This quintessential British comedy of class and industry is actually a sequel of sorts to a relatively little-known Army farce called Private’s Progress, which was also the work of director John Boulting and screenwriter Frank Harvey. But this is one of those rare follow-up films which is not only so good that it completely eclipses its predecessor but also works completely as a standalone film. You don’t have to have seen Private’s Progress to enjoy I’m All Right Jack but that film told the story of upper-class buffoon Stanley Windrush (Ian Carmichael) and his attempts to survive in the army, coming up against the even more upper-class and buffoonish Major Hitchcock (the legendary Terry-Thomas).
I’m All Right Jack see’s Windrush failing to find gainful employment in civilian life until he is coerced by former army colleague Sidney Devere Cox (Richard Attenborough and his spectacular moustache) into “throwing in with the working classes and taking a manual labour job at a missile factory of which Major Hitchcock happens to be the manager. Of course it’s all part of an elaborate, farcical scheme that involves an arms deal, a Middle-Eastern millionaire and Stanley’s uncle. But complicating the plot is self-serving communist shop steward Fred Kite. The fact that Kite is played by Peter Sellers just before his Hollywood career took off explains why I’m All Right Jack is still fondly remembered as a classic whilst its predecessor is largely forgotten.
Seller’s Kite isn’t as flamboyant or outrageous a creation as his later characters like Inspector Clouseau or Doctor Strangelove but, with his Hitler moustache and self-serving, impudent fury, he’s just as memorable. But for me the film is stolen completely by Terry Thomas. I was recently shocked to discover that many people of my generation have never even heard of this appallingly underappreciated comedy genius. If you’ve seen the trailer for the upcoming Mortdecai you’ve seen Johnny Depp doing an (admittedly quite good) impression of him but until you’ve seen the real thing angrily deriding someone as “an absolute shower and a stinker of the first order you do not know funny. If you have an appreciation for the British comic heroes of the 50s then the scene in which Kite and Major Hitchcock get drunk together is pure bliss.
In fact the whole film is a pretty blissful, nostalgic experience. In 1959, when it was released, popular British film comedy was starting to move away from the charming, socially-relevant satires like those made by Ealing Studios and towards bawdier, innuendo-laden Carry-On style romps. I’m All Right Jack is mostly the former with its gentle lampoonery of recognisable 50s figures from self-righteous shop stewards to amoral aristocratic business owners.
But it does have saucy moments that feel like they were probably pushing the boundaries of what was acceptable to 50s audiences. In fact in what was probably a deeply risqué move the opening and final scenes take place in a nudist colony and it’s fair to say the filmmakers probably didn’t anticipate the fact that audiences watching the film half a century later in high definition would be able to see that the “naked extras in the background are actually wearing what appears to be paper underwear. And then there’s the cheeky running joke of the worker with a stutter who always seems to be about to say something very rude but then says something perfectly innocent “why don’t you just f f f f photograph someone else? That never gets old.
All in all it’s a near perfect piece of nostalgic entertainment. It’s charmingly old fashioned at the same time as being witty and cutting in a way that makes it funnier than most modern comedies. The only thing that sullies its appeal is that fact that it contains some jokes and views that to modern sensibilities are racist. When these moments pop up they stop the humour in its tracks but of course it’s necessary that they aren’t cut out to make the film more palatable, it’s important to realise that jokes like this were once acceptable so we can realise how much we’ve moved on.
That aside the whole movie is delightful and well worth revisiting. And there are some interesting extras with retrospective interviews from the cast. The real gem though is the inclusion of the Running, Jumping & Standing Still Film a short put together by Peter Sellers and the Beatles director of choice Richard Lester. It was filmed over two days and features appearances by Sellers’ friends and family including Spike Milligan. It’s basically a silent, live-action cartoon and is ten minutes of pure joy and an excellent capper to a great film experience.
Overall Verdict: One of the greatest and most memorable British comedy films from a time when a lot of great, memorable British comedy films were being produced. Well worth owning.
Special Features:
Brand new interview with actress Liz Fraser
The Running, Jumping & Standing Still Film
Cinefile: Seller’s Best
Reviewer: Adam Pidgeon