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A pretty superb black comedy with award winning screenplay by American born Frederick Raphael, distinguished screenwriter. A good story, great performances and excellent production. And, more than 50 years later, still fresh. Popular music, fashions, decor, language, behaviour -so much has changed in 50 years. But a lot remains unchanged: money and class to name but two.

Brewster (Alan Bates) is an exceptional young man. Of lower middle class background he can maintain a habitually pleasant expression, be charming and humorous, is very quick-witted, opportunistic, coldly calculating , completely unscrupulous and will do anything necessary to feed an almost unlimited ambition - without ever losing his habitual pleasant expression. Brewster is determined to climb the social ladder but the exclusive club of the upper class and very wealthy keeps its doors firmly shut to him and his like. However a happy chance meeting suggests a scheme to breach the club's defences. One of its members (Mr Prince - Denholm Elliot), thoroughly-disgraced son, disowned by his family, can be persuaded, for money, to train Brewster in the ways of his class: how to dress, how to speak, how to behave. And quick learner, Brewster turns out to be. But Brewster is no snob and is always practical: while it's his boss's daughter he plans to wed, he nevertheless finds it advantageous to retain a place in his middle-aged landlady's heart and bed.

But it is the screenplay which received the film's single award and the dialogue is at its smartest as Prince instructs imposter Brewster in the ways of the class he aspires to join. It's not just their opinions but the different manner with which each must be delivered. Faking an Oxbridge background, how to behave when watching college rowing (be ostentatiously disparaging as if an older and better rower). Suitable opinions (circa 1963) on foreigners: Americans - "let us down badly over Suez". Black people "make fine cricketers". The commandments seem to include: be brief, never bore, never be overly earnest, understate, don't be adventurous.

This is Frederick Raphaels satire and take on the British upper classes, that a clever fake can remain under all circumstances undetected. I think the evidence is that their antennae are especially finely tuned for the avoidance of just such unfortunate marriages. However history suggests that the titled owner of the grand London estate agents auctioneers (Harry Andrews) where Brewster works, prizes business acumen over actual social background. Over time, with good schooling for the next generation, social class can be retained. But without money neither a growing financial empire nor a dynasty is possible.

Some great moments as when Brewster's pleasant expression is tested to its limits when a familiar large case arrives at his shortly be in-laws grand house, and falls from a considerable height. Bates and Denholm Elliot are both superb. A great British film.

Until Talking Pictures TV came on the scene and revived some of these quality films, I would have never realised the cinema talent Britain had. So badly are we let down by the broadcasters

The year before he won an Oscar for "Darling", Frederic Raphael adapted Stanley Ellin's short story "Nothing But the Best" for the screen. It was a kind of comic "Room at the Top" directed by that fine and underrated director Clive Donner and photographed by none other than Nicolas Roeg. Alan Bates is the social climbing Jimmy Brewster who does marry the boss' daughter, (Millicent Martin, very good), on his way up the ladder but still has to indulge in a spot of murder as well.

It's got a terrific supporting cast that includes Denholm Elliot at his Machiavellian best as Bates' tutor in the art of social mobility, Harry Andrews as his boss and, best of all, Pauline Delaney as an over-sexed landlady. It all adds up to a delightfully sharp satire yet hardly anyone has seen it. Seek it out because, apart from anything else, it's also one of the great London films.

Its a wonder this movie has been recently shown on the TV in the UK, a certain movie called Saltburn is currently having a moment which bears many similarities.

This is a British 1960's romp in which an ambitious man happens upon an upper class waster who has been shunned social and lost his job as a result of being caught committing fraud. The lead sees this as an opportunity to climb the social ladder from his lower middle class rung onto the one occupied by the upper classes. He does this by offering the waster a proposition, free board in exchange for being taught the social ropes of the upper class. He agrees and that's where things get interesting.

