Pdf text of look back in anger

We do not guarantee that these techniques will work for you. Some of the techniques listed in Look Back in Anger may require a sound knowledge of Hypnosis, users are advised to either leave those sections or must have a basic understanding of the subject before practicing them. DMCA and Copyright : The book is not hosted on our servers, to remove the file please contact the source url.

If you see a Google Drive link instead of source url, means that the file witch you will get after approval is just a summary of original book or the file has been already removed. Loved each and every part of this book. Anyway, she's probably in church, points to the window swinging on those bloody bells!

Cliff goes to the window, and closes it. I'll take us all out, and we'll have a drink. It's Sunday. Anyway, it's raining. He pushes Jimmy round the floor, who is past the mood for this kind of fooling. Do you come here often? All right, all right, very funny. He tries to escape, but Cliff holds him like a vice. Let me go. Do you think bosoms will be in or out, this year? He makes a great effort to wrench himself free, but Cliff hangs on. They collapse to the floor C, below the table, struggling.

Alison carries on with her ironing. This is routine, but she is getting close to breaking point, all the same. Cliff manages to break away, and finds himself in front of the ironing board. Jimmy springs up. They grapple. Oh, it's more like a zoo every day! Jimmy makes a frantic, deliberate effort, and manages to push Cliff on to the ironing board, and into Alison. The board collapses. Cliff falls against her, and they end up in a heap on the floor. Alison cries out in pain. Jimmy looks down at them, dazed and breathless.

CLIFF: picking himself up. She's hurt. Are you all right? I'm sorry, believe me. Clear out of my sight! He stares at her uncertainly. Cliff nods to him, and he turns and goes out of the door. He leads her to the armchair. You look a bit white.

I'm all right now. Examines it Yes, it's quite red. That's going to be painful. What should I do with it? A bit of soap on it will do. I never can remember what you do with burns. Are you sure you're all right? CLIFF: crossing to door. Won't be a minute. She leans back in the chair, and looks up at the ceiling. She breathes in deeply, and brings her hands up to her face.

She winces as she feels the pain in her arm, and she lets it fall. She runs her hand through her hair. Oh, God! Cliff re-enters with a bar of soap. Do you think it'll be all right? Let's have your arm. He kneels down beside her, and she holds out her arm. I've put it under the tap. It's quite soft. I'll do it ever so gently. Very carefully, he rubs the soap over the burn. All right? She nods. You're a brave girl. Tears harshening her voice I really don't, Cliff. I don't think I can take much more.

Turns her head away. I think I feel rather sick. Puts the soap down. Would you like me to get you something? She shakes her head. He sits on the arm of the chair, and puts his arm round her. She leans her head back on to him. Don't upset yourself, lovely. He massages the back of her neck, and she lets her head fall forward. Reading, I think. Stroking her neck. That better? She leans back, and closes her eyes again. He kisses the top of her head. I'm pretty rough, and pretty ordinary really, and I'd seem worse on my own.

And you get fond of people too, worse luck. Any more. I can't take it on. Too young, and too lovely. Perhaps I'd better put a bandage on that—do you think so? Cliff crosses to the dressing table R. I keep looking back, as far as I remember, and I can't think what it was to feel young, really young. Jimmy said the same thing to me the other day. I pretended not to be listening—because I knew that would hurt him, I suppose.

And—of course—he got savage, like tonight. But I knew just what he meant. I suppose it would have been so easy to say "Yes, darling, I know just what you mean. I know what you're feeling. It's those easy things that seem to be so impossible with us. Cliff stands down R. It looks pretty ugly sometimes.

I suppose not. Crosses to her. If only I knew what was going to happen. CLIFF: kneeling on the arm of her chair. Give it here. She holds out her arm. Yell out if I hurt you. He bandages it for her. Slight pause. What is it, lovely? I'm pregnant. CLIFF: after a few moments. I'll need some scissors. That is something, isn't it? When did you find this out? It was a bit of a shock. Must say I'm surprised though. What with—this place, and no money, and oh— everything. He's resented it, I know.

What can you do? CLIFF: having cut her bandage, he starts tying it. That too tight? She rises, goes to the ironing board, folds it up, and leans it against the food cupboard R. Is it Places the iron on the rack of the stove. I'm not certain yet. Maybe not.

If not, there won't be any problem, will there? Her face is turned away from him. She simply shakes her head. Why don't you tell him now? She kneels down to pick up the clothes on the floor, and folds them up. After all, he does love you. You don't need me to tell you that. He'll suspect my motives at once. He never stops telling himself that I know how vulnerable he is.

Tonight it might be all right—we'd make love. But later, we'd both lie awake, watching for the light to come through that little window, and dreading it. In the morning, he'd feel hoaxed, as if I were trying to kill him in the worst way of all. He'd watch me growing bigger every day, and I wouldn't dare to look at him. What my mother calls "loose". It is pretty free, of course, but it's very harsh too.

You know, it's funny, but we never slept together before we were married. And, afterwards, he actually taunted me with my virginity. He was quite angry about it, as if I had deceived him in some strange way. He seemed to think an untouched woman would defile him. He'd be quite pleased.

She gets up, the clothes folded over her arm. Do you think he's right? We both come from working people, if you like. Oh I know some of his mother's relatives are pretty posh, but he hates them as much as he hates yours. Don't quite know why. Anyway, he gets on with me because I'm common. Common as dirt, that's me. She puts her hand on his head, and strokes it thoughtfully.

He gets up, and puts his arm round her. Tell him. He kisses her. Enter Jimmy. He looks at them curiously, but without surprise. They are both aware of him, but make no sign of it. He crosses to the armchair L. He picks up a paper, and starts looking at it. Cliff glances at him, Alison's head against his cheek.

