Art:Kitchen sink realism

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Short description: British social realist artistic movement

Template:Infobox Film Movement Kitchen sink realism (or kitchen sink drama) is a British cultural movement that developed in the late 1950s and early 1960s in theatre, art,[1] novels, mainstream and independent cinema, and television, whose protagonists usually could be described as "angry young men" who were disillusioned with modern society. It used a style of social realism that depicted the domestic situations of working-class Britons living in cramped rented accommodation, and spending their off-hours drinking in grimy pubs, to explore controversial social and political issues ranging from abortion to homelessness. The harsh, realistic style stood in sharp contrast to the escapism of the previous generation's so-called "well-made plays".

The films, plays, and novels employing this style are often set in poorer industrial areas in the North of England, and use the accents and slang heard in those regions. The films It Always Rains on Sunday (1947) and The Blue Lamp (1950) are precursors of the genre, and the John Osborne play Look Back in Anger (1956) is thought of as the first of the genre. The gritty love-triangle of Look Back in Anger, for example, takes place in a cramped, one-room flat in the English Midlands. Shelagh Delaney's 1958 play A Taste of Honey (which was made into a film of the same name in 1961) is about a white teenage schoolgirl who has an affair with a black sailor, gets pregnant and then moves in with a gay male acquaintance; it raises issues such as class, ethnicity, gender and sexual orientation. The conventions of the genre have continued into the 2000s, finding expression in such television shows as Coronation Street and EastEnders.[2]

The term "Kitchen Sink School" was first used in the visual arts, where the art critic David Sylvester used it in 1954 to describe a group of painters who called themselves the Beaux Arts Quartet, and depicted social realist–type scenes of domestic life.[3]

History

The cultural movement was rooted in the ideals of social realism, an artistic movement expressed in the visual and other realist arts which depicts working-class activities. Many artists who subscribed to social realism were painters with socialist political views. While the movement has some commonalities with Socialist Realism, another style of realism which was the "official art" advocated by the governments of the Soviet Union and other Eastern Bloc countries, the two had several differences. While social realism is a broader type of art that realistically depicts subjects of social concern,[4] Socialist realism is characterized by the glorified depiction of socialist values, such as the emancipation of the proletariat, realistically.[5]

Unlike Socialist realism, social realism is not an official art produced by or under the supervision of the government. The leading characters are often 'anti-heroes' rather than part of a class to be admired, as in Socialist realism. Typically, protagonists in social realism are dissatisfied with their working-class lives and the world, rather than being idealised workers who are part of a Socialist utopia in the process of creation. As such, social realism allows more space for the subjectivity of the author to be displayed.

Partly, social realism developed as a reaction against Romanticism , which promoted lofty concepts such as the "ineffable" beauty and truth of art and music and even turned them into spiritual ideals. As such, social realism focused on the "ugly realities of contemporary life and sympathized with working-class people, particularly the poor." (The quotation is from George Shi, of the University of Fine Arts, Valencia).[6]

Features

Kitchen sink realism involves working class settings and accents, including accents from Northern England.[7][8] The films and plays often explore taboo subjects such as adultery, pre-marital sex, abortion, and crime.[9]

Origins of the term

In the United Kingdom, the term "kitchen sink" is derived from expressionist paintings by John Bratby that featured a kitchen sink.[10] Bratby did various kitchen and bathroom-themed paintings, including three paintings of toilets. Bratby's paintings of people often depicted the faces of his subjects as desperate and unsightly.[11][12] Kitchen sink realism artists painted everyday objects, such as trash cans and beer bottles. The critic David Sylvester wrote an article in 1954 on trends in recent English art, titled "The Kitchen Sink", in reference to Bratby's picture. Sylvester argued that there was a new interest among young painters in domestic scenes, with stress on the banality of life.[2] Other artists associated with the kitchen sink style include Derrick Greaves, Edward Middleditch and Jack Smith.[13]

1950s to 1960s

Before the 1950s, the United Kingdom's working class were often depicted stereotypically in Noël Coward's drawing room comedies and British films. Kitchen sink realism was seen as being in opposition to the "well-made play", the kind which theatre critic Kenneth Tynan once denounced as being set in "Loamshire", of dramatists like Terence Rattigan. "Well-made plays" were a dramatic genre from nineteenth-century theatre which found its early 20th-century codification in Britain in the form of William Archer's Play-Making: A Manual of Craftmanship (1912),[14] and in the United States with George Pierce Baker's Dramatic Technique (1919).[15] Kitchen sink works were created with the intention of changing that. Their political views were initially labeled as radical, sometimes even anarchic.[citation needed]

