Hoffman

I had the good fortune to find this movie at my local library. After seeing it, I was dumbfounded at the fact that this film seems to have been essentially hidden from Sellers' fans. Benjamin Hoffman is a complex and perplexing character, and Sellers reveals the character's personality layer by layer. At first, Hoffman seems totally evil and cold. But as the story progresses, we see that he's a man with very limited social skills, trying to tackle a very difficult problem. He loves a woman from afar, and he learns that she could soon find herself in a disastrous situation. He may be giving her the world's leakiest lifeboat, so to speak, but it's all he has. Sinead Cusack is marvelous as Miss Smith, who has found herself in the most baffling of circumstances. A man she barely knows has blackmailed her into spending the weekend with him, but he treats her politely and makes it a point to be a proper host. He sleeps in the same bed with her but never even kisses her. He takes her shopping and out to dinner at a fine restaurant. This movie is an emotional roller-coaster ride, and it left me wanting to go get in line for another ticket.

There is nothing bad i can say about Hoffman. It is very unusual and it might take some getting used to before you learn to love it. The first time i watched Hoffman, i didn't know if i liked it or not, but it stayed on my mind and i felt a desire to watch it again. After viewing it a second time i found it to be much better, perhaps because i knew what to expect so i could reflect more on the good points. Now i have seen Hoffman about ten times or more, and i still enjoy it more every time i watch it. Peter Sellers performance as Benjamin Hoffman is simply amazing and held my interest all the way through. Sinead Cusack's performance as Janet Smith was just as good, i think she was perfect for the part of a woman who finds Benjamin Hoffman to be a repulsive creepy and offensive man. Sinead's facial expressions completely cracked me up and her constant whining throughout the movie is just hilarious. Hoffman focuses entirely on the relationship between Benjamin and Janet for the entire movie, Benjamin blackmails Janet to stay with him in his apartment for two weeks where he would treat her with respect, that's the storyline, they work at the same place but have never talked, Benjamin just admires her beauty from afar knowing that a woman like her would never be interested in a man like him, especially with his maniac face as he puts it, there are no other characters except for at the beginning and end. The movie starts with Janet saying goodbye to her fiancee at the train station where he believes she is going to visit her grandmother for two weeks, however this is just a plan so her fiancee won't know she is really staying in the apartment of another man. She makes her way to Benjamin's apartment and is so uptight for the first part of the movie, refusing to take off her hat and coat, it's so nice to see her loosen up slowly as the movie progresses, to become more comfortable with Benjamin and talk to him, but whenever she starts to like him, Benjamin will say something crazy to ruin things between them. Two words i can think of to describe Hoffman are ABSORBING and HEARTWARMING, a black romantic comedy which can make you laugh, smile and cry (it's quite moving in a good way). These type of movies are very predictable, therefore you can guess what is going to happen at the end but Hoffman delivers laughs, clever lines, romance, brilliant acting and lots of nice piano music which was very suitable for the movie. Hoffman to me is an undiscovered masterpiece, it's worth every penny you would pay for the DVD which is available in the UK.

Matt Monro sings the theme, "If There Ever Is A Next Time," written by Don Black. Enjoyed the movie - Peter Sellers is always good and the movie illustrates his bent for humor that's black and gentle at the same time - and the music might make you into a Matt Monro fan. A good test for your local video store.

This is at once one of Peter Sellers' least-known and more interesting vehicles; the film is virtually a two-hander – with Sinead Cusack (daughter of actor Cyril and later Mrs. Jeremy Irons) as the young girl blackmailed by a middle-aged colleague (Sellers) into becoming his lover, because he knows of her boyfriend's involvement in a robbery.

While the film is considered a comedy, it doesn't sound like it from that synopsis; it's really a character-driven piece on a serious theme – mid-life crisis – which has been treated several times over the years, though rarely in such perceptively intimate detail (for which it was deemed tasteless at the time). The humorous element (if one can call it that) springs from the fact that Sellers' character – who had been fantasizing about Cusack for months – doesn't have the courage to do anything with her once they're together! Incidentally, Hoffman's innately cruel nature was so similar to the real Peter Sellers that one might be inclined to think that his dialogue was improvised – but this wasn't the case!