There you are, you old devil, you! Where have you been? It wasn't much. How's your arm? Cliff and Alison still have their arms round one another. Am I, dullin'?

I can't concentrate with you two standing there like that. Anyway, you both look pretty silly slobbering over each other.

And so do you, only you're too much of a pig to say so. Mummy and Daddy turn pale, and face the east every time they remember she's married to me. But if they saw all this going on, they'd collapse. Wonder what they would do, incidentally. Send for the police I expect. Genuinely friendly. Have you got a cigarette? I'll have a look. She goes to her handbag on the table C. He gets more like a little mouse every day, doesn't he? He is trying to re-establish himself. He really does look like one.

Look at those ears, and that face, and the little short legs. That's because he is a mouse. I'm a mouse. I'm a mouse, I'm a mouse, I'm a randy little mouse. That's a mourris dance.

Mourris Dance. That's a Morris Dance strictly for mice. Goes over to him, and grabs his foot. You're a stinking old bear, you hear me? You're making my stomach heave. I'm resting! If you don't let go, I'll cut off your nasty, great, slimy tail! Cliff gives him a tug, and Jimmy falls to the floor. Alison watches them, relieved and suddenly full of affection.

Cliff is dragging Jimmy along the floor by his feet. JIMMY: yelling. Go out and get me some cigarettes, and stop playing the fool! He lets go of Jimmy's legs suddenly, who yells again as his head bangs on the floor. Giving it him. The shop on the corner will be open. Right you are. Kisses her on the forehead quickly. Don't forget. Crosses upstage to door.

CLIFF: at door. Hey, shorty! I'll kill you first. That's my boy! She becomes aware of his nearness, and, after a few moments, closes it.

He takes hold of her bandaged arm. How's it feeling? It wasn't anything. All this fooling about can get a bit dangerous.

He sits on the edge of the table, holding her hand. I mean it. I did it on purpose. I've got to hit out somehow. Nearly four years of being in the same room with you, night and day, and I still can't stop my sweat breaking out when I see you doing—something as ordinary as leaning over an ironing board.

She strokes his head, not sure of herself yet. Trouble is—Trouble is you get used to people. Even their trivialities become indispensable to you. Indispensable, and a little mysterious. He slides his head forward, against her, trying to catch his thoughts. I think. I must have a lot of—old stock Nobody wants it He puts his face against her belly.

She goes on stroking his head, still on guard a little. Then he lifts his head, and they kiss passionately. What are we going to do tonight? I know what I want now. She takes his head in her hands and kisses him. There's no such thing. What did he mean by "don't forget"? JIMMY: kissing her again. You're fond of him, aren't you?

People go away. You never see them again. I can remember lots of names—men and women. When I was at school—Watson, Roberts, Davies. Jenny, Madeline, Hugh And there's Hugh's mum, of course.

I'd almost forgotten her. She's been a good friend to us, if you like. She's even letting me buy the sweet-stall off her in my own time. She only bought it for us, anyway. She's so fond of you. I can never understand why you're so—distant with her. Jimmy—please no! JIMMY: staring at her anxious face. You're very beautiful. A beautiful, great-eyed squirrel. She nods brightly, relieved.

Hoarding, nut-munching squirrel. She mimes this delightedly. With highly polished, gleaming fur, and an ostrich feather of a tail. He stands, her arms around his neck. A really soooooooooooooooper, marvellous bear.

She jumps up and down excitedly, making little "paw gestures". They embrace again. That's all. Cliff appears in the doorway.

Miss Drury hadn't gone to church after all. I couldn't get away from her. Someone on the phone for you. Who on earth is it? Jimmy and Alison look at each other quickly.

Helena Charles? Moves upstage. I won't be a minute. Old Miss Drury will keep you down there forever. She doesn't think we keep this place clean enough. Comes and sits in the armchair down R. Thought you were going to make me some tea, you rotter.

Jimmy makes no reply. What's the matter, boyo? JIMMY: slowly. That bitch. JIMMY: to himself. Helena Charles. And one of my natural enemies. You're sitting on my chair. What would make her ring up? It can't be for anything pleasant. Oh well, we shall soon know. West End theatre provided quality acting and high standards of production, but very little drama that related to life in contemporary England. Most plays of the time were generally innocuous light comedies, thrillers, and foreign imports—fourteen American shows in alone.

Osborne had submitted copies of Look Back in Anger to every agent in London and to many West End producers and had been rejected by all.

When the script arrived at the Royal Court, the Artistic Director George Devine and his young assistant director Tony Richardson knew it was exactly what they were looking for. Critical reception was strongly mixed: some detested the play and the central character, but most recognized Osborne as an important new talent and the play as emotionally powerful. They also recognized the play as one that fervently spoke of the concerns of the young in post-war England.

Although the first production of Look Back in Anger was not initially financially successful, after an excerpt was shown on BBC the box office was overwhelmed. The film is based on John Osborne 's play about a love triangle involving an intelligent but disaffected working-class young man Jimmy Porter , his upper-middle-class, impassive wife Alison and her haughty best friend Helena Charles.

Cliff, an amiable Welsh lodger, attempts to keep the peace. The character of Ma Tanner, only referred to in the play, is brought to life in the film by Edith Evans as a dramatic device to emphasise the class difference between Jimmy and Alison. The setting is mid's small town England. Jimmy and Alison share their apartment with Cliff Lewis , a young working class man who is best friends with Jimmy. Cliff and Jimmy both come from a working class background, though Jimmy has had more education than Cliff.