The Beatles: Get Back

 

Directed by Peter Jackson, The Beatles: Get Back is a documentary film series that expands on the footage with hours of unreleased material that didn’t make it to the 1970 Michael Lindsay-Hogg documentary film Let It Be about the band’s attempt to make a new album in January of 1969 that culminated with their final live performance to the public. The documentary that features newly-remastered footage as well as material that expands the rarely-seen Lindsay-Hogg documentary from 80 minutes to nearly 8 hours of material. The result is an astonishing and rapturous film from Peter Jackson that manages to bring some new revelations into the story of the Beatles in their final year as a band.

It’s January of 1969 as it had more than a year since the death of their manager Brian Epstein and more than two years since the band had played live to the public as a recent filming for the promotional video for the single Hey Jude where the band was surrounded by an audience gave them an idea. The idea would be for John Lennon, Paul McCartney, George Harrison, and Ringo Starr to create new songs for an upcoming concert appearance to be filmed on television in the span of a few weeks as Starr is set to leave to act in a film project for Apple Corps in The Magic Christian with Peter Sellers. The project called Get Back is an attempt of the four to become a band again and to create new music without overdubs and edits and the new songs to be performed live.

Told in the span of 22 days, the film that became Let It Be as it hadn’t been shown publically since the 1980s showcased a fragment of what was happening as it was released to coincide the album of the same name which was released at the time when the Beatles had called it quits. Nearly 50 years later since the release of the film and album of the same name, filmmaker Peter Jackson went into the vaults where he found more than 60 hours of footage and 150 hours of audio that hadn’t been heard as his discovery of the footage along with restoration work lead to revelations of what was really happening in these 22 days. Amidst all of the turmoil and tension that was looming throughout the band over creative differences as well as the lack of leadership when it comes to business. There was still this air of joy of these four men from Liverpool who not only loved making music but also wanted to be a band again instead of this brand that was already recognizable and at times, too big.

Broken into three parts, the film breaks the month into the three settings and events in the course of these 22 days as it does follow the narrative of Let It Be where the first act is about the disastrous sessions at Twickenham Studios that lead to Harrison briefly quitting the band, the second act being about the band moving to Apple Studios on Saville Road and Billy Preston’s arrival, and the third act being the rooftop concert which would be their final performance and the last session of the project afterwards. What Jackson does is follow that narrative but reveal so much more to the story as it is more about a band trying to become a band again and create new songs while showcasing the work that goes through in creating a song. The first part of the film is devoted entirely to the band at Twickenham Studios where they had shot the video for Hey Jude as it would be used as a rehearsal/recording space where the band would try to create a bunch of new songs for a TV special where the band would play to a live audience with these new songs with Glyn Johns being the main producer and the band’s longtime producer George Martin sort of being the executive producer though Johns and Martin were both unsure of the roles they’re playing.

Among the people who are seen throughout the film is filmmaker Michael Lindsay-Hogg, cinematographer Anthony Richmond, longtime road manager/assistant Mal Evans, Yoko Ono, Linda Eastman, and roadie Kevin Harrington. Ono’s presence in the film reveals that she did nothing to disrupt the band creatively as she mainly kept herself quiet while knitting a few things, doing a bit of art, and all sorts of things and only speaks up whenever McCartney and Starr wanted an opinion from her. McCartney would comment in the film about the press and how vicious they are following Harrison’s brief departure with claims that Lennon and Harrison got into a fight (untrue) and knowing that Ono would be the scapegoat as McCartney made the famous joke that the band broke up because Ono sat on an amp. What Jackson is able to reveal in Ono’s role not only redeems her but also reveal that she was treated greatly by the other members of the band as there was a brief shot of her and Linda Eastman giggling in the first part of the film.

The second part at Apple Studios doesn’t just showcase a band trying to enjoy playing together and get some new ideas for songs but also reveal how Billy Preston got to be involved as he was in London doing a few TV appearances as he was someone the band met back in Hamburg in 1962 when he was playing for Little Richard. The band asked if he could just jam with them and his role in playing organs and the electric piano not only liven up the music but also the band themselves. The film also showcases idea of music theory and how accomplished Preston was in that as the Beatles themselves weren’t accomplished in music theory as his role did a lot to give them new musical ideas. The jams are also a key component to how songs are made where the band play covers for the fun of it and then get an idea for a song as it among these little things that inspires them.

The film also reveal other moments during the first and second part as it relates to business as there’s an appearance from the band’s publisher Dick James on the songs he acquired for the band’s Northern Songs catalog as it is a rare moment where they were seen with James in a cordial way instead of the other stories into their relationship that ultimately led to James selling Northern Songs to ATV without the band’s consent. Other Beatle cohorts/Apple officials such as longtime assistant/Apple Corps chief Neil Aspinall, publicist Derek Taylor, and Apple Films producer Denis O’Dell also appear in the film talking about business with Lennon talking about having the Rolling Stones’ then-manager Allen Klein as their new manager. There’s a scene in the third part where Lennon and Harrison have a conversation about Klein that lead to the band’s first meeting with him which is one of several scenes not filmed including an audio conversation between Lennon and McCartney late in the first part.

The third part of the film where its climax is the rooftop performance does feature some enjoyable moments involving Linda’s daughter Heather who would have some conversations with John, play additional percussions with Starr, and even do her own imitation of Ono in a version of Dig It. Mal Evans is a key player in the songs in banging the hammer on an anvil for Maxwell’s Silver Hammer as well as provide additional percussions on a song which showcases why he is an important figure to the band. Even as he would do whatever he can to stall the cops during the rooftop concert as Jackson shows the concert in real-time from the reaction of the people on the streets to those complaining and the police trying to understand what is going on. Yet, the concert also reveals the level of excitement from Starr’s wife Maureen Starkey who got a closer look in watching the band perform live while was also jovial upon listening to the recordings of the songs.

Since the original film by Michael Lindsay-Hogg and shot by Anthony Richmond on 16mm film that was originally meant for television as it lead to the grainy look of Let It Be. Jackson along with Damian McDonnell on the restoration work with additional visuals from Darwin Go not only manage to flesh out much of Richmond’s photography but also reveal something vibrant in how the footage at Twickenham looks as well as the scenes in Apple Studios and the rooftop concert. The footage of those scenes from the film plus the newly-discovered footage add a bigger scope from the 1:33:1 aspect ratio of Let It Be to the broader 1:78:1 aspect ratio as well as showcasing multiple perspectives during the rooftop concert in three split-screens with editor Jabez Olssen not only creating this real-time perspective of the band, the audience, and police at this concert but also the reaction from the people on the street and on the roof of other buildings nearby. Olssen’s editing in the footage that had been released also does more in showcasing the energy of the recordings as well as some montages and small moments such as Starr giving Ono gum which she split with Lennon.

