The "angry young men" were a group of mostly working- and middle-class British playwrights and novelists who became prominent in the 1950s. The group's leading figures included John Osborne and Kingsley Amis; other popular figures included John Braine, Alan Sillitoe, and John Wain. The phrase was originally coined by the Royal Court Theatre's press officer in order to promote Osborne's 1956 play Look Back in Anger. It is thought[by whom?] to be derived from the autobiography of Leslie Paul, founder of the Woodcraft Folk, whose Angry Young Man was published in 1951.[a]
In Britain, following the Second World War, the quality of life for lower-class citizens was still poor;[6] Osborne used this theme to demonstrate how the state of Britain was guilty of neglect towards those that needed assistance the most. In the play there are comparisons of educated people with savages, illuminating the major difference between classes. Alison remarks on this issue while she, Jimmy and Cliff are sharing an apartment, stating how "she felt she had been placed into a jungle". Jimmy was represented as an embodiment of the young, rebellious post-war generation that questioned the state and its actions. Look Back in Anger provided some of its audience with the hope that Osborne's work would revitalise the British theatre and enable it to act as a "harbinger of the New Left".[5]
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Not all members of the movement were angry, young, or male, but all disliked the title "Angry Young Men". Life in 1958 wrote that "the most common prevailing attitude among them is of wry irritation", and named Osborne, Kingsley Amis, John Wain, and John Braine as the best-known. As a catchphrase, the term was applied to a large, incoherently defined group, and was rejected by most of the writers to whom it was applied:[6] see, for example, "Answer to a Letter from Joe" by Wain (Essays on Literature and Ideas, 1963). Publisher Tom Maschler, who edited a collection of political-literary essays by the 'Angries' (Declaration, 1957), commented: "(T)hey do not belong to a united movement. Far from it; they attack one another directly or indirectly in these pages. Some were even reluctant to appear between the same covers with others whose views they violently oppose".[7]
Friendships, rivalries, and acknowledgments of common literary aims within each of these groups could be intense (the relationship between Amis and Larkin is considered one of the great literary friendships of the 20th century). However, the writers in each group tended to view the other groups with bewilderment and incomprehension. Observers and critics could find no common thread between them all. They were contemporaries by age. They were not of the upper-class establishment, nor were they protgs of existing literary circles. It was essentially a male "movement", but Shelagh Delaney, author of A Taste of Honey (1958), was described as an "angry young woman";[11] other female members included Iris Murdoch and Doris Lessing.[6]
In the song "Where Are They Now" from the 1973 album Preservation Act 1 by The Kinks, the following lines appear: "Where have all the angry young men gone?/ Barstow and Osborne, Waterhouse and Sillitoe/ Where on earth did they all go?"
These passionate young men also have simmering anger within them. Anger created from deep vulnerabilities and scars formed by oppression and injustice they faced. Harshad Mehta spent his early life in an unremarkable middle-class family that did not believe in dreaming big. Meanwhile, everyone around him bettered their fortunes with successful businesses or investing in stocks.
For the longest time, and that is not to say that things have completely changed now, there was no space for women to be angry in Indian cinema. That is not to say that women were never wronged. Often, violence against and exploitation of women were used as catalysts for the hero to complete his journey.
At 80, Amitabh Bachchan is the grand old man of Indian cinema - rather, he would be had he not been forever seared into public consciousness as the Angry Young Man that made him a star half a century ago. Through the Seventies and Eighties, Big B made his name playing characters who were fast and furious; revenge was a recurring theme and there was sometimes a righteous kill. There was always an origin story for the fury and in most instances, justice of some sort was dealt out - sometimes by Big B, sometimes to him. On his birthday, five films in which he was angry, angrier, angriest.
It all began with Amitabh Bachchan's first hit film, in which he played an honest police officer named Inspector Vijay Khanna who is jailed on false charges. Once released, he is bent on vengeance on the man behind his imprisonment - who also turns out to be the villain who murdered Vijay's parents when he was young. The evil Teja was played by Ajit.