The impact of this work inspired Arnold Wesker, Shelagh Delaney, and numerous others, to write plays of their own. The English Stage Company at the Royal Court Theatre, headed by George Devine and Theatre Workshop organised by Joan Littlewood, were particularly prominent in bringing these plays to public attention. Critic John Heilpern wrote that Look Back in Anger expressed such "immensity of feeling and class hatred" that it altered the course of English theatre.[2] The term "Angry theatre" was coined by critic John Russell Taylor.[16]


Later, as many of these writers and directors diversified, kitchen sink realism was adopted by television directors producing television plays. The single play was then a staple of the medium, and Armchair Theatre (1956–68), produced by the ITV contractor ABC, The Wednesday Play (1964–70) and Play for Today (1970–84), both BBC series, contained many works of this kind. Jeremy Sandford's television play Cathy Come Home (1966, directed by Ken Loach for The Wednesday Play slot), for instance, addressed homelessness.[17]

Kitchen sink realism was used in the novels of Stan Barstow, John Braine, Alan Sillitoe, and others.[18]

Since the 1960s

Internationally, the kitchen-sink realism style has been used in various films across different cultures. For example, in the United States, such films as Nothing but a Man (1964, directed by Michael Roemer);[19][20] One Potato, Two Potato (1964, directed by Larry Peerce);[21] A Patch of Blue (1965, directed by Guy Green);[22] and The Subject Was Roses (1968, directed by Ulu Grosbard),[23] among others, have been specifically identified with the terminology.

The influence of kitchen-sink realism has continued in the work of other recent British directors, such as Ken Loach (whose first directorial roles were in late-1960s kitchen-sink dramas) and Mike Leigh. Subsequent re-emergence in the 1980s produced such female-centric contemporary kitchen sink-influenced films as Wish You Were Here (1987); Educating Rita (1983) and Shirley Valentine (1989)—both directed by Alfie's Lewis Gilbert; the titular twins' biopic, The Krays (1990); Rita, Sue and Bob Too (1987); and others.[24]

Other present-day directors who have continued working within the spirit of kitchen sink realism include Andrea Arnold, Shane Meadows, Lynne Ramsay, Clio Barnard, and Andrew Haigh.[25] The term "neo kitchen sink" has been used for films such as Leigh's Vera Drake (2004), Loach's I, Daniel Blake (2016), Arnold's Fish Tank (2009), Ramsay's Ratcatcher (1999), Meadows's This Is England (2006), Haigh's Weekend (2011), and Barnard's The Selfish Giant (2013). This also includes directorial debuts from actors Gary Oldman, Nil by Mouth (1997);[26] Tim Roth, The War Zone (1999);[27] Peter Mullan, My Name Is Joe (1998); Richard Ayoade, Submarine (2010); and Paddy Considine, Tyrannosaur (2011); among others.[28]