Sound editors Brent Burge and Martin Kwok, with music mixing by Giles Martin and Sam Okell, do incredible in cultivating the 150 hours of audio with in capturing the many outtakes and versions of some of the songs by the band along with some future solo songs from Lennon, McCartney, and Harrison. The mixing in those songs have a lot of breath into how an instrument sounds as Martin’s contribution is crucial as he has been the one overseeing all of the remastering and such of the Beatles’ music that his father George had produced.

For a film with an eight-hour running time that has been broken in three parts, Jackson has managed to create something that is immersive as it showcases a moment in history that is corrected after years and legends that have been told about that period. Yet, there is also an element of melancholia that looms in the film knowing that the band would break up in the year to come with several people in the film that are no longer here. John Lennon, George Harrison, George Martin, Mal Evans, Neil Aspinall, Derek Taylor, Billy Preston, Dick James, Linda McCartney, and Maureen Starkey have all passed on as they’re now in another universe yet they were all a part of something really special. Something that is never going to be matched or replicated as the music itself still stands for generations to come to discover what made the Beatles so great and so revered as well as the people who played with the band, worked with them, and supported them be just as important.

The Beatles: Get Back is an outstanding film from Peter Jackson. It is a film that not only showcases an important period in time for the band but also reveal so much more about that time and how much these four men loved and cared for each other despite their own issues with one another. It is a documentary that isn’t just a must for fans of the Beatles but it is also a film that showcases what it takes to make great music and what it means to be in a band and finding joy in being part of something that is great and fun. In the end, The Beatles: Get Back is a magnificent film from Peter Jackson.

Peter Jackson Films: (Bad Taste) – (Meet the Feebles) – (Braindead) – (Heavenly Creatures) – (Forgotten Silver) – (The Frighteners) – The Lord of the Rings: The Fellowship of the Ring – The Lord of the Rings: The Two Towers – The Lord of the Rings: Return of the King – (King Kong (2005 film)) – (The Lovely Bones) – (The Hobbit: An Unexpected Journey) – (The Hobbit: The Desolation of Smaug) – (The Hobbit: The Battle of the Five Armies) – (They Shall Not Grow Old)

The Beatles: The Albums: Please Please Me - With the Beatles - A Hard Day's Night - Beatles for Sale - Help! - Rubber Soul - Revolver - Sgt. Pepper's Lonely Hearts Club Band - Magical Mystery Tour - The White Album - Yellow Submarine OST - Abbey Road - Let It Be

Compilations: (1962-1966) - (1967-1970) - Past Masters - (Live at the BBC) - (Anthology 1) - (Anthology 2) - (Anthology 3) - (1) - (Let It Be… Naked) - (Love) - (Anthology 4)


The Beatles Films: (A Hard Day’s Night) – (Help!) – Magical Mystery Tour - (Yellow Submarine) – Let It Be – The Beatles Anthology

Related: Sgt. Pepper's Lonely Hearts Club Band - Across the Universe - Nowhere Boy - George Harrison: Living in the Material World - Good Ol' Freda - (Eight Days a Week-The Touring Years)

© thevoid99 2021

Being There

Originally Written and Posted at Epinions.com on 6/8/05 w/ Additional Edits & Revisions.

Based on the novel by Jerzy Kosinski, Being There is the story about a simpleton gardener with no background and no past as he encounters the wife of a political figure as his colleagues mistake him for someone who could be a political adviser. Directed by Hal Ashby and screenplay by Kosinski and Robert C. Jones, the film is a continuation of Ashby's themes of naive men who step into a world they don't know about only to be confused as the focus is on a middle-aged gardener named Chance played by Peter Sellers. Also starring Shirley MacLaine, Jack Warden, Melvyn Douglas, Richard Dysart, and Richard Basehart. Being There is a witty yet captivating film from Hal Ashby.

For all of his life, Chance is just a simple-minded gardener whose only knowledge of the outside world was through radio and later television as he works for a rich benefactor while always being in the care of a maid named Louise (Ruth Attaway). When the benefactor dies and Louise leaves, Chance is suddenly forced out of his home by two real estate agents in Sally Hayes (Fran Brill) and Thomas Franklin (David Clennon) where he takes a step into the outside world for the very first time with a suitcase, an umbrella, and a remote control. While walking around Washington D.C. where he stops at a TV shop, he is accidentally hit by a car owned by the wife of a millionaire in Eve Rand (Shirley MacLaine). She takes Chance to her home where she misinterprets his name as Chauncey Gardiner where she takes him to Dr. Robert Allenby (Richard Dysart) to look over Chance as he's is the caretaker for the ailing millionaire Benjamin Rand (Melvyn Douglas).

With Chance at the home of the Rands to recover from his injury, he meets Benjamin where the two have a conversation where Ben mistakes Chance's simple ideas about gardening as political rhetoric that intrigues the millionaire who also has political connections. Chance becomes an inspiration for Ben while Eve is also in awe of Chance though he does nothing but watch TV as Ben later introduces Chance to President (Jack Warden) who is impressed by Chance's words as the President also mistakes it for political rhetoric. With Chance becoming a political messiah of sorts as he becomes a celebrity of sorts though only a few know who he really is. With Ben nearing death, Eve accompanies Chance to a party where a Soviet ambassador (Richard Basehart) believes that Chance's statements are influenced by Russian literature. With Eve falling for Chance as political figures try to make their move as the President's approval rating is in decline. Dr. Allenby makes a discovery of who Chance really is as no one is aware about everything Chance had been saying all along.

While the film has a softness that a more hardline audience will find to be overly sentimental, Ashby delivers a solid direction in finding the humor and idiocy of politics and the media itself. Ashby is a master of satire but here, he chooses a simple protagonist whose lighthearted innocence and mild-mannered intelligence who looks into the world of our eyes. Yet, it's the kind of protagonist that most films would expect since he is a childlike man who doesn't know very much. In many ways, Ashby is Chance because he likes to watch. It's probably the most personal film of Ashby's career, especially since it's about a decade that he has watched all of these years fall into decline. It's really a film about a man watching a time, idealism, and a nation going into decline with the world itself not getting any better with no power or mind to do anything.