In order not to spoil the plot, this does get very dark two thirds of the way through. Its tone is that of a dark comedy/satire and as a result its actually quite difficult to second guess where the narrative will go. As a result its a highly entertaining watch. Of course its dated in terms of music but not so much in terms of the upper classes who haven't budged an inch into modernity lest it alter their identity.

This would be a great companion piece to Saltburn as it is a very similar story but without the obvious meme generating scenes shoehorned into Saltburn which didn't add to the story, but were simply there in order to hijack social media and generate interest into what is at best an average movie. This one however manages to keep you engaged because its simply a well told story. Even if it is quite a bitter one.

A film from the "Swinging London" era and, like much of the output pertaining to that camp, one that feels quite dated when viewed today. It nevertheless maintains a sense of style throughout (Nicolas Roeg was the cinematographer) and the familiar plot (following the exploits of a social climber in the none-too-exciting world of high-finance – suffice to say that it is sometimes hard to discern the exact function of the various minor characters the protagonist comes into contact with!) still works thanks to the blackly comic vein in Frederic Raphael's script and Alan Bates' central performance as the cocky anti-hero. Even so, the supporting cast is just as notable – highlighting in particular Denholm Elliott (as Bates' 'tutor' in the money-making ways and whom he later callously disposes of), Millicent Martin (as the high-society girl he sets his sights on: she also sings the title number!), Harry Andrews (as the latter's father and Bates' boss), Pauline Delany (as Bates' ageing landlady and occasional fling) and James Villiers (as, typically, an upper-class twit and Martin's intended). The inherent amorality at work anticipates ALFIE (1966) in many ways (incidentally, Martin turned up here as well): though a box-office smash and a multi-Oscar nominee, I had actually found that film to be similarly overrated. The twist involving Elliott's true identity – which threatens to expose Bates for what he is, but which he still manages to turn in his favor (since the script clearly wants us to root for him) – does end proceedings on a high note in this case. For the record, this seems to be another ultra-rare title, having acquired it via a less-than-optimal copy culled from an old TV broadcast

It's not very good, i could live without watching it, too much plot armor and the pace is uneven : At times, it seems it's gonna be great but it's never becoming that interesting neither intense.

Yet, it was a fun ride. Bates is charismatic and delightful to watch, same as Elliott and Martin. There are even some unpredictable moments, i'll spare the details in order to avoid spoilers. Overall it's enjoyable and dark comedy fans will enjoy it mostly. But for sure, it's not as clever as it thinks it is and you are gonna need a lot of suspension of disbelief in order to buy what is happening here.

Ending is exactly as the previous moments. Not as clever as they thought, and if you think it thoroughly, it doesn't even make sense. But as i said, actors are so charismatic that they make it work.

I cannot recall having even heard of this movie until I saw it advertised in the TV listings as part of a series of British movies otherwise unrelated to each other in any way. The cast is wonderful particularly Denholm Elliot. Alan Bates gives the part the bland vacancy it requires. The song that opens the movie was of its time and was so bad I almost stopped watching. And the rest of the movie is never quite right. The movie tries to tell the story that Lindsay Anderson told so well in O Lucky Man, and falls far short...but most movies fall short of O Lucky Man. It's worth seeing for another reason: it illustrates very well the mentality that led to Margaret Thatcher.

I saw this film in 1964 when it was first released; and it is still the only film that I have sat through for two consecutive showings. I thought it was brilliant, sharp and very funny. Alan Bates, then a major international star, was at his very best: funny, cynical, cold, vicious, everything the role required. The supporting cast - led by Millicent Martin, Harry Andrews, Denholm Elliott - were also superb.