With this in mind, the film can be seen as talky (though Ernest Gebler's script, adapted from his own novel, does contain a smattering of good lines), low-key and claustrophobic (the narrative strays only occasionally from Sellers' flat, and the two almost never interact with other people) – not to mention repetitive and overstretched at 113 minutes! One particular sequence included an ambitious shot lasting for some 18 minutes, which certainly belied the rumors that Sellers had suffered brain damage during that infamous incident from the early 1960s in which he suffered no less than seven heart attacks in one day. The film's happy-ending-of-sorts, then, is highly improbable – but I guess it works well enough in this context (given that Cusack's boyfriend is depicted as a one-dimensional character and, therefore, no match for the intellectual Sellers).

Gerry Turpin's cinematography of the bleak London settings is one of the film's main assets, while the tone of romantic melancholy – inherent in Ron Grainer's score and his Don Black-penned theme song, "If There Ever Is A Next Time" (sung by Matt Monro) – infuses the whole film and even serves as exposition for the main narrative during its deliberately vague early stages. By the way, director Rakoff had already handled the same material as a TV production starring Donald Pleasance; at his own admission, the film version was too slow – because the pace seemed to be dictated by the lead actor – and professed to having misgivings also about the choice of music. As for Sellers himself, he was so disappointed with the final result that the star offered to buy back the negative from the producer and shoot it again from scratch (the film, in fact, was such a resounding flop that it wasn't shown in New York until 1982)!

Ask people what they remember about Peter Sellers, and if they know him at all they'll talk about the Pink Panther films or The Goon Show. In other words, he's forever labelled as a comic actor. In "Hoffman", Sellers plays against type in a straight dramatic performance - and, to be blunt, he's brilliant. "Hoffman" was ignored at the box office upon its' release in 1970, and never got a proper US release. Even today, with a million films on VHS and DVD, you'll have a hard job finding a copy. Audiences were clearly not prepared to sit through a film in which Peter Sellers didn't play four characters, fly through the air and crash painfully, or mask himself in make-up or funny voices. That "Hoffman" is essentially a filmed stage play with only four characters, and is largely just Sellers and Sinead Cusack talking for two hours, also clearly worked against its' success.

This is unfortunate, as here we have what is arguably Sellers' best performance. Sellers essentially plays himself...pale, somewhat gaunt, well-spoken, with an undeniable air of restrained madness about him. Sellers' Benjamin Hoffman is a hollow man, a man who has no existence outside of the things he remembers - and the unattainable image of the woman he adores from afar. Fate plays into Hoffman's hands when he obtains blackmail material on the woman's fiance...his price for his silence: a week alone with her in his flat. Sinead Cusack plays this prisoner of Hoffman's desire brilliantly, alternating between fiery Celtic indignation and a childlike quality. Though she can leave Hoffman's clutches at any time, she can never bring herself to do so...firstly out of fear for her future husband, and later because she finds herself captivated by the strangeness of her urbane blackmailer. Sellers is the very picture of quiet madness in this movie, never raising his voice and never displaying any hint of the obsessions that drive him in an overt manner. Hoffman is not a rapist, nor a maniac, but rather a emotional vampire who draws life from the innocence and youth of his 'guest'. Hoffman takes her to dinner, for walks in the park, to a department store, (in one notable scene, Cusack is pictured standing beneath sides of beef - a metaphor almost too unsubtle to work properly. But it does), he treats her with the utmost respect, he never so much as kisses her. In short, he tries to make her love him even though his every utterance and opinion arouse little but hatred in her. Hoffman is clearly goading her with his studied misogyny and his overbearing attempts to make her feel 'at home', fearing that if he ever became a person to her, or she to him, the spell he has cast would crack. And dreams are all Hoffman has, all he knows. Sellers' wraithlike appearance reinforces the vampiric quality of Hoffman...a man who has had all joy and wonder sucked out of his life by crushing domesticity. The Dracula metaphor is explored further in Hoffman's comments about wanting to consume his captive, and in a scene where she bares his neck to him. In short, "Hoffman" is a neglected gem, one of the few movies in which Sellers could escape his clownish characters and simply be Peter Sellers, actor. Or perhaps, Hoffman IS Sellers...? Jeremy Bulloch, best known as Boba Fett in the Star Wars series, plays the little-seen fiance. Also of note is the rather excellent score, composed by Ron Grainer. Grainer, of course, gave the world the best TV theme tune of all time..."Doctor Who". Matt Munro, who sang the title tune to From Russia With Love, does the honours here also with the melancholy song 'If There Ever Is A Next Time'. No Sellers fan should miss this movie. A masterpiece.