Der gewisse Kniff

A steady stream of very attractive and nearly identical manikins come to life and march starry-eyed around the block and up the stairs to a flat where they briefly meet the object of their desire before dutifully signing his guest book on the way out. The man they came to see is the suave Lothario who will try to mentor the socially awkward teacher living downstairs in the "knack" of seducing women. As so often happens in situations like this, they will eventually end up competing for the affections of the same intriguing ingénue.

This may sound like an overused cliché likely to result in a formulaic romantic comedy, but director Richard Lester gives us something very different as he presents the story through a combination of exaggerated caricatures, fantasy sequences and zany metaphors. The result is that we are not so much interested in the details of the story as we are in the fun we have reaching the inevitable conclusion and the social commentary we encounter along the way.

Created in 1965, Lester makes a hefty contribution to the creation of a frenetic visual style of comedy which will be imitated with great commercial success throughout the rest of the decade (think "Laugh-In"). With its mod styling, rapid-fire editing, non sequiturs and wacky antics, Lester effectively uses this style to provide some wickedly clever parody of early 1960s sexism, conformity and consumerism.

The film is unfortunately not without some serious flaws. The comic style which may have seemed fresh and exciting at the time has not aged well. The good-natured mood of the film robs the social commentary of any punch or staying power, as does the failure to integrate it into a unifying framework. Also, the four main characters may be wonderfully portrayed with excellent comic acting, but only one of them is scripted such that he ever becomes human enough for us to care what happens to him, something which is essential in a story that is entirely about the relationships between the main characters.

One may find this to be a very enjoyable and memorable film in spite of these flaws, but it clearly requires that you recognize how to accept what it attempts to offer rather than criticizing it for what it doesn't deliver. I'd also think that it's a valuable film for anyone interested in the 1960s mass media image of swinging London and in the trends influencing popular entertainment during that time period.

'Richard' Lester (as he was then billed) had just scored a huge hit with 'A Hard Day's Night' and before he moved on to 'Help' indulged himself with this raucous adaptation of Ann Jellicoe's play which today looks more of a museum piece than either of the films he made with the Fab Four (compounded with a light-hearted attitude to rape that certainly won't sit well with today's #MeToo generation).

Set off by a snazzy score by John Barry, in it's frantic desire to be 'with it' it gets rather tiring and it's sobering to reflect that most of the bright young things that inhabit it are now in their eighties; but if you look fast you'll spot a wetsuited eighteen year-old Charlotte Rampling who still looks just as icily handsome in her late seventies.

Reviewers fell all over themselves to praise this film when it came out. I personally tend to be a sucker for good, wild British comedy. I wanted to believe the reviews.

Why did they lie to me?!? Oh, have no doubt that at the time this was wild and crazy and totally unlike just about anything out there. I can see that in the film and I can also see the whole generation gap thing playing itself out in there as well. I see all that was said to be in there, except for great performances and the wacky comedy.

I shall not try to comment on story or plot. This film doesn't even pretend that those elements matter, and they certainly don't if you should happen to see this movie. You're there for the "event" of the film itself. Other than Rita Tushingham's heavenly eyes and lips, there IS no "event" worth hanging around to see.

This is one of those films that should be viewed only in the context of its place in film history. It fails to survive the passage of time on its own merits. It is merely an interesting curiosity from the 60s.

On another, short note, the soundtrack is incredible. It makes the film worth sitting through.

This is a manic Richard Lester comedy very similar to "A Hard Days Night," and if you liked that movie you'll like this one. It's a somewhat rambling froth-of-life tale about an awkward young man (Michael Crawford) who wants to learn how to pick up girls from his popular housemate (Ray Brooks). Brooks' attempt to instruct Crawford in the mysteries of the knack go hilariously awry when the pair encounter the flighty Rita Tushingham.

I'm a little surprised that this won a Palme d'Or, but it IS very funny in a not-too over-the-top way. It's dramatically superior to contemporary early '60's comedy, and the principals turn in wonderful performances. If you like it, be sure to check out Lester's sunny nonsense "A Funny Thing Happened on the Way to the Forum" and the distinctly darker "How I Won the War."

Attention, All You Carnally-Curious Viewers! - If you want the "knack" and seriously wanna know "how to get it" - Then steer clear of this quirky, off-the-wall, 1965, comedy - 'Cause it's sure to leave your head spinning, as you find yourself even more clueless than you already are.

If nothing else - "The Knack" (directed by American film-maker, Richard Lester) is (movie-wise) historically significant in that it is sandwiched in between 2 of Lester's more notable pictures - "A Hard Day's Night" and "Help!", which, of course, starred the Beatles.

Even though "The Knack" (which was set in London and filmed in b&w) is a pretty silly and scatterbrained tale about the lustful pursuit for sexual conquests - It certainly did have its interesting and entertaining moments.

And, yes - With "The Knack" now being 52 years old - It is, indeed, dated - But still definitely worth a view. Yet - With that said - I do caution you, that its decidedly-eccentric brand of humour isn't gonna appeal to everyone.