Notable figures of the movement

Actors

  • Jenny Agutter
  • Harry Andrews
  • Jane Asher
  • Richard Attenborough
  • Hermione Baddeley
  • Harry Baird
  • Stanley Baker
  • Anne Bancroft
  • Ian Bannen
  • Alan Bates
  • Tom Bell
  • Hywel Bennett
  • Norman Bird
  • Colin Blakely
  • Claire Bloom
  • Dirk Bogarde
  • James Bolam
  • James Booth
  • Wilfrid Brambell
  • Dora Bryan
  • Johnny Briggs
  • Eleanor Bron
  • Avis Bunnage
  • Richard Burton
  • Sean Caffrey
  • Michael Caine
  • Earl Cameron
  • Julie Christie
  • Diane Cilento
  • Bonar Colleano
  • Sean Connery
  • Tom Courtenay
  • Brian Cox
  • Michael Craig
  • Michael Crawford
  • Rosalie Crutchley
  • Peggy Cummins
  • Roland Curram
  • Finlay Currie
  • Cyril Cusack
  • Phil Daniels
  • Nigel Davenport
  • Bette Davis
  • Daniel Day-Lewis
  • Brenda de Banzie
  • Judi Dench
  • Diana Dors
  • Ruth Dunning
  • Samantha Eggar
  • Denholm Elliott
  • Edith Evans
  • Adam Faith
  • Hilda Fenemore
  • Barbara Ferris
  • Shirley Anne Field
  • Peter Finch
  • Albert Finney
  • Julia Foster
  • Pamela Franklin
  • Liz Fraser
  • Judy Geeson
  • Susan George
  • Julian Glover
  • Vanda Godsell
  • Kenneth Haigh
  • Richard Harris
  • Kathleen Harrison
  • William Hartnell
  • Laurence Harvey
  • Murray Head
  • David Hemmings
  • Ian Hendry
  • Anne Heywood
  • Thora Hird
  • Ian Holm
  • John Hurt
  • Glenda Jackson
  • Geoffrey Keen
  • Suzy Kendall
  • Deborah Kerr
  • Avice Landone
  • Angela Lansbury
  • Bernard Lee
  • Herbert Lom
  • Alfred Lynch
  • Ann Lynn
  • Patrick Magee
  • Alfred Marks
  • Millicent Martin
  • Virginia Maskell
  • James Mason
  • David McCallum
  • John McCallum
  • Malcolm McDowell
  • Peter McEnery
  • Virginia McKenna
  • Ian McShane
  • Murray Melvin
  • Vivien Merchant
  • Sarah Miles
  • Hayley Mills
  • John Mills
  • Warren Mitchell
  • Yvonne Mitchell
  • Terence Morgan
  • Kenneth More
  • Janet Munro
  • John Neville
  • Anthony Newley
  • Nanette Newman
  • Dandy Nichols
  • Peter O’Toole
  • Laurence Olivier
  • Nigel Patrick
  • Donald Pleasence
  • Joan Plowright
  • Eric Portman
  • Adrienne Posta
  • Dennis Price
  • Anthony Quayle
  • Charlotte Rampling
  • Andrew Ray
  • Gary Raymond
  • Lynn Redgrave
  • Michael Redgrave
  • Vanessa Redgrave
  • Oliver Reed
  • Beryl Reid
  • Marjorie Rhodes
  • June Ritchie
  • Rachel Roberts
  • Paul Rogers
  • Norman Rossington
  • Tim Roth
  • Peter Sellers
  • Robert Shaw
  • Susan Shaw
  • Geraldine Sherman
  • Simone Signoret
  • Alastair Sim
  • Gerald Sim
  • John Gordon Sinclair
  • Maggie Smith
  • Terence Stamp
  • Ringo Starr
  • Robert Stephens
  • Francis L. Sullivan
  • Dudley Sutton
  • Sylvia Syms
  • Sydney Tafler
  • Richard Todd
  • Rita Tushingham
  • Mary Ure
  • James Villiers
  • Kay Walsh
  • David Warner
  • Mona Washbourne
  • Alan Webb
  • Carol White
  • Billie Whitelaw
  • Stuart Whitman
  • Richard Widmark
  • Billy Dee Williams
  • Ray Winstone
  • Googie Withers
  • Donald Wolfit
  • Susannah York
  • Mai Zetterling

Cinematographers / directors / writers

  • Lindsay Anderson
  • Roy Ward Baker
  • Lynne Reid Banks
  • Stan Barstow
  • Mary Hayley Bell
  • Boulting Brothers
  • Muriel Box
  • Sydney Box
  • John Braine
  • Jack Cardiff
  • Alan Clarke
  • T. E. B. Clarke
  • Jack Clayton
  • Peter Collinson
  • Lance Comfort
  • Denys Coop
  • Charles Crichton
  • Jules Dassin
  • Desmond Davis
  • Basil Dearden
  • Shelagh Delaney
  • Clive Donner
  • Nell Dunn
  • Clive Exton
  • Richard Fleischer
  • Bryan Forbes
  • Bill Forsyth
  • Freddie Francis
  • William Friedkin
  • Sidney J. Furie
  • Lewis Gilbert
  • Sidney Gilliat
  • Peter Glenville
  • Guy Green
  • Janet Green
  • Val Guest
  • Peter Hall
  • Willis Hall
  • Robert Hamer
  • Vernon Harris
  • Sidney Hayers
  • James Hill
  • Barry Hines
  • Ken Hughes
  • Nigel Kneale
  • Hanif Kureishi
  • Gavin Lambert
  • Walter Lassally
  • David Lean
  • Jack Lee
  • Stephen Lewis
  • Mike Leigh
  • Richard Lester
  • Joan Littlewood
  • Ken Loach
  • Joseph Losey
  • Sidney Lumet
  • Stanley Mann
  • Lorenza Mazzetti
  • Paul McCartney
  • Peter Medak
  • David Mercer
  • John Mortimer
  • Silvio Narizzano
  • Bill Naughton
  • Peter Nichols
  • Edna O’Brien
  • Joe Orton
  • John Osborne
  • Horace Ové
  • Alun Owen
  • Gordon Parry
  • Trevor Peacock
  • Nicholas Phipps
  • Harold Pinter
  • Barney Platts-Mills
  • Frederic Raphael
  • Carol Reed
  • Karel Reisz
  • Tony Richardson
  • Mordecai Richler
  • Wolf Rilla
  • Bruce Robinson
  • Jeremy Sandford
  • John Schlesinger
  • Menelik Shabazz
  • Alan Sillitoe
  • Anthony Simmons
  • David Storey
  • Ralph Thomas
  • J. Lee Thompson
  • Keith Waterhouse
  • Jiří Weiss
  • Arnold Wesker
  • Ted Willis
  • Michael Winner

