«Angry Youth»: The Influence of the New British Wave

1. Concept
2. Social Issues
3. Rebellion
4. Oppressive Atmosphere
5. Character Ambiguity
6. Conclusion
7. References

In the mid-twentieth century, many European nations saw a flourishing of cinema. Young people rapidly immersed themselves in the world of film, forging new trends and techniques in shooting, editing, and acting. Genre cinema gained particular popularity, becoming a proving ground where emerging directors tested and realized their ideas. Nearly simultaneously, alongside the iconic French New Wave, the British New Wave was taking shape. Initiating filmmakers created the «Free Cinema» movement, staging shoots and screenings of documentary films that depicted the unglamorous, everyday life of provincial Britons. This genre captured public interest and provided fertile ground for the film movement of the «young and angry"—a phenomenon that gained traction in British literature and theater during the 1950s, where one fiery review ironically employed the phrase «young angry men,» eventually transitioning into cinema.

The movement of the «young and angry» began with John Osborne’s play, Look Back in Anger, where the main character began to rebel against the stagnation that persisted in post-war Britain, which subsequently became one of the key characteristics of the British New Wave.

Prior to this period, cinema in the United Kingdom failed to capture public interest because directors overlooked the realities of post-war Britain. British cinema lauded outdated practices and the class structure of the former empire. Even François Truffaut, a cult director of the French New Wave, questioned: «Is there some incompatibility between the concepts of ‘cinema’ and ‘Britain’?» However, the new British wave emerges in the late 1950s, overturning conventional ideas about British cinema and altering its trajectory into an entirely different form. Now, ordinary laborers and people of the «lower» class are brought to the forefront; the nature of these characters is explored, acute social issues and problems are highlighted—showing the reality in which they live and their reaction to it.

In my visual research, I intend to trace the transformation within a segment of British cinema that initiated and sustained traits of the New Wave. Through the core themes presented in the films, I will explore the reality of individuals at the «social bottom» and analyze the evolution of their behavior, actions, and thoughts. Therefore, the groundwork for my analysis will be the films The Road by Alan Clarke, Long Distance Runner by Tony Richardson, Billy Liar by John Schlesinger, Naked by Mick Leigh, and Kes by Ken Loach.

The post-World War II period in Britain was marked by significant social and economic shifts, including the decline of traditional industries and the rise of a new service-based economy. This led to considerable social stratification and inequality, as many working-class individuals struggled just to get by. One reason these directors were drawn to social issues and the lives of the working class was that they were reacting against the privileged and conservative values that dominated pre-war British cinema. They sought to create a more realistic and honest portrayal of British society—one that accurately reflected the experiences of people from lower-income backgrounds. Along with Britain’s rapid transformation, new problems and themes emerged that directors channeled into their films.

Colin Smith, the son of a laborer, lives in a working-class neighborhood. The teen sees no prospects in life and spends his days wandering around with his best friend. After his father’s death, the hero’s family receives a monetary compensation, which is spent on trinkets, leaving Colin without even warm clothes. Because of this, the young man decides to commit a crime with his best friend: they break into a bakery, hoping to steal money—and they succeed.

Despite the seriousness of the crime, Colin’s actions in the film are presented as a childish prank. Robbery is not unusual in the young man’s life; due to his social standing and poverty, he periodically engages in petty theft just to survive, and sometimes simply to pass the time. After the crime, the young man does not repent—on the contrary, he jokes about what happened. The director portrays the daily life of the working class: such crimes become routine, a necessity, and do not evoke feelings of shame or guilt; the music and editing, where the characters quickly and comically flee the scene, reflect the young man’s carefree attitude and sense of impunity, compelling the viewer to see the world through his eyes: for him, crime is not a sign of moral decay, but just everyday life. However, consequences and repercussions catch up with the protagonist when an inspector finds him and, after several attempts, locates the stolen money.

Another dimension of social problems is the indiscriminate number of sexual relationships among both men and women. The main characters in Alan Clarke’s film «The Road» live in a poor northern district where unemployment had reached incredible levels. Every relationship and aspect of daily life is permeated by despair and hopelessness, stemming from the country’s political situation and each character’s social hardship—there is no hope. Sex becomes a way to escape, even temporarily, from harsh reality and dissolve into another person, even if without deep emotional substance.