The strength of the film also goes to its script by its novelist Jerry Kosinski who brings in a mix of humor and melancholia. The film also attacks the cynicism of the 1970s after the fallout of Vietnam and Watergate with a hope for optimism. Yet the film's surreal and memorable ending shows a lot of things including the end of an American innocence to be replaced by something worse as a major character dies with the film's final line of "Life is a state of mind". In many ways, this story is years ahead of its time. Especially since the state of the nation that we live in is led by not just a soulless idiot but one who doesn’t have the honesty or heart that Chance the Gardner possesses. The script isn't just satire but an attack of everything that the 70s represented in the course of its behavior and political rhetoric which made the 80s to be a decade of mindless decadence. There, Ashby and Kosinski capture the future just before it was about to happen.

Helping Ashby in bringing is quirky yet melancholic vision is cinematographer Caleb Deschanel who brings a richness and elegance to many of the film's interior scenes that captures the world of upper-class society and its alien-like tone to the eyes of Chance. Production designer Michael Haller and art director James Schoppe help capture the film’s dark-colored look of wooden furniture and look that shows the upper class world with the wood being the only thing that Chance seems to know. Even the elegant costumes by May Routh shows that richness, notably on how well-dressed that Chance is since he's the only who seems to be comfortable in those close. The film's music score by Johnny Mandel has a sad, melancholia since it conveys the innocence of Chance but also the doom he is about to face when he is about to become something he's unaware of.

The casting in the film is awe inspiring with some nice performances from Fran Brill and David Clennon as the baffled estates people who are dumbfounded by a simpleton with Richard Basehart bringing in a slightly, humorous performance as the Russian premier. Ruth Attaway stands out as the maid Louise with her maternal presence for Chance and as she sees him, she displays the cynicism of how the media and culture acts towards Chance as a messiah. Richard Dysart is excellent in the role of Ben Rand’s ever-suspecting doctor who wants to know the truth but doesn’t want to harm anyone in a masterfully executed performance. Jack Warden brings humor to his role as the President in a performance that is expertly handled as a man of power with a lot of flaws that is handled realistically. Melvyn Douglas gives a fascinating performance as a dying man who finds hope in Chance while realizing about his own fate and regrets.

Shirley MacLaine gives an understated and elegant performance as a woman who is about to become a widow while finding new hope in a man like Chance. MacLaine brings a sweetness to her performance while channeling one of her most hilarious moments in one of the film's funniest scenes. Then there's Peter Sellers in what is probably one of the best performances ever assembled on the screen. Sellers brings a restrained, subtle performance as a simpleton who isn't very smart but isn't a bad man either. He brings a childlike innocence and a well-mannered tone to a man who doesn't have much to offer or say anything profound but his kindness is so enchanting, you can't help but fall for a man like Chance. Sellers could've gone for slapstick for this role but instead, he shows a soul that is filled with sadness and heartbreak in each frame. Even in the film's final moments as he becomes unaware of what is laying ahead for him. It's one of the most spellbinding performances of the decade.

Being There is a sensational and extraordinary film from Hal Ashby that features a mesmerizing performance from Peter Sellers. Along with great supporting work from Shirley MacLaine, Melvyn Douglas, Richard Dysart, and Jack Warden. It's definitely a very witty yet touching film that is both satirical but also heartwarming in its subject matter and characters. In the end, Being There is a wonderful and entertaining film from Hal Ashby.

Hal Ashby Films: The Landlord - Harold and Maude - The Last Detail - Shampoo - Bound for Glory - Coming Home - Second-Hand Hearts - (Lookin’ to Get Out) - (Let’s Spend the Night Together) - (Solo Trans) - (The Slugger’s Wife) - 8 Million Ways to Die

© thevoid99 2012

Lolita (1962 film)

Based on the novel by Vladimir Nabokov, Lolita is the story of a middle-aged professor who becomes obsessed with a teenage girl as he deals with the consequences of their relationship. Directed by Stanley Kubrick and screenplay by Kubrick, Nabokov, and James Harris, the film explores the world of obsession as it revolves around a man’s relationship with an underage girl. Starring James Mason, Sue Lyon, Shelley Winters, and Peter Sellers. Lolita is a captivating drama from Stanley Kubrick.

Professor Humbert Humbert (James Mason) arrives at a small town in New Hampshire looking for a place to live in the summer as he stops at house owned by Charlotte Haze (Shelley Winters). Haze is a widow who has rooms available at her home as Humbert isn’t sure about living there until he catches a glimpse of Haze’s teenage Dolores (Sue Lyon) who is also named Lolita. Humber lives at the home as he is amazed by Lolita’s presence as he decides to forge a relationship with Charlotte in order to be close to Lolita. Things seem fine in the household though Charlotte is often annoyed by Lolita’s presence as she sends her to summer camp in order to spend more time with Humbert. The two marry as Humbert becomes more infatuated with Lolita where Charlotte makes a discovery in Humbert’s diary.

After a tragic incident, Humbert leaves town to pick up Lolita at camp where the two go on a road trip across the country. At a stop at a hotel, Humbert meets a mysterious man (Peter Sellers) who is bewildered by their relationship. Humbert and Lolita live in another town for Humbert’s tenure as the relationship becomes rocky when Lolita wants to participate in a school play. Humbert refuses until a psychiatrist from Lolita’s school believes that Lolita should be in the play as Humbert finally acquiesces Lolita’s request. Yet, things get more troubling as Humbert and Lolita go back on the road as Humbert’s paranoia leads to health issues for the two of them. Yet, more problems start to emerge where Humbert gets a mysterious phone call that leads to Lolita’s disappearance as he wouldn’t see her until a few years later where would confront the man who picked her up at the hospital.

What happens when a man falls for a teenage nymphet as he tries to pursue a secretive relationship that eventually would cause a lot of trouble? That is the premise of this very provocative story that explore a middle-aged man’s infatuation with this young teenage girl. Professor Humbert is just a man who is intrigued by this young woman who is very unique and has this presence that is just fascinating to watch. Lolita is a young girl who is mature at times while just wanting to be a kid who likes to drink soda pop, chew gum, and do all sorts of things. The two together have this relationship that is strange as they hide it from the outside world yet they would raise question to the people they would encounter during their journey.