List of films

1947–1958

  • Holiday Camp (1947)[29]
  • It Always Rains on Sunday (1947)[30][31]
  • They Made Me a Fugitive (1947)[32]
  • Brighton Rock (1948)[33]
  • Good-Time Girl (1948)[34]
  • London Belongs to Me (1948)[35][36]
  • The Lost People (1949)[37]
  • Passport to Pimlico (1949)[29]
  • The Small Back Room (1949)[38][39]
  • Whisky Galore! (1949)[29]
  • The Blue Lamp (1950)[40][31]
  • The Clouded Yellow (1950)[41]
  • Dance Hall (1950)[42]
  • Night and the City (1950)[43][44]
  • Pool of London (1951)[45]
  • There Is Another Sun (1951)[46]
  • Hunted (1952)[47]
  • Wide Boy (1952)[48]
  • Women of Twilight (1952)[49]
  • Cosh Boy (1953)[50]
  • Street Corner (1953)[51]
  • Turn the Key Softly (1953)[52]
  • The Good Die Young (1954)[53]
  • Hobson's Choice (1954)[54]
  • The Weak and the Wicked (1954)[55][56]
  • Cast a Dark Shadow (1955)[57]
  • The Deep Blue Sea (1955)[58]
  • A Kid for Two Farthings (1955)[59]
  • Together (1956)[60][61]
  • A Town Like Alice (1956)[62]
  • Yield to the Night (1956)[63][64][65]
  • The Heart Within (1957)[66]
  • Hell Drivers (1957)[67][68]
  • Woman in a Dressing Gown (1957)[69][70]
  • Carve Her Name with Pride (1958)[71]
  • A Cry from the Streets (1958)[72]
  • Innocent Sinners (1958)[73]
  • Nowhere to Go (1958)[74][75]
  • Passport to Shame (1958)[76]
  • Room at the Top (1959)[39][77][78]
  • Tread Softly Stranger (1958)[79]
  • Violent Playground (1958)[80]

1959–1963

1964–1969

1970–1980

1981–1991

  • The French Lieutenant's Woman (1981)[287]
  • Looks and Smiles (1981)[288]
  • Britannia Hospital (1982)[289]
  • Burning an Illusion (1982)[290]
  • Educating Rita (1983)[24]
  • Local Hero (1983)[291]
  • Made in Britain (1983)[292]
  • Meantime (1983)[293]
  • The Chain (1984)[294]
  • Dance with a Stranger (1985)[295]
  • My Beautiful Laundrette (1985)[296]
  • Sid & Nancy (1986)[297]
  • Prick Up Your Ears (1987)[298]
  • Rita, Sue and Bob Too (1987)[24]
  • Wish You Were Here (1987)[33]
  • Withnail and I (1987)[299]
  • We Think the World of You (1988)[300]
  • Shirley Valentine (1989)[301]
  • The Krays (1990)[302]
  • Truly, Madly, Deeply (1990)[303]
  • Let Him Have It (1991)[citation needed]
  • London Kills Me (1991)[304]

List of plays

  • Look Back in Anger (1956)
  • My Flesh, My Blood (Radio play, 1957)
  • A Taste of Honey (1958)
  • Sparrers Can't Sing (1960)
  • Alfie (1963)
  • Saved (1965)
  • Up the Junction (TV play, 1965)
  • Cathy Come Home (TV play, 1966)