A trade unionist is blackmailed into to abandon his wife and two young sons, the older of whom, Vijay, bears the brunt of the consequences - his arm is tattooed with the words "mera baap chor hai" (my fatheris a thief). The brothers grow up and pick up opposite sides of the law. Vijay takes to crime, the younger brother Ravi becomes a police officer. Their long-suffering mother has to choose between them and thus the immortal lines from Amitabh Bachchan's Vijay: "Mere paas buildings hain, property hain, bank balance hain, bangla hain, gaadi hain. Tumhare paas kya hai? (I have buildings, property, bank balance, a bungalow, cars. What do you have)?" And it's response from Shashi Kapoor's Ravi: "Mere paas Ma hain (I have mother)."
No longer young (in fact, quite definitely middle-aged) but still angry, Amitabh Bachchan played one of his best-known Vijays - the son of a village schoolmaster driven by the murder of his father and the attempted rape of his mother, both engineered by underworld don Kancha Cheena (Danny Denzongpa in one his most famous roles). "Poora naam (full name), Vijay Deenanath Chauhan," Amitabh Bachchan intones in the film - it is one of his most iconic lines. Vijay avenges his parents but only be walking a fiery path, the agneepath of the title, through the criminal underbelly of Mumbai.
Kohli is often described in the media as a sex symbol and a youth icon. He was the only sportsperson to be ranked in the top 50 of a "Sexiest Asian Men" poll in 2015. In the Times "50 Most Desirable Men" list, Kohli was placed fourth in 2013, first in 2014 and second in 2015, after being ranked 13th and seventh in the preceding two years. In February 2016, he was named in the "Entertainment & Sports" section of the Forbes 30 Under 30 Asia, a list of 30 "promising young leaders and game changers" from Asia under the age of 30.
Observers have linked Kohli to modern India - young, brash and aggressive - someone who will not take anything lying down. There was a hope that he will mature as captain but it seems that may still be a while away.
The angry young man, a character type immortalized by Amitabh Bachchan in 'Zanjeer' way back in the 1970s,continues to be one of Bollywood filmmakers' favourite ploys thatcontinues to be socially relevant as well.
The film starring Sunny Deol as an angry young man and PriyankaChopra as his muse marks the end of filmmaker Guddu Dhanoa's longhiatus. The film features Farida Jalal as Sunny's typical Bollywoodscreen mother. Others seen after a gap are Sayaji Shinde, DannyDenzongpa and Govind Namdeo.
Bachchan (Vijay) was angry and, consumed with anger, he let us watchhim set things right with a flourish and super-power-like fightingabilities. Rumours had it that Mohammed Ali got nervous to fight hisexhibition match in India, because he said he couldn't match Bachchan'son-screen prowess of being a super hero.
The film had come at the right time. It was the time when the firstgeneration of young Indians had grown out of the 'Desh Ki Dharti'syndrome and were out looking for jobs. Prices of food and otheressential commodities were sky-rocketing and the then prime ministerhad clamped emergency. Vietnam had left its lasting memories andNaxalism had gobbled up entire families in police witch-hunts.
Interestingly, British cinema had its share of angry young mancultural movement in the 1950s. In 1956, John Osborne's play 'Look Backin Anger' (filmed 1959) introduced a bold new voice into not just thetheatre but English culture in general. Critics labelled this andsimilar works by Osborne's contemporaries as being part of the 'angryyoung man' generation, taking its name from the title of Leslie AllenPaul's autobiography (1951).
Although not an organised and ideologically coherent artisticmovement as such, the work of the 'angry young men' was characterisedby outspoken dissatisfaction with the status quo, particularly with theso-called Establishment.
Reacting against stifling class distinctions, their work championedthe working classes, with Osborne's Jimmy Porter becoming a figurehead:an intelligent, articulate, university-educated man deniedopportunities through being the 'wrong' social class. These opinionswere usually expressed in direct, straightforward language, rejectingthe self-conscious experimentation of the immediate pre-war years. Theangry young man film in British cinema flourished quickly and burnedout just as fast in the early 1960s.
Along with Bachchan, Shashi Kapoor stroked the embers and thus beganan era of angry young man films in Hindi cinema. A trend thatresurfaced with Anil Kapoor taking up the baton in 'Tezaab', which wasset in the boiling underbelly of suburban Mumbai, with local goons notallowing ordinary people to earn an honest living.
Sunny Deol, son of Dharmendra, began as a romantic hero but soonprogressed to roles of unemployed angry young man out to get justice.He gave the blockbuster 'Ghayal' and delivered acclaimed performancesin movies like 'Damini', 'Arjun' and 'Jeet'. The actor, however, hasstill not being able to win over the title from Bachchan. be457b7860
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