The screenplay that its writer Vladimir Nabokov would create explores this strange dynamic between these two very different people. Notably as it revolves around this middle-aged man’s passion with this young woman who feels controlled by her outgoing mother. For Lolita, having Humbert around gives her the chance to be with someone who cares about her and is willing to be attentive to her needs no matter how childish she can be. Then there’s supporting characters like Charlotte Haze who is essentially a widow who has been alone for a long time that is desperate to have a man in her life not just for her own social status but to have someone in her life that doesn’t involve Lolita whom she seems to resent.

Another character that comes into play in the story every now and then is this mysterious man named Clare Quilty. Throughout the film’s reflective narrative that is largely focused on Humbert’s perspective, Quilty is this man who seems to be everywhere as Humbert would only meet this man on a few occasions yet never really come face-to-face except in a confrontation near the end of the story. What becomes more intriguing is what does he have to do with Lolita where Humbert would start asking questions about some of Lolita’s activities in the film’s second half where it is eventually revealed towards the end.

Stanley Kubrick’s direction is definitely hypnotic in the way he presents the film as more than just a typical drama. Instead, Kubrick creates a film that blurs genres where there’s an element of dark humor, some suspense, some eerie film-noir devices, romance, and melodrama all mixed into one entire film. Yet, he opens the film with its ending where it does set-up a lot of what Humbert has to reflect on just as he’s about to commit a horrible crime against this mysterious man who had been around him during this strange journey. Throughout the film, Kubrick creates unique framing devices to present the characters and the situations that happens along some close-ups to help display the mixture of emotions running through these characters.

The direction also has Kubrick taking on some unique ideas of how he frames his actors in a scene. Notably this one moment where Humbert is outside the hotel having a conversation with this mysterious man as Kubrick places Humbert in the background while this mysterious man is almost in front of the camera. It’s Kubrick establishing Humbert’s clueless nature about this man whom is often talked about as he was seen dancing with Charlotte early in the film at a dance. Throughout its first two acts, the film plays off as a bit of melodrama mixed in with romance yet things start to shift towards something darker in the third act as it revolves around a paranoid Humbert and a more indifferent Lolita as their relationship starts to crumble.

This would lead to Lolita disappearing and an penultimate scene between the two that is melodramatic in terms of the revelations that are unveiled as it shows a full-on development between the two and their relationship. Then the film goes back to the very beginning where it would be followed by this epilogue revealed in text over what happened. It would reveal not just moments of tragedy but also the sense of loss that came into this very taboo relationship between a middle-aged man and a teenage girl. Overall, Kubrick crafts a very mesmerizing yet intriguing film about a man’s fascination with a young girl.

Cinematographer Oswald Morris does brilliant work with the stylish cinematography from the lush look of the daytime exterior scenes to more entrancing, noir-like lighting schemes for some of the film‘s interior and exterior nighttime scenes to help set the mood for these moments. Editor Anthony Harvey does wonderful work with the editing by using rhythmic cuts for some of the film‘s emotional moments as well as dissolving transitions to help the film move at a brisk pace. Art director William C. Andrews does fantastic work with the set pieces from the home of the Haze house to the lavish hotel that Humbert and Lolita stay in.

Sound recorders H.L. Bird and Len Shilton do terrific work with the sound from the atmosphere of the dance party Humbert, Charlotte, and Lolita attend to the intimacy of the scenes on the road. The film’s music by Nelson Riddle is amazing for its orchestral-driven score that features dramatic themes and suspenseful cuts along with a playful pop piece that plays to the film’s offbeat dark humor. Additional music by Bob Harris is for the film’s soaring orchestral theme that plays to the sense of romance that occurs in the film.

The casting by James Liggat is superb for the ensemble that is created as it includes some notable small roles from Lois Maxwell as a hospital nurse, Marianne Stone as Quilty’s companion Vivian Darkbloom, Shirley Douglas as Lolita’s piano teacher, Jerry Stovin and Diana Decker as a couple of Charlotte Haze’s friends, and Gary Cockrell as a young man named Richard that Lolita would be with late in the film. Shelley Winters is great as Lolita’s mother Charlotte who resents Lolita as she is desperate to cling to Humbert as she tries to woo him in every way while realizing the horrifying truth about Humbert’s fascination with her daughter.

Peter Sellers is outstanding as the very mysterious Clare Quilty who appears in very strange parts of the film such as the film’s opening scene where he tries to chit-chat his way out of a situation while also being very manipulative in every way as it’s definitely one of Sellers’ great performances. Sue Lyon is wonderful as the titular character from the presence that she creates to the complexity she brings as a young woman who is quite mature but also very childish as she deals with Humbert’s infatuation as well as her sense of rebellion. Finally, there’s James Mason in an incredible performance as the troubled Professor Humbert as he falls for the young Lolita as well as trying to ensure that what he’s doing isn’t wrong where he later becomes a man who descends into madness as he’s desperate to cling into the young woman that he’s in love with.

Lolita is an astonishing film from Stanley Kubrick that features marvelous performances from James Mason, Sue Lyon, and Peter Sellers. While it is definitely a very uneasy film to watch due to its subject matter and Kubrick’s approach to create a story that bends genres. It’s definitely a very engaging film that explores the world of taboo love as well as obsession in the eyes of a middle-aged man. In the end, Lolita is an intoxicating yet chilling drama from Stanley Kubrick.

Stanley Kubrick Films: Fear & Desire - Killer's Kiss - The Killing - Paths of Glory - Spartacus - Dr. Strangelove or, How I Learned to Stop Worrying and Love the Bomb - 2001: A Space Odyssey - A Clockwork Orange - Barry Lyndon - The Shining - Full Metal Jacket - Eyes Wide Shut

Related: (Lolita (1997 film)) - Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick

© thevoid99 2012

007 James Bond Marathon: Casino Royale (1967 film)

Based on Ian Fleming’s novel, Casino Royale is a parody film that makes fun of the James Bond franchise in which Bond comes out of retirement to deal with the deaths of fellow agents and face off against an organization called SMERSH. Directed by Ken Hughes, John Huston, Joseph McGrath, Robert Parrish, Val Guest, and Richard Talmadge with a screenplay by Wolf Mankowitz, John Law, and Michael Sayers. The film is a big-budgeted spoof where many people led by David Niven who plays a retired Sir James Bond. With a cast that also includes Peter Sellers, Orson Welles, Ursula Andress, Barbara Bouchet, Deborah Kerr, Jacqueline Bisset, Ronnie Corbett, and Woody Allen. The parody version of Casino Royale is a whimsical although extremely messy film.