See also

References

  1. Chilvers, Ian (1 January 2004). "Kitchen Sink School" (in en). The Oxford Dictionary of Art. Oxford University Press. ISBN 978-0-19-860476-1. https://www.oxfordreference.com/display/10.1093/acref/9780198604761.001.0001/acref-9780198604761-e-1886. 
  2. 2.0 2.1 2.2 Heilpern, John. John Osborne: The Many Lives of the Angry Young Man, New York: Knopf, 2007.
  3. Walker, John. (1992) "Kitchen Sink School". Glossary of Art, Architecture & Design since 1945, 3rd. ed. Retrieved 20 January 2012.
  4. Todd, James G. "Social Realism". Art Terms. Museum of Modern Art, 2009.
  5. Korin, Pavel, “Thoughts on Art”, Socialist Realism in Literature and Art. Progress Publishers, Moscow, 1971, p. 95.
  6. "Social Realism". http://instruct.westvalley.edu/grisham/1b_social.html. 
  7. Dunn, Eleanor (1 January 2015). "Everything you need to know about Kitchen Sink Dramas". Reader's Digest. https://www.readersdigest.co.uk/culture/film-tv/everything-you-need-to-know-about-kitchen-sink-dramas. 
  8. MacCabe, Colin (August 23, 2016). "A Taste of Honey: Northern Accents". https://www.criterion.com/current/posts/4193-a-taste-of-honey-northern-accents. 
  9. Ford, Lynsey (15 January 2016). "11 Films That Explore The British Class System". https://theculturetrip.com/europe/united-kingdom/england/articles/11-films-that-explore-the-british-class-system/. 
  10. "Art UK". https://artuk.org/discover/art-terms/kitchen-sink. 
  11. Ian Chilvers; John Glaves-Smith (2009). A Dictionary of Modern and Contemporary Art. Oxford University Press. p. 259. ISBN 978-0-19-923965-8
  12. "John Bratby 1928–1992". Tate. Retrieved 6 January 2014.
  13. "Jack Smith obituary" (in en). 17 June 2011. http://www.theguardian.com/artanddesign/2011/jun/17/jack-smith-obituary. 
  14. Archer, William (1 January 2004). Play-Making: A Manual of Craftsmanship. https://www.gutenberg.org/ebooks/10865. 
  15. J L Styan, Modern Drama in Theory and Practice I, quoted by Innes (2000, 7).
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  22. Mears, Steven (2016-12-30). "TCM Diary: One Potato, Two Potato + A Patch of Blue". Film Comment. ISSN 0015-119X. https://www.filmcomment.com/blog/tcm-diary-one-potato-two-potato-patch-blue. Retrieved 2025-09-13. 
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  28. Hardy, Molly O'Hagan (2007). "Gendered trauma in Mike Leigh's Vera Drake(2004)". Studies in European Cinema 3 (3): 211–221. doi:10.1386/seci.3.3.211_1. https://www.tandfonline.com/doi/abs/10.1386/seci.3.3.211_1. 
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  51. Stafford, Roy (2020-07-30). "Street Corner (Both Sides of the Law, UK 1953)". https://itpworld.online/2020/07/30/street-corner-both-sides-of-the-law-uk-1953. 
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  53. Ramon, Alex (2020-07-28). "Kitchen-sink noir – In praise of heist drama The Good Die Young". https://www.bfi.org.uk/features/kitchen-sink-noir-praise-heist-drama-good-die-young. 
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  67. "Hell Drivers (1957, dir. Cy Endridge)". 2023-08-06. https://thechasbah.com/2023/08/06/hell-drivers-1957-dir-cy-endridge. 
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  75. Thomas, Gabriel. "Maggie Smith's stellar performance in 1958's Nowhere to Go". https://vintageshowbiz.com/nowhere-to-go-1958. 
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  83. "Look Back in Anger The Kitchen Sink Drama: Perspectives and Criticism". https://www.gradesaver.com/look-back-in-anger/study-guide/the-kitchen-sink-drama-perspectives-and-criticism. 
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  94. Glynn, Stephen (2018). The British Football Film. Palgrave MacMillan. doi:10.1007/978-3-319-77727-6. ISBN 9783319777276. https://link.springer.com/book/10.1007/978-3-319-77727-6. Retrieved 2025-10-01. 
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  163. Cunliffe, Mark (2024-08-27). "Nothing But The Best (1964) A Blackly Satirical Second Cousin of the Kitchen Sink Movie (Review)". https://thegeekshow.co.uk/nothing-but-the-best-1964-review. 
  164. "The Pumpkin Eater". 2018-01-02. https://www.mondo-digital.com/pumpkineater.html. 
  165. Roberts, Michael. "Psycho psychic in unforeseen events". https://filmycks.com/films/seance-on-a-wet-afternoon. 
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  167. Ouellette, Rick (2015-06-26). "Sex and Sensibility: The Girl-Getters is the Lost Classic of British Beat Cinema". https://rickouellettereelandrock.com/2015/06/26/sex-and-sensibility-the-girl-getters-is-the-lost-classic-of-british-beat-cinema. 
  168. Tate, James M. (2021-09-14). "Ian Hendry & June Ritchie Fling Through This Is My Street". http://www.cultfilmfreaks.com/2021/09/kitchen-sink-alfie.html. 
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