John Osborne’s dramatic work was like a rocket under the theatrical establishment of mid-Fifties Britain and this excoriation of the disintegrating Empire was lit up by Laurence Olivier’s extraordinary performance as the leering seedy fifth-rate comic Archie Rice at the Royal Court. Osborne wrote this for Olivier and he reportedly delivered a shockingly good performance, bringing him right up to date with the seismic changes in contemporary theatre. Tony Richardson directs this screen adaptation by Osborne and Nigel Kneale, shot on location in Morecambe with Oswald Morris’s glistening cinematography shining a torch on the social decay that Rice embodies in his adulterous and failing private and professional life. Joan Plowright, soon to be Olivier’s wife following the breakdown of his marriage to Vivien Leigh, plays his daughter, who is enduring her own troubles; Brenda de Banzie is the long-suffering second wife; Roger Livesey (Colonel Blimp) is his retired (and revered) vaudevillian father; and Albert Finney makes his film debut as the unfortunate son sent to Suez. Alan Bates also makes his screen debut as the other son (he had starred in Osborne’s Look Back in Anger on the stage) with Daniel Massey rounding out an impressive ensemble that includes the wonderful Shirley Anne Field and Miriam Karlin. John Addison contributes a brilliant score (as ever) to a film of awfully convincing despair as a music hall career comes to a brutal end. “Why should I care?” warbles Archie as everything falls to pieces. Unforgettable.