With the world in danger by an organization named SMERSH, M (John Huston) and fellow spy leaders try to persuade Sir James Bond to come out of retirement to face SMERSH. Things suddenly go out of control when M is killed as Bond goes to M’s estate for the service where he meets M’s widow Lady Fiona McTarry (Deborah Kerr) who is really a double agent trying to capture Bond with the help of her women and others. Instead, the experience has her switching sides forcing Bond to return to the MI6 with a new Miss Moneypenny (Barbara Bouchet) with a plan to fool SMERSH by gathering many people posing as Bond.

With Moneypenny successfully seducing a man named Coop (Terence Cooper) to be Bond, Bond hires Vesper Lynd (Ursula Andress) to persuade gambler Evelyn Tremble (Peter Sellers) to be Bond in order to stop Le Chiffre (Orson Welles) who is trying to raise money to uncover his losses for SMERSH. Bond also decides to recruit his long-lost daughter Mata Bond (Joanna Pettet) to go to Berlin to uncover what Le Chiffre and SMERSH is up to as she succeeds for Tremble to travel to Paris at Casino Royale. Though Tremble was able to beat Le Chiffre, things go wrong forcing Bond to confront SMERSH and its mysterious leader.

The film is essentially a spoof on spy movies including the James Bond films where there’s lots of beautiful women in the film as well as silly situations where Bond has to face various nemesis and such. Yet, it is told in a very clumsy manner due to a screenplay that isn’t sure what it wants to be. The first act is about getting Bond out of retirement while it features this strong second act of Bond recruiting people to be James Bond that includes a baccarat master whose storyline is the most interesting since it plays true to the original Ian Fleming story. Then comes the third act where it becomes more uneven where it falls into loads of shenanigans where it’s funny at times but also takes itself way too seriously to be very funny.

The direction of the film is helmed by six filmmakers where the screenplay’s lack of cohesiveness really makes the film a mess. At times, the framing doesn’t carry much depth where an actor is at the edge of the frame barely seen. Still, there’s moments such as the sequences with Evelyn Tremble and Mata Bond that are very interesting. Notably the face off between Tremble as Bond and Le Chiffre despite some moments where it tries to be funny. The climatic reveal of the villain is definitely one of the film’s funny moments as well as its motivations. Yet, the direction at times tries to do a lot to entertain as well as keep up the times where it makes the whole film dated that included some silly psychedelic montages.

While some of the locations in Scotland is inspiring, the entire sequence that is directed by John Huston is uninspiring while the stuff involving Tremble, Lynd, and Le Chiffre by Joseph McGrath and Robert Parish is pretty good. The scenes with Woody Allen as Bond’s nephew Jimmy by Val Guest is hilarious though at times, does go overboard due to the climatic shenanigans that occurs as it features silly cameos from Jean-Paul Belmondo and George Raft. Overall, the film is a total mess where it tries to be a lot of things only to come out with so little.

Cinematographers Jack Hildyard, Nicolas Roeg, and John Wilcox do nice work with the photography for some of the interior Berlin settings as well as the look of the Casino Royale. Editor Bill Lenny does terrific work with the editing with some stylish montages in Tremble‘s kidnapping scene while some of the pacing goes into sluggish mode during the film‘s very farcical first act. Production designer Michael Stringer, along with art directors Ivor Beddoes, Lionel Couch, and John Howell, does fantastic work with the set pieces such as the place Mata‘s mother Mata Hari stayed at in Berlin to the Casino Royale and the secret SMERSH base.

Costume designers Julie Harris and Anna Duse do wonderful work with the costumes from the clothes the men wear as well as the dazzling dresses and 60s costumes the women wear. The special effects work of Cliff Richardson, Roy Whybrow, and John Richardson is quite good though very primitive at times such as the spaceship flying over London and other weird scenes. Sound editor Chris Greenham does excellent work with the sound such as Tremble‘s scene involving a large Scottish band. The film’s score by Burt Bacharach is superb for its playful music to emphasize the film’s humor with contributions by Herb Alpert and the Tijuana Brass that provides the film’s theme as well as a beautiful song by Bacharach and lyricist Hal David in The Look of Love sung by the late, great Dusty Springfield.

The casting by Maude Spector is quite incredible for the vast amount of people who appears in this film. A lot of them include cameo appearances from Jean Paul Belmondo as a French Legionnaire, George Raft as a coin-tossing man in the film’s climatic fight, Peter O’Toole as a Scottish band player, Geraldine Chaplin as a Keystone girl, William Holden as a CIA official, John Huston as M, Ronnie Corbett as a man in Berlin who is entranced by Mata, Anna Quayle as Mata’s Berlin teacher, Bernard Cribbins as Mata’s taxi driver to Berlin, Daliah Lavi as an agent Coop meets in his training session, Jacqueline Bisset as the agent Miss Goodthighs that Evelyn Tremble meets, Terence Cooper as a Bond agent in training, and Deborah Kerr as Lady Fiona McTarry whose overdramatic performance as a double agent is often one that isn’t fun to watch.

Barbara Bouchet is wonderful as the secretary Miss Moneypenny who is really Moneypenny’s daughter while Joanna Pettet is fun to watch as Bond and Mata Hari’s daughter Mata Bond. Woody Allen is hilarious in his small role as Bond’s bumbling nephew Jimmy Bond while Ursula Andress is excellent as the sexy yet determined Vesper Lynd. Orson Welles is very good as the whimsical Le Chiffre who likes to show off his gifts as a magician. David Niven is alright as Sir James Bond where he plays the character with a sense of charm and wit though he doesn’t seem to be the guy to really capture the sense of swagger that Bond is known for. Finally, there’s Peter Sellers in a superb performance as Evelyn Tremble where Sellers plays the role very straightforward and low-key while doing a few funny bits as it’s one of Sellers’ more underrated performances despite the notoriety he brought to the production in his emphasis to play James Bond straight and to the point.