Jimmy Brewster (Bates) is, to use the derogatory upper-class term, "an ambitious yob", a working-class chap toiling anonymously at his desk in a large real-estate company and wanting better things, when one day he has an accidental encounter in a restaurant with Charlie Prince (Elliott), the disgraced son of Brewster's employer. As Charlie puts it, "One day a black cloud appeared in my office, and shortly after that I departed under it." Charlie is a worthless wastrel, but he has one skill: he can show Jimmy how to dress and talk properly and to be a "gentleman". The trade-off is that Jimmy will give Charlie a place to live and money for expenses. Charlie is a good teacher and Jimmy is a brilliant student, conning everyone in sight, slowly climbing the ladder to success. Then one day, Charlie asks Jimmy to lay a large bet for him - with Jimmy's money - on a horse, and the horse wins, at astronomical odds. Charlie is very much in the money again, and decides he doesn't need Jimmy any longer. But Jimmy turns the tables, does away with Charlie, and keeps the money for himself. And continues his climb up the corporate and social ladders, all the way to the top. Along the way he woos Charlie's sister, Ann (Millicent Martin), and marries her. In a memorable scene, while courting Ann, Jimmy takes her to massive country estate that is conveniently empty, pretending that it belongs to his family. Ann looks at the magnificent place, suitably impressed, smiles at Jimmy and delivers one of the best lines in the film: "Darling, how did you know my size?"

And then Charlie's body is found, and perhaps the ruthless, if charming, Jimmy is about to come a-cropper. Or perhaps not.

It's a brilliant film on all levels. The great tragedy is that it appears to be no longer available, on film or on video/DVD. If I could find the magic lamp, and be granted one filmic wish, "Nothing But The Best" would be in general distribution on DVD next week.

Writer Frederick Raphael and director Clive Donner spoofs those social climbing movies like Room at the Top.

James Brewster (Alan Bates) is the working class lad who is ambitious and get to the top of the corporate ladder.

Charles Prince (Denholm Elliott) is the seedy upper class con man. A sponger thar James bumps into in a restaurant.

James realises he needs Charles to teach him the underhand tricks to get to the top. Like how to talk in polite society, what university you went to, how to forge cheques and talk your way out of trouble.

Soon James realises that Charles has outlived his usefulness. So he's for the chop as James tries to get it on with Ann Horton (Millicent Martin) the boss's daughter.

Bates has a ball as the increasing amoral chancer. Look at the way he ships his parents off to Australia, for minimum of three years so they do not have to meet Ann's parents. His mother thinks that he is doing them a favour.

The downside is Donner gets lost with all the corporate shenanigans. Just what exactly is James business scheming about?

There are a few delicious twists but by then James is a dab hand with the gift of the gab.

The arrival of the big boss (Harry Andrews) in his Rolls Royce only serves to galvanise the ambitions of the young "Brewster" (Alan Bates) who is prepared to do just about anything to get up the greasy pole. The thing is, so is just about everyone else in the place, so he is going to have to come up with something original to get noticed - or, more importantly, to get noticed by the big man's daughter (title song singing Millicent Martin). As fate would have it, he is in a café having lunch when he is joined by "Charlie" (Denholm Elliott). He's an unemployed gent who is being paid the comfortable sum of £250 a month by his family to keep his nose clean. "Charlie" is soon onto his aspirational new chum and together they come up with a wheeze, but as "Brewster" starts to succeed he realises that his erstwhile mentor is becoming something of a liability and so with his negligé-clad landlady keen on taking their relationship that extra step, perhaps, he could find a rather permanent solution. This is quite a secret to keep, though, so can he attain his ultimate goal without getting rumbled? This is really quite a fun indictment on all things venal that prevailed amongst the dog-eat-dog world of an unscrupulous younger generation trying to oust the establishment figures who play buy shrewd, but more gentlemanly rules as Britain rebuilt after the war. Bates and Elliott work well together here, the latter getting his teeth onto a role for a change rather than just supporting from the fringes and the former proving engagingly convincing with a glint in his eye and a self-advancement streak a mile wide. I did like the denouement, even if I probably shouldn't have, and though it does mix a few more recognisable sub-plots that can clutter it up a bit, it's a classy example of worms that turn.

