In the 1950s, the emergence of ‘angry young men’ writers and kitchen sink dramas like ‘Look Back in Anger’, led to an increase in working-class representation.
By Aimee Ferrier
For many years, the lives of working-class British people were invisible on screen. Not only that, but actors from working-class backgrounds were hard to come by, thus meaning that a large chunk of Britain’s screen icons were privately educated or well-connected figures. This imbalance within the industry prevented authentic stories from being told, silencing the voices and experiences of a massive group of the British population.
Posh actors dominated the screens with their received pronunciation accents that asserted them as well-educated figures. “The working-class person always had to have an accent before, was often a joker, and peripheral,” actor Rita Tushingham told The Independent. Indeed, there were hardly any working-class protagonists or stories about the plight of poverty, unemployment, governmental disillusionment, or abortion.
Then, in the 1950s, the ‘angry young men’ movement emerged within the world of literature, theatre, and film, changing everything. Post-war, a new generation of young people were feeling dismayed by the widespread levels of unemployment and dead-end jobs that forced people to work to the bone for little money. Many people were unable to afford nice places to live, and countless individuals were suffering from PTSD, grief, and a sense of malaise.
People’s childhood towns and cities were now destroyed by bombs, leaving what was once a community in ruins, and this physical representation of destruction and emptiness mirrored the emotions many were feeling at the time. This disillusionment came to a boiling point in the mid-1950s as people struggled to move forward and prosper in a country still ravished by the effects of war and economic disparity.
However, with John Osborne’s play Look Back in Anger, a voice finally cut through. Michael Caine once discussed the play with The Guardian, explaining: “When it changed, it was all down to the writers. They started writing for working-class people and it made all the difference. Playwrights like Noël Coward, someone I later knew very well, wrote middle-class parts for the stage. If you had a cockney accent you were going to play the butler. But John Osborne wrote Look Back in Anger in 1956, and that, I believe, was the first major piece of theatre that had a working-class hero.”
Things were beginning to change, with the stories of working-class people making more of a dent in popular culture than ever before. Other writers that were dubbed part of the ‘angry young men’ movement (although most hated this term) included Kingsley Amis, Alan Sillitoe, and John Braine, whose stories really changed the game in regards to the representation of normal British people and their struggles.
At the same time, the Free Cinema documentary movement helped to pave the way for depictions of British working-class issues on screen. These filmmakers—including Lindsay Anderson, Tony Richardson, and Karel Reisz—used a cinema vérité style to cheaply chronicle elements of working-class life to great success.