The 1967 spoof version of Casino Royale is a film where it’s engaging at times but an overall incomprehensive film that tries too hard to entertain. Due to the dated humor and lots of silly shenanigans, it’s a film that Bond fans will have a hard time watching despite its interesting second act. While the film does offer something for fans of Peter Sellers and Woody Allen, it’s not enough to give it a strong recommendation. In the end, Casino Royale is a film that doesn’t offer much to anyone unless they’re James Bond completists.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty’s Secret Service - Diamonds Are Forever - Live & Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (Climax! TV Episode) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb

Originally Written and Posted at Epinions.com on 4/30/07 w/ Additional Edits.

Based on a novel by Peter George, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb tells the story about a delusional U.S. general who plans an attack on Russians as a bomber plane is on his way to bomb the Soviets. During a meeting, the President tries to talk to the Russian premier before all hell breaks loose while a RAF officer tries to intervene. Directed by Stanley Kubrick with an adapted script written by Kubrick, Peter George, and Terry Southern with uncredited contributions from James B. Harris and the film's star Peter Sellers. The movie is a satire on the paranoia about an outbreak in the Cold War. Done with irreverent humor, cynicism, wit, and a tense atmosphere, Dr. Strangelove marked the beginning of Kubrick achieving greatness. With an all-star cast that includes Peter Sellers in three roles plus George C. Scott, Sterling Hayden, James Earl Jones, Keenan Wynn, Tracy Reed, and Slim Pickens. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb is a superb yet hilarious film from Stanley Kubrick.

RAF officer Colonel Lionel Mandrake (Peter Sellers) is called upon by his superior General Ripper (Sterling Hayden), who has become paranoid about the Cold War that he ordered a bombing attack on the Russians. Notably as he claims that there's a conspiracy by the Russians in order to destroy bodily fluids. Mandrake learns that Ripper uses a secret emergency plan that isn't authorized by the joints chief of staff as well as the American president. Ripper's claims become more troubling as he claims that the Russians are here as his troops are getting ready to fight the Russians in their Air Force base. Mandrake realizes that Ripper has no proof since there is no warning on the radio and demands Ripper to give him the recall code. Unfortunately, it's too late as the code is reached to bombers making their way to Russian including one led by Major T.J. "King" Kong (Slim Pickens) and his team that included Lieutenant Goldberg (Paul Tamarin) Lieutenant Lothar Zogg (James Earl Jones).

Back in Washington D.C., a secretary named Miss Scott (Tracy Reed) receives a call for General Buck Turgidson (George C. Scott) who is needed in the Pentagon with a special meeting that included the President. Turgidson meets President Merkin Muffley (Peter Sellers) who learns that bombers are on their way to Russia as Turgidson thinks it's a good opportunity to attack. Muffley is aware that things are going to hell with the Russians going to retaliate. Making things worse, Muffley invited Russian ambassador Alexi di Sadesky (Peter Bull) to the war room as Turgidson claims he's here to spy on the war room. The look at the attack brings tension as Muffley tries to talk to the Russian leader and learns that if the bombers reach their proposed target, a doomsday machine will be triggered. The ambassador explained that the machine is created by computers to trigger a series of nuclear bombs that will mark the end of the world.

Muffley immediately wants the recall code but the paranoid Ripper is already in battle as he's joined side-by-side with Mandrake. Mandrake understands why Ripper prefers to drink a certain brand of water and stuff while revealing his own issues with bodily fluids. The battle rages on as Mandrake eventually gets the recall code but finds himself in trouble with Army Colonel Bat Guano (Keenan Wynn) who was fighting in the battle. The President meanwhile, calls upon a strategy expert and former Nazi named Dr. Strangelove (Peter Sellers) about what to do. Dr. Strangelove reveals his excitement for the doomsday machine. The President finally receives the code though aware that four planes were shot but one of them managed to survive. The plane revealed to be Major Kong's as he lost communication and everything as he attempts to bomb a base. Just as things look great for both the Americans and Russians, the President receives a call from the Russian leader about one of the bombers on his way. There, everyone ponders what is about to happen.

During those times of the Cold War, many people feared about how something like Communism would spread onto American soil while wondering about the aftermath that would lead to World War III. What Stanley Kubrick and his writers chose to do was pretty much make fun of these things. Notably the paranoia starting with General Ripper's claims of the Russians poisoning American water supplies. What the film is really about is misinformation and mis-communication. It's in those two themes where the film's humor and satire lies.

The screenplay that is co-written by satirist Terry Southern reveals the way American politics often duel with each other. You have the more patriotic General Turgidson wanting to help the American cause while he's often clashing with the more peaceful but timid President Muffley. Muffley represents a moral conscience of the film while also reveal the lack of strength he has as a world leader whenever he's trying to talk with the Russian president.

Some of the film's humor in both the war room scenes and in the bomber scenes with Major Kong reveal the absurdity of the Cold War. Notably on how a war against the Russians can be provoked. Some of the dangers about the missiles and most of all, the doomsday machine show how bad the Cold War was at the time and how close the Russians and Americans had gotten into some serious conflict. It's in Kubrick's observant, eerie direction that really captures the tension, morality, and humor of the movie. His camera always is on some kind of moment whether it's Turgidson wanting to go at with the Russian ambassador or Mandrake trying to understand Ripper's paranoia. Some of the film's most memorable sequences is definitely in the bomber scenes with Major Kong that is really the funniest in the film. Notably because Major Kong is a gung-ho American pilot wanting to bomb the Commies while things go wrong.

The film's most horrifying and funniest moment is included in an iconic image that's often parodied throughout pop culture. It is afterwards that Kubrick gives the audience an open interpretation of what might happen after this as Muffley, Turgidson, the Russian ambassador, the staff, and Dr. Strangelove discuss the future. It is there that Dr. Strangelove has his moment which ends on a funny but dark note.

The direction by Kubrick is really the highlight where he puts humor in places that often doesn't have humor. The comedy feels natural and relatable. Even in the paranoia and tension in the war room scenes, the Ripper sequences, and of course, the bomber scenes are just amazing and none of them overshadow anything. Kubrick really brings it all together as the film moves very leisurely while letting the audience to sit back and enjoy. Overall, it's a really damn good film that's very funny and spot-on about the times.

