good in his role, and he receives solid support from Claire Bloom, Mary Ure, and Gary Raymond. There's also a great little role for Donald Pleasence.
There's a wealth of great variations on the Angry Young Man but, aside from that sort of very un-working class, Shakespearean dialectal flex, I'm struggling to think of a more powerful screen presence than Richard Burton here and Richard Harris in This Sporting Life. Such raw fragility and emotionalism beneath uncomfortably abusive misogyny, masculine rage and existential stasis.
Why am I the only person to leave a review that even mentions that posh-but-arty jimmy who has married within his own class and has the privilege above his 'big hearted' best mate of education to be whatever he wants, including being a sweet stall owner, takes out his petty bullshit on his 'thick' wife in the most mind bogglingly sick way? If the class issues are relevant today so is the misogyny clearly...
Fear the wrath of a willing able man hamstrung by his own loathsome charms, consumed by contempt for the leisure-seeking classes. Sleek squirrels they may be. Worker bees they are not. Richardson's approach to the British class divide resonates louder than ever. Thanks to Burton's incandescent performance, the film has lost none of its fever and fury over the years.
Malgré certaines préciosités stylistiques, une lourde propension à la théâtralisation et un dialogue souvent bien trop littéraire, la richesse et l'intérêt de l'ensemble se trouve aussi en marge des principaux protagonistes, auprès de l'environnement anonyme, social et quotidien du couple. www.cinefiches.com
Screenplay by Nigel Kneale, say no more, legend. Burton is meant to be working class? His accent is very posh isn't it? Mary Ure is brilliant.She had an affair with Burton and married Osborne who was a misogynist by the sound of it, those lines, he hated his mum. Mary was very good in Where Eagles Dare too. So sad she killed herself at 42. Bad behaviour towards women was all the rage then.
A beautifully crafted film, with one glaring flaw: Richard Burton is miscast. Ten years too old for his character (his housemate looks like his little brother), his thespianism jars against the dialogue's insistance that he is married above his station (but below his intellect). The rages are nevertheless memorable - those glittering, spiteful eyes - and the other cast members inhabit their roles more plausibly.
Prefer this one to 'Who's Afraid of Virginia Woolf?'. From envious misanthropy breeding estrangement to intense gender-based sparring, from class tensions to fraught social politics and so much more... Richardson is arguably a forgotten master of British cinema, just as Godard and Truffaut were in cruise control over the pond.