Alan Bates is the scoundrel here who thinks he is about to get away with anything. Everything is wrong with him except his ambitions. In order to climb the social ladder to riches and success he not just uses any dirty tricks to get along on the way, but his knack is simply to follow the mainstream of general hypocrisy, consistent deceit by means of sticking to lies, outrageous audacity and the general euphemistic way of life ignoring all that is out of any private interest to you. Everything here is permanent dishonesty, and for its blatant shamelessness the film is actually shocking in its horrible satire of upper class business life, while you must admit that it is extremely well done, in perfect cleverness, wit and elegance. All the actors are perfect, and you don't even feel sorry for Denholm Elliott who actually did nothing to help himself except in digging his own grave, while Alan Bates' acting is a marvel of sticking to a masked role. Millicent Martin actually suits him, it is even suggested that she sees him through and appreciates his charade, and you are used to Denholm Elliott as the perfect loser. In brief, in spite of its revolting immorality, the film is thoroughly enjoyable for its virtuosity in cleverness and elegance.

What a superb film in my opinion difficult to beat. The British system slyly used to the main characters advantage . Alan Bates and Denholm Elliot excel in this classy tongue in cheek rendition of how to succeed. A film worthy of release particularly since the demise of both main stars.

I haven't see this movie for years but remember loving it. It is devilishly clever and beautifully filmed, with a great cast, especially Alan Bates. I had forgotten the name of it and now that I have found it, I plan to buy it for my personal collection. Let's face it, you almost can't go wrong with a British comedy and this is one of the best.

I last saw this movie over 40 years ago and remember it vividly. I have waited for years for it to appear on DVD and at last I have it. I was surprised to find it has dated but still works very well due to the wonderful performances of Alan Bates and Denholm Elliott coupled with a sharp and witty script from Frederic Raphael. Millicent Martin holds up well in what I think was her first movie as Bates' love interest. it is an excellent black comedy where the viewer roots for the anti-hero throughout with very little censure on his wrongdoings. Alan Bates was a superb actor with real charisma you can only watch him on screen. The film is populated with terrific British actors like Harry Andrews and James Villiers. I even spotted Patti Boyd as an extra in the cafe scene, which rooted the movie firmly in the sixties. Why this has not appeared on TV or on VHS/ DVD in the intervening years since its original release is beyond me.

I liked this a lot and the situation in England is still the same, the correct old school tie, accent and connections are still required to get on in life in business.

Pauline Delaney who played Alan bates' landlady played Alfred Burke's landlady in "Public Eye so I wonder if her part here got her the later part.

Full of upper class twits with Alan Bates trying to climb the greasy pole with some coaching from a "Toff". A bit like "My Fair Lady" in that sense.

In glorious colour and well worth watching not just for the excellent story but the street scenes full of what are now classic cars of a time gone by.

Beneath its crisp suits and witty smiles, Nothing But the Best (1964) is a sharply tailored satire with a dagger tucked neatly in its lapel. At first glance, it plays like a suave British comedy of manners, but as the story unfurls, it reveals a far more caustic commentary on ambition, class, and the games people play to ascend the social ladder.

Set in a post-war London teetering between tradition and modernity, the film walks a deliciously fine line between charm and cynicism. It's light on its feet but never lightheaded, spinning through cocktail parties, crisp offices, and smoky backrooms with a sense of precision that borders on surgical.

The protagonist-equal parts opportunist and chameleon-anchors the story with a charisma that disarms even as it manipulates. His rise through the ranks is both compelling and quietly unsettling, and the film never lets us forget what's being sacrificed for that next rung on the ladder.

The dialogue snaps with dry humor, layered innuendo, and the occasional cutting line that lands harder than expected. There's a theatrical cleverness to the film's structure, and yet it never feels stiff. Instead, it moves with an effortless confidence, luring the audience in like a polite invitation to tea-only to slip something a little bitter into the cup.

Nothing But the Best is polished, poised, and sly to the core. It doesn't shout its themes-it lets them simmer beneath a veneer of civility. And when the credits roll, you're left not with a laugh, but with a knowing smirk.