Helping Kubrick in his visual presentation is cinematographer Gilbert Taylor whose black-and-white photography showcases the dark intimacy of the war room with its wonderful shades of light. Taylor's photography also works in the intimate, hand-held work in some of the scenes in the bomber while adding tension to the scenes with Mandrake. Taylor's camera work is amazing in conveying the sense of horror. Longtime production designer Ken Adam and art director Peter Murton do amazing work in creating the war room with a circular table and screens that looks so eerily authentic that it almost looks like a real war room.

Adam's work is just amazing for capturing the atmosphere and tension, even in the bomber where things are cramped and no one really knows what's going on. Editor Anthony Harvey does great work in bringing all three stories together to convey the sense of chaos while making it nicely paced in the film's 96-minute running time. Even the use of stock footage and the scenes with the bomber plane are wonderful to convey the absurdity. Sound editor Leslie Hodgson also does great work in capturing the tension of each sequence to reveal its chaos.

Music composer Laurie Johnson creates a wonderful opening score that starts off as very serene and dreamy only to put the audience off of what is coming. There's a great music theme by Louis Lambert that plays to the humor of Major Kong getting ready for battle while a song by Vera Lynn in We'll Meet Again appears in the end to convey what had just happened.

The film's cast is wonderful featuring memorable small performances from Shane Rimmer, Paul Tamarin, and in an early film appearance, James Earl Jones as bombardiers in the war plane trying to understand what Kong is doing as well as their destination. Tracy Reed is memorable as her brief appearance as General Turgidson's secretary/mistress Miss Scott while also appearing in a Playboy spread that Kong is reading. Peter Bull is great as the Russian ambassador who tries to help things out though in reality, he is a spy of sorts while trying to think about his own leader and the future of the world. Bull is funny for how he reacts to the absurdity in which, he makes the Americans feel a bit stupid. Keenan Wynn is also great in his small role as Col. Guano who captures Mandrake who doesn't believe what is going on really while having a funny moment that involves a Coke machine as Mandrake tries to persuade him about what's really happening.

Sterling Hayden is wonderful as the paranoid, mis-informed General Ripper whose talks of bodily fluids and water makes him a complex yet sympathetic character who loses grip with reality while trying to protect the recall code. Hayden is great in his role for being the man who causes trouble but didn't mean to. George C. Scott is also great as the patriotic, war-loving General Turgidson who is more concerned about American pride rather than what's right for the people. Scott, who is often seen in dramatic films, really showcases his talents in comedy both physical and in word play as it's a great performance from the late yet legendary actor. Noted character actor Slim Pickens is hilarious as the gung-ho Major Kong with his Texan drawl and determination to nuke the Commies with all of his might. Pickens is just a hoot to watch in every scene he's in, notably when a missile causes an error for the plane that would lead to one of the film's iconic images.

Finally, there's the late Peter Sellers in one of his greatest performances in playing not one but three roles in the film. In the role of Colonel Mandrake, Sellers plays it straight as his character is the least-humored of the three. Sellers plays Mandrake with a sense of morality and intelligence while often being frustrated in how he's trying to handle things. Sellers performance as Mandrake is amazing. In the role of President Muffley, Sellers again plays it straight but with a lot of humor that is restrained. Sellers not only sells the American accent just right but shows Muffley's timid, frightened expression when dealing with the Russian during the hysteria of what's happening. In the title character, Sellers' comedic talents is very evident with a German accent, being on a wheelchair and wearing strange blond hair. Sellers exudes the psychotic humor and excitement of Dr. Strangelove as he has some of the film's best lines including the last one. The character of Strangelove is very funny and downright strange since he brings all kinds imagery to a character that is dark.

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb is a funny, intelligent, and haunting film by Stanley Kubrick. This film is no doubt one of the must-see films ever made thanks in large parts to its humor, Kubrick's eerie direction, the script, and the cast, notably Peter Sellers. Fans of satire will no doubt enjoy this film while for those new to Kubrick and Sellers will find this movie as a nice place to start. Particularly in how relevant the film is in relation to today's time as the world is in chaos. In the end, Dr. Strangelove is a powerful and funny film from the late, great Stanley Kubrick.

Stanley Kubrick Films: Fear & Desire - Killer's Kiss - The Killing - Paths of Glory - Spartacus - Lolita - 2001: A Space Odyssey - A Clockwork Orange - Barry Lyndon - The Shining - Full Metal Jacket - Eyes Wide Shut

Related: Stanley Kubrick: A Life in Pictures - The Auteurs #18: Stanley Kubrick

(C) thevoid99 2012

The Ladykillers (1955 film)

Directed by Alexander Mackendrick and written by William Rose, The Ladykillers is the story of a gang of bandits who move into the home of an old lady as they’re planning a heist. Things go wrong when the old lady suspects something is happening as they would later plot a plan to get rid of her. Starring Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers, Danny Green, Jack Warner, and Katie Johnson. The Ladykillers is a witty black comedy from Alexander Mackendrick.

Mrs. Louisa Wilberforce (Katie Johnson) is an old lady who lives alone with her three parrots as she has rooms available for people to rent. Answering her ad for rooms available is a man named Professor Marcus (Alec Guinness) who wants to rent her rooms for a while as he is also bringing in friends to rehearse for an upcoming concert. Mrs. Wilberforce is delighted by the company as Marcus along with Major Courtney (Cecil Parker), Harry Robinson (Peter Sellers), an ex-boxer named “One-Round” Lawson (Danny Green), and a mysterious man named Louis Harvey (Herbert Lom) all move in. Yet, what Mrs. Wilberforce doesn’t know is that these five men are planning a heist as Marcus looks out at a car near King’s Cross that transports money to the train.

Despite dealing with Mrs. Wilberforce’s presence and her parrots, the men realize that she could be useful in the heist by picking up the trunk where the money will be stashed though she has no idea what she’s doing. Despite a few mishaps, the heist becomes a major success as all five men decide to leave Mrs. Wilberforce’s home until something goes wrong where Mrs. Wilberforce becomes suspicious. When her friends arrive for a tea party as all five men reluctantly attend the party only to deal with Mrs. Wilberforce who has decided what to do. With Mrs. Wilberforce suddenly in control, Marcus and the four men decide to take matters into their own hands as guilt and greed starts to surround them.

