The Jokers

Perhaps Michael Winner never directed an undeniable masterpiece but he certainly came close with films like DEATH WISH, THE SYSTEM, HANNIBAL BROOKS, among others.

THE JOKERS likewise rates short of a masterpiece but it has going for it self-deprecating British humor at its rawest, backed up by superb comedic performances from Oliver Reed and Michael Crawford as brothers intent on subverting authority at any cost for their personal fame rather than gain. As the offspring of the well off aristocratic Tremayne family, they do not really need to work but both join the British Army, are dishonorably discharged, and decide to go on a bomb hoax quest to prove their worth to themselves, in time upgrading that pastime to robbery.

Surrounded by 1960s belles, night club dancing, moronic parents, and a parody of the armed forces (James Donald as Col. Gurney-Simms is an absolute hoot), Scotland Yard (Harry Andrews is terrific as Inspector Marryatt), palace and Tower London guards, and the entire cabinet with then Prime Minister Harold Wilson at the top (when the crown jewels are pilfered the PM is away on vacation), the two brothers proceed to throw London into a spin as bomb call follows bomb call. Mind-boggingly, in the middle of it all stands one complete needless character called Lt Sprague, played by the great Edward Fox, who seems to predict where the next bomb might turn up, and who for some unexplained reason neither brother seems to like.

There is just a teeny weeny spanner in the works: brother David (Reed) is much more highly regarded by his parents and acquaintances than brother Michael (Crawford). That said, the latter is not half as dumb as others might believe... and when the symbols of the British monarchy are stolen good ol' Mike pulls a fast one on Dave, who, for all his sharp thinking, fails to see it coming...

Better than competent cinematography from Ken Hodges, including the magnificently done Tower of London heist. Imaginative, sardonic script by Dick Clement and Ian La Frenais.

I enjoyed every minute of it! 8/10.

OK, so maybe Michael Winner got a bit carried away with the poster claiming this as exciting as "Topkapi" (1964) but it is still quite an entertaining crime caper to watch. Michael Crawford is "Michael", dragooned from his army regiment - it turns out he has rather a habit of being kicked out of things. He unites with his successful, raffish, brother "David" (Oliver Reed) and the pair decide on some sort of spectacular revenge. What to do, though? Well a visit to the Tower of London soon settles that. Crawford sets up a false identity as an Irish bomber and they gradually create a pretty effective degree of panic amongst the establishment as they cannibalise coffee pots and the like into makeshift explosive devices... When their real crime comes along, the crowing glory of their plan is accomplished. They had planned to return their ill-gotten loot, but at this point the brothers deviate from their plan - "Michael" neglects to follow through with certain aspects of their deal leaving poor old "David" high and dry, and in the clink! An efficient supporting cast - Harry Andrews, Sir Michael Hordern, Daniel Massey and James Donald along with a fast moving, quite humorous, script from writers Ian La Frenais and Dick Clement (who went on to write the classic BBC sitcom "Porridge" in 1974) makes this a better effort than I expected it to be. Reed and Crawford work well together, and it's just good fun.

Like another of the commenters, I saw this film on the late night telly. I loved it all the way, and as an American, managed to appreciate some of the British humor. One joke, in particular, that made me laugh up a storm was when some guy tries to explain the bomb plantings by blaming it on "the Mafia." Michael Crawford sniggers, "Surbiton branch?" I recommend this film to anyone who wants to be entertained by one of the first films in what would become the best years of British comedy.

As the remains of Michael Winner's already tarnished reputation as a film maker stagger bloodied and battered from the wreckage of his latest debacle "Parting Shots", it is difficult to believe that he was once a genuinely promising director. A director who in the sixties had proved his worth largely with hip and swinging comedies such as "The Jokers". In this picture we follow the exploits of two well off brothers, with far too much time on their hands,as they set out to steal the crown jewels, not for financial gain or any political reason but just for the sheer hell of it. The script is razor sharp, Winner's direction is crisp, and the perfectly cast Oliver Reed and Michael Crawford both shine as the two scheming siblings. The fact that the establishment figures are not stereotypically portrayed as buffoons but as highly competent officials makes it more of a delight to see the brothers run such rings round them. With a couple of brilliant twists along the way the only let down is seeing the film run out of steam towards the very end. Its a shame Dick Clements and Ian La Frenais, who penned this film, could have not come up with a climax as inventive as what had come before in this remarkable movie.

I remember when I was about 5 years old I saw a film about two soldiers who steal the Crown Jewels from the Tower of London. Latterly, I didn't remember much about it (obviously) or even what it was called, only that I loved it. So I was pleasantly surprised recently, when I stayed to watch the late movie on telly one night and it all came flooding back...

Quite why I would have loved "The Jokers" so much when I was five is beyond me, as most of the humour would have probably gone straight over my head. I must have loved the ingenuity of the brothers' scheme and the twists at the closing stages. But then, this movie is so incredibly easy to like - it rattles along at a cracking pace with a deftness of touch not usually associated with Michael Winner, it looks like a tourist film of London, it's a pleasing thriller, and it's pretty funny to boot. There are some priceless lines, including a couple which only an Englishman could find funny. And of course you have two great central performances, from the sterling Michael Crawford, and Oliver Reed.

There are many advances in technology which would render crucial details of the plan unworkable today, making the movie very much a product of its times; but baby, what times! The Swinging London of the late 60s, as so affectionately sent up in the "Austin Powers" flicks, is presented here as decadently appealing, if shallow, an endless round of booze and birds. If there's any sour note it is that the "system" which the brothers want to ridicule seems to have been very kind to them along the way. But it's hardly a film to be making profound political statements, so one can't complain. Instead just sit back and enjoy this superbly entertaining little gem, as much fun now as it was when I was five years old!

(9/10)