The Ruling Class

A scathing and profoundly witty attack on Britain's social and political institutions with Peter O'Toole on his best ever form as Jack, the Son of an English Earl who inherits his Father's estate when the old man accidentally kills himself via auto-erotic asphyxiation. The only problem for Jack's relatives is that he's a paranoid Schziophrenic who thinks he's Jesus and they're quick to move for his indefinite committal when he starts to talk about the relinquishing of material possessions and tolerance toward all men. The Ruling Class is a film of two halves. The first is some of the best character comedy you'll ever see. As "JC" who wears glasses because he's cold, O'Toole commands every scene benefiting from some superbly written monologues and one liners, the standout being his pre-wedding speech on the cross and he's assisted by the creme de la creme of British character actors, Arthur Lowe a standout as the newly liberated Trokskyite Butler Tuck with a blatant contempt for his old masters. The second half however, is dark stuff indeed - jet black in fact. Apparenty 'cured' after an arranged confrontation with the AC-DC messiah, Jack dresses as a Victorian gentleman, talks about capital punishment and superior breeding and concerns no-one, the fact he believes himself to be Jack the Ripper going completely unnoticed by his peers who prime him for his climatic accession to the House of Lords. The conceit is milked for all its worth and the final scenes with a hallucinatory Jack looking at his fellow peers in the House as decayed corpses is a particularly chilling postscript to the story. Subtle? No way but its sledgehammer to the concept of patronage and privilege as a criteria for governance and influence. Like the best satire its savage, angry stuff - possibly overlong and too conscious of its theatrical origins but ultimately no less caustic or inventive for it. Class indeed.

No other actor has had a career filled with more idiosyncratic roles than Peter O'Toole, and his role in "The Ruling Class" is perhaps the most idiosyncratic of them all.

O'Toole plays the heir to a British House of Lords who dies accidentally (and bizarrely), leaving his family to hash out the estate. The family is much disturbed by the fact that O'Toole is the heir -- understandably so, since he believes that he's Jesus Christ. Much wackiness ensues, until O'Toole has a change of perspective and decides that instead of Christ, he's Jack the Ripper. More wackiness ensues, the film gets darker and darker in that way that only British films can, and the whole thing may leave you scratching your head but will no doubt also leave you gloriously entertained.

For O'Toole fans, this is a chance to see him single-handedly carry a delirious mess of a movie on his shoulders, and make a rousing success out of it. Much of it doesn't make a lot of sense, but it's all a hoot, especially the impromptu musical numbers peppered throughout the film. There's some scathing satire aimed at the British class system, but it's nothing you haven't seen before, and the whole film has the feeling of being the pet project of an undisciplined director. But I highly recommend this, because you've never seen anything quite like it, and it's a chance to see one of our generation's greatest actors strutting his stuff like the pro that he is.

Grade: A

The Ruling class is a disturbing commentary on the nature and necessity of our whole belief systems. It both highlights the extreme fragility of those beliefs, and takes gently mocking aim at us for our dependency on them. Viewed in that light, the film succeeds 100%. When viewed merely as a satire on the British ruling classes, of course it doesn't. It goes far deeper, becoming also an essay on our tendency to manipulate others for our own benefit: the characters' collective idiosyncrasies serve as punctuation for that essay. Brilliantly acted, often hilarious but always profoundly moving, it is a genuine classic of its kind, notwithstanding its undeniable, though relatively minor, flaws. I'd love to have it on DVD!

British `dark comedy' was possibly as its zenith with this rich Peter O'Toole offering by director Peter Medak. O'Toole is Jack Gurney, the youngest and `somewhat eccentric' heir to the House of Gurney. He suddenly finds himself being forced by his late father's will into taking up his role in British society - assuming the family seat in the House of Lords. The biggest problem is not that the late Earl of Gurney has just accidentally hung himself wearing a cocked hat and a ballet skirt, or that Jack has just released himself from `hospital' where the doctors were treating his `nerves.' No the biggest problem is that, on a good day, the new 14th Earl of Gurney thinks he's Jesus Christ and, on a bad day, he thinks he's Jack the Ripper!

And if that mix of the macabre doesn't make you chuckle, try this unexpected twist. At several poignant moments throughout the film, the cast will suddenly break from straight-faced dialogue into a full-blown, song and dance numbers, some of which would make Busby Berkley proud. In one case, the tune of `Connect 'dem Bones' is ushered up to punctuate a scene with O'Toole lecturing the local gentry about the need for capital punishment. Herein lies one of the big reasons why this film is so off-the-wall and refreshingly funny.

For my money, this is one of the most original, thought-provoking and honest critiques of the British class system ever to be put on film. O'Toole is simply mesmerizing as he juggles Jack's multiple personalities, the funniest of which is Christ or, as he prefers it, `J.C.' It's hysterical to watch the cumulative effect of J.C.'s `touched' outlook on the members in his stuffy, conspiring family who are out to get Jack committed permanently.

A true `Must See Film' for anyone who enjoys a juicy, sardonic, intelligent black comedy, especially when the topic focuses on the silly pomposity of the British upper classes.

Peter O'Toole has often played characters who are obsessed and even a bit mad. But in The Ruling Class he is utterly over the top crazy, and it's a bit disquieting how naturally he slips into the role. Yet this is a comedy, a wonderfully bizarre, often black comedy that deals with acceptable and unacceptable behavior -- insanity, and morality, being irrelevant. It's characters mostly belong the English elite, but they simply stand in for all those whose power and prestige demand that appearances be kept up. So this isn't a film for everyone. And some may not like the way it swings from the very flippant to the very dark. It requires a wide range of humor to enjoy it all. Unfortunately, I hear that enjoying it all may be impossible. It seems that all home versions are cut several minutes from the theatrical release, sometimes much more. The longest length available is apparently 141 minutes, so that is the one to get.