L'ultime garçonnière

Richard Lester's directorial career went into nose-dive (at least for a while) after making this film, which was a pity. It's a post-apocalyptic black comedy like no other. Typically British and typically Milligan-ish, with a stunning visual sense.

What I enjoy most about this film is its uncompromising weirdness. It's incredibly inventive, if not particularly funny, and also quite depressing - but it has to be, dealing with the aftermath of nuclear war.

There are some excellent performances from a cast which seems to contain most of the outstanding British comedy talent of the last thirty years (Marty Feldman is particularly fine) and some pointed satire about the British "stiff upper lip", but it's the surreal visuals which stand out, including the remains of a motorway with hundreds of cars half-buried in mud, and an escalator emerging into a landscape almost entirely composed of broken crockery.

A flawed masterpiece.

A very strange film, this one, a surreal post-apocalypse comedy with some broad satire aimed at British politics and culture. It's quite unmissable on account of the incredible cast of famous faces and worth seeing just for them doing their bit, but the rest is more of a sketch show than anything else. It's moderately funny, on par with a typical MONTY PYTHON episode of the era.

Buried in the sheer oddity and downright perversity of the humour there is a deep pathos. People of all classes from Lord to lunatic try through activities and language to cling to a civilization represented by heaps of objects. The horrors of holocaust are tempered by humour arising mainly from the ridiculous pretensions of the cast. Every mainstay of British middle and upper class culture has been made absurd - some of the characters are busy mutating into absurd objects - a bed sitting room, a wardrobe, a parrot. The humour is zany, the one-liners often mixing double entendre, understatement and naievity with real pathos. Arthur Lowe as the pompous father, Mona Washbourne as the all-sympathetic mother can bring a lump to the throat.

The nearest rival to Milligan's and Antrobus' satire is to be found in Swift. Lampooning society after it has endured the very worst of tragedies and demonstrating through a torrent of absurdities, that human decency survives is something difficult to sustain in text, but this Fellini-like panorama could never be contained by the pages of a book. It almost defines one of the things which film can do best.

It is ragged and patchy - but a film which includes Harry Seacombe as a 'regional seat of government' defies conventional criticism!

This was a commercial disaster on release and has been little seen since. It was written by Spike Milligan and it is set in a post-apocalyptic world populated by very few people. The cast is very good with Milligan, Michael Hordern, Ralph Richardson, Arthur Lowe, Harry Secombe, Roy Kinnear, Peter Cook, Dudley Moore, Marty Feldman etc on hand. There is barely a story and it is more a series of situations which are driven by the eccentric characters who live on the barren wasteland. The tone is comedic and absurd throughout and it looks great visually. As the old saying goes, it's certainly not for everyone but it's a bizarre film which is enjoyable so long as you can get into its peculiar groove.

After the grim realism of Peter Watkins' 'The War Game' this film marked the sixties' headlong retreat into total fantasy in which the Central Line still functions and radiation causes mutation into a bed-sitting room rather than boring old radiation sickness.

An amazing cast (including two Goons) make complete fools of themselves in the film in which Dick Lester blew once and for all the professional capital he'd made directing the Beatles. Ken Thorne's music like the rest of the film is likeable but far too emphatic.