The film is a black comedy about five devious men who plan a heist where they would include an old lady who becomes an unknowing player in this heist. Just as things seem to go well, a simple mistake would ruin everything leading to this old lady to try and deal with them in a calm, civil manner where the five men would fight over whether or not to kill her. It’s a film about many things, notably greed, guilt, and doing what is right. Leading all of this is a man named Marcus who is the ringleader that sports a smile that really spells trouble. He heads a gang of four very different men that includes a gentlemanly con artist, a young Cockney criminal, a dim-witted ex-boxer, and a mysterious gangster who finds the old lady’s presence to be very distracting.

William Rose’s screenplay is well-structured for the way each act is set-up as the first act is about the planning of the heist, charming Mrs. Wilberforce, and the heist itself. The second act is about Mrs. Wilberforce’s discovery and how she would try to deal with the matter as it would include an encounter with a young police sergeant (Philip Stainton). Then comes this very interesting third act where it’s all about the five men and how they want to deal with Mrs. Wilberforce where it eventually becomes a battle over morality and money. While Marcus and the four other men, with the exception of the more devilish Harvey, aren’t totally despicable men. Marcus, in his sly charm, is willing to try and settle things for Mrs. Wilberforce in case there isn’t a need for violence while Courtney and Lawson feel that killing an old lady doesn’t seem like the right thing to do. Robinson is a petty thief but at least knows this old lady isn’t a total threat.

This would leave Harvey who is a criminal that takes the job because of the big payday but has to deal with this old lady as he becomes more out there in the third act with very dark motives. This would force a battle of wits between him and Marcus and in the middle of this is Mrs. Wilberforce. While this old lady is just a kind old lady who often visit the police station to discuss whatever matters is happening around town while just wanting to do good. She isn’t a total dimwit as the men think she is though she is aware that what she just did is wrong and tries to set things right leading to a great sense of conflict between her and Marcus. It’s a very intense yet engaging screenplay that William Rose creates as it is told with some wonderful humor that is dark yet has a great payoff in the end.

Alexander Mackendrick’s direction is truly a joy to watch in the way he creates the conversations and charade that occurs throughout the film. While a lot of the compositions are straightforward, he does allow the chance to build up a bit of suspense in the set-up of the heist. Notably as it would often include some humorous moments of the men pretending to carry their musical instruments whenever they have to deal with Mrs. Wilberforce. There’s a lot of funny moments where there’s a lot happening such as a scene where Mrs. Wilberforce in her taxi carrying the luggage where a ruckus happens in the middle of the street. In that scene, Marcus and his men are watching what is happening not knowing if things are going to go well or bad.

Mackendrick also manages to keep the tense moments quiet, notably in the third act as the men have to deal with Mrs. Wilberforce while there is still some very funny moments. Notably as it would involve a lot of double-cross and devious moments involving the criminals as they start to target each other when a few are unwilling to get rid of Mrs. Wilberforce. These scenes would include lots of dark, funny moments that involves trains and all sorts of things while its ending is a purely joyful and humorous one. Overall, Mackendrick creates a truly splendid yet entertaining dark comedy.

Cinematographer Otto Heller does an excellent job with the film‘s Technicolor look of the film that is heightened for many of the film‘s daytime exteriors while maintaining a rich look to some of the locations such as King‘s Cross and the home of Mrs. Wilberforce. Heller’s work in the nighttime exteriors, notably its third act, is truly exquisite for the tone it brings to complement its look. Editor Jack Harris does a nice job with the editing by helping to build suspense in some of the film‘s tense moments along with some rhythmic cuts to play up the humor. Art director Jim Morahan does a brilliant job with the look of Mrs. Wilberforce’s home in its interior settings as well as some of the props made for the film.

Costume designer Anthony Mendleson does some excellent work with the costumes such as the array of stylish suits to complement the differing personalities of the bandits as well as the stately yet casual look of Mrs. Wilberforce. Sound editor Gordon Stone does terrific work with the sound from the way Mrs. Wilberforce gets the water pump started to the sounds of trains chugging nearby her home. The film’s music score by Tristram Cary is a delight to hear from the chime-like music box theme to some of the chilling orchestral pieces to play up its suspense. The film’s music also consists of Boccherini’s Minuet (3rd Movement) from String Quartet in E Op. 11 No. 5 that adds to the film’s humorous moments.

The film’s ensemble cast is definitely amazing as it includes appearances from Frankie Howerd as an angry barrow boy, Kenneth Connor as the taxi driver who drives Mrs. Wilberforce for the job, Philip Stainton as a police sergeant who questions Mrs. Wilberforce late in the film, and Jack Warner as the kind police superintendent whom Mrs. Wilberforce always talk to. Danny Green is funny as the dim-witted boxer One-Round whose strength does wonders for the team while goes into conflict over what needed to be done in the third act. Cecil Parker is very good as the gentlemanly Major Courtney who tries to keep things civil while being kind towards Mrs. Wilberforce. Herbert Lom is superb as the devilish and aggressive Harvey who tries to keep things going while wanting to get rid of Mrs. Wilberforce.

In an early film role, Peter Sellers is very good as the young thief Robinson where Sellers sports a Cockney accent while dealing with Mrs. Wilberforce’s presence and eventually take part in a series of double-crosses that is prominent in the third act. Alec Guinness is brilliant as the devious Marcus who tries to charm Mrs. Wilberforce as he sports these ridiculous teeth that plays to his personality as it’s a very funny role from Guinness. The film’s best performance goes to Katie Johnson as Mrs. Wilberforce as she brings a light-hearted approach to her character as it’s very relaxed performance of a character who tries to be so nice only to be part of something unfortunate.

The Ladykillers is an extraordinary film from Alexander Mackendrick that features top-notch performances from Alec Guinness and Katie Johnson. Along with a great supporting cast that includes Peter Sellers along with some amazing technical work. The film is definitely one of the finest comedies to ever come out from Britain. Notably as it’s very dark due to the actions some of the characters do but is presented in a manner that is pretty funny. In the end, The Ladykillers is a smart yet comical film from Alexander Mackendrick.

Alexander Mackendrick Films: (Whisky Galore!) - (The Man in the White Suit) - (Mandy) - (The Maggie) - Sweet Smell of Success - (Sammy Going South) - (A High Wind in Jamaica) - (Don’t Make Waves)

The Ladykillers (2004 film)

© thevoid99 2012