At the party, the other characters also meet men and then follow them into empty houses. However, one of the heroines declares that she does not want to sleep with one of them again; she wants something «different.» In the film, each character’s relationship and perception of the other person are distorted by shared despair. Communication between people degenerates, shifting either into aggression or primal instincts against a backdrop of collective hopelessness.

Social mobility remains a persistent issue for the working class, a challenge that has spanned many years. Many protagonists desire a different life but lack the means to achieve it or escape poverty. The main character, Billy, from John Schlesinger’s film «Billy Liar, ” dreams of someday writing humorous vignettes, but this never materializes, and he retreats into his fantasies, wishing to evade a reality he cannot stand.

While in a correctional facility after being arrested for petty theft, Colin, from the film The Solitude of Long-Distance Runners, discovers that his running abilities could be utilized by the authorities to earn the institution’s recognition and prestige. They encourage Colin’s athletic pursuits and allow him to run alone so he can win a competition against another school. However, Colin refuses to meet their expectations. He uses his running as a form of rebellion against the system. Instead of giving his all during the races, he intentionally slows down and sabotages his chances of winning, even as he nears the finish line, to the great disappointment of the governor and other officials. In a moment of high tension, the shots rapidly cut between the passionately cheering crowd, government representatives, and Smith’s glistening face. Finally, they slow down and freeze on the governor’s disappointed expression as he realizes Colin will not run on further. Thus, the protagonist forfeits the opportunity for physical release, but he defends his personal right to choose.

However, Colin’s rebellion extends beyond mere personal freedom. Through his internal monologue and interactions with other characters, the film explores his broader resistance to the society’s conformist values, the class system, and the notion that he is subject to external forces. He embodies a defiant spirit and a rejection of the established norms and expectations imposed upon him. A retrospective is shown throughout the film: in the correctional facility, the protagonist fragmentsly recalls his past life. When Colin runs, the shots dynamically switch to scenes from his memories. The most intense peak of Colin’s deep analysis occurs toward the end of the film.

The main character in the film «Case, ” Billy, rejects a rigid and emotionless educational system that fails to engage him. He constantly clashes with his teachers, expressing disappointment with the school’s authoritarian approach. Ultimately, one day, at the request of his teacher, he takes the teacher’s place and explains how to care for a bird, changing the conventional perception of classroom lessons. Furthermore, Billy rebels against the cruel and indifferent treatment he receives from his family members, especially his older brother and his mother’s harsh boyfriend. He is angered by their lack of understanding and support, and instead finds solace in communicating with the bird, Case, which he stumbles upon in the woods.

Unlike the obstinate and gruff Colin Smith, the main character of the film «Case» has his own perspective on the system. He doesn’t object to the system itself; when the teacher asks what he wants to become and insists on the mine, the boy refuses but expresses his willingness to work somewhere else. The protagonist of Launch does not descend into open denial; he is capable of formulating his thoughts and desires more clearly while still defending his freedom and ideas. Even though the events take place in a school, not a reform center, the atmosphere created by the teachers evokes a sense of prison.

Thanks to his connection with the bird Kes Billy, he feels a sense of freedom and a connection to something beyond his established life circumstances. The bird becomes a symbol of his rebellion, providing him an outlet for his dreams and aspirations.

Unlike the typical characters in this genre, Johnny is genuinely intellectually developed; he constantly raises philosophical themes and quotes the Bible. Johnny’s dialogues consist of unfinished thoughts and metaphors, but within his speech—which he actively discusses with everyone he meets—you can find certain themes against which he is most sharply inclined: in the new reality, he actively criticizes capitalism, maintaining a pessimistic view of a society he criticizes for its apparent moral decay, hypocrisy, and injustice. His cynicism serves as a defense mechanism against the disappointments he has experienced. He is afraid of close emotional relationships, which means he is only capable of the numerous sexual encounters shown in the film in the most repulsive manner. Johnny falls into a social low through his debauchery and lack of purpose in life; he lives by ideas but does not strive to meet or embody them.