★ 7 / 10
The arrival of the big boss (Harry Andrews)
CinemaSerf
The arrival of the big boss (Harry Andrews) in his Rolls Royce only serves to galvanise the ambitions of the young “Brewster” (Alan Bates) who is prepared to…
The arrival of the big boss (Harry Andrews) in his Rolls Royce only serves to galvanise the ambitions of the young “Brewster” (Alan Bates) who is prepared to do just about anything to get up the greasy pole. The thing is, so is just about everyone else in the place, so he is going to have to come up with something original to get noticed - or, more importantly, to get noticed by the big man’s daughter (title song singing Millicent Martin). As fate would have it, he is in a café having lunch when he is joined by “Charlie” (Denholm Elliott). He’s an unemployed gent who is being paid the comfortable sum of £250 a month by his family to keep his nose clean. “Charlie” is soon onto his aspirational new chum and together they come up with a wheeze, but as “Brewster” starts to succeed he realises that his erstwhile mentor is becoming something of a liability and so with his negligé-clad landlady keen on taking their relationship that extra step, perhaps, he could find a rather permanent solution. This is quite a secret to keep, though, so can he attain his ultimate goal without getting rumbled? This is really quite a fun indictment on all things venal that prevailed amongst the dog-eat-dog world of an unscrupulous younger generation trying to oust the establishment figures who play buy shrewd, but more gentlemanly rules as Britain rebuilt after the war. Bates and Elliott work well together here, the latter getting his teeth onto a role for a change rather than just supporting from the fringes and the former proving engagingly convincing with a glint in his eye and a self-advancement streak a mile wide. I did like the denouement, even if I probably shouldn’t have, and though it does mix a few more recognisable sub-plots that can clutter it up a bit, it’s a classy example of worms that turn.
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★ 6 / 10
The Saltburn Of The 60's
torrascotia
Its a wonder this movie has been recently shown on the TV in the UK, a certain movie called Saltburn is currently having a moment which bears many…
Its a wonder this movie has been recently shown on the TV in the UK, a certain movie called Saltburn is currently having a moment which bears many similarities.This is a British 1960's romp in which an ambitious man happens upon an upper class waster who has been shunned social and lost his job as a result of being caught committing fraud. The lead sees this as an opportunity to climb the social ladder from his lower middle class rung onto the one occupied by the upper classes. He does this by offering the waster a proposition, free board in exchange for being taught the social ropes of the upper class. He agrees and that's where things get interesting.In order not to spoil the plot, this does get very dark two thirds of the way through. Its tone is that of a dark comedy/satire and as a result its actually quite difficult to second guess where the narrative will go. As a result its a highly entertaining watch. Of course its dated in terms of music but not so much in terms of the upper classes who haven't budged an inch into modernity lest it alter their identity.This would be a great companion piece to Saltburn as it is a very similar story but without the obvious meme generating scenes shoehorned into Saltburn which didn't add to the story, but were simply there in order to hijack social media and generate interest into what is at best an average movie. This one however manages to keep you engaged because its simply a well told story. Even if it is quite a bitter one.
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★ 7 / 10
Air, Hair, Lair. Real or a Sexton Blake?
trimmerb1234
A pretty superb black comedy with award winning screenplay by American born Frederick Raphael, distinguished screenwriter. A good story, great performances and…
A pretty superb black comedy with award winning screenplay by American born Frederick Raphael, distinguished screenwriter. A good story, great performances and excellent production. And, more than 50 years later, still fresh. Popular music, fashions, decor, language, behaviour -so much has changed in 50 years. But a lot remains unchanged: money and class to name but two.Brewster (Alan Bates) is an exceptional young man. Of lower middle class background he can maintain a habitually pleasant expression, be charming and humorous, is very quick-witted, opportunistic, coldly calculating , completely unscrupulous and will do anything necessary to feed an almost unlimited ambition - without ever losing his habitual pleasant expression. Brewster is determined to climb the social ladder but the exclusive club of the upper class and very wealthy keeps its doors firmly shut to him and his like. However a happy chance meeting suggests a scheme to breach the club's defences. One of its members (Mr Prince - Denholm Elliot), thoroughly-disgraced son, disowned by his family, can be persuaded, for money, to train Brewster in the ways of his class: how to dress, how to speak, how to behave. And quick learner, Brewster turns out to be. But Brewster is no snob and is always practical: while it's his boss's daughter he plans to wed, he nevertheless finds it advantageous to retain a place in his middle-aged landlady's heart and bed.But it is the screenplay which received the film's single award and the dialogue is at its smartest as Prince instructs imposter Brewster in the ways of the class he aspires to join. It's not just their opinions but the different manner with which each must be delivered. Faking an Oxbridge background, how to behave when watching college rowing (be ostentatiously disparaging as if an older and better rower). Suitable opinions (circa 1963) on foreigners: Americans - "let us down badly over Suez". Black people "make fine cricketers". The commandments seem to include: be brief, never bore, never be overly earnest, understate, don't be adventurous.This is Frederick Raphaels satire and take on the British upper classes, that a clever fake can remain under all circumstances undetected. I think the evidence is that their antennae are especially finely tuned for the avoidance of just such unfortunate marriages. However history suggests that the titled owner of the grand London estate agents auctioneers (Harry Andrews) where Brewster works, prizes business acumen over actual social background. Over time, with good schooling for the next generation, social class can be retained. But without money neither a growing financial empire nor a dynasty is possible.Some great moments as when Brewster's pleasant expression is tested to its limits when a familiar large case arrives at his shortly be in-laws grand house, and falls from a considerable height. Bates and Denholm Elliot are both superb. A great British film.Until Talking Pictures TV came on the scene and revived some of these quality films, I would have never realised the cinema talent Britain had. So badly are we let down by the broadcasters
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Thanks Freeman