Qu'arrivera-t-il après?

I first saw this movie on Canadian TV on the midnight movie on CJOH and it has stuck in my head ever since. Back then, I enjoyed it for the psychedelic dream sequences, the dolly birds, and the good ol' "frank sexuality." Watching it again on DVD thirty years later, I find it still resonates, but for different reasons. Now, I relate more to Quint's rejection of his entire way of life and the way he wants to be free of it, but ultimately can't escape it.

The Super-8 commercial he makes at the end of the film is still dazzling -- one would think that Michael Winner would have gone on to greater things, but this film is the best thing he ever did. Same goes for Oliver Reed, although he made some good ones in the late '60s and early '70s. Several other Reed-Winner collaborations, THE SYSTEM (a/k/a THE GIRL GETTERS), THE JOKERS, and HANNIBAL BROOKS, are also worth checking out.

Excellent performances by Reed, Orson Welles, Carol White, and Harry Andrews, and a top script by Peter Draper (who also wrote THE SYSTEM).

Favorite bit of dialogue:

QUINT: I'm going to find an honest job.

LUTE: Silly boy. There aren't any.

There were so many good British films made in the 60s ,that you rarely hear this one mentioned .Thou,it is a worthy film and is comparable to 'Performance' and 'Women in Love' as one of the best films of the era.It's about a Business executive who has to re-think his life and relationships for what they are worth. Orson Welles is great as his creepy Boss and all of the female actors who play his many girlfriends did a very convincing job. The Dream sequences are very LSD inspired.

If you like it also See 'The System' by the the same filmmaker.

Pretty poor film in terms of plot and structure but interesting as a glimpse of a long gone London and for some lovely footage of Cambridge.

Also worth casting your eye over the cast, Welles looking bloated and unwell, Reed's striking looks somewhat dented by the facial scarring as a result of a 1963 bar fight and Carol White youthful and beautiful before her succumbing in following years to substance addiction. Michael Winner makes one his final Brit films before moving to Hollywood and it's certainly no classic, kind of a 'Garden State' of its day - episodic but contrived and laboured.

However, England looks good and the 60s do look pretty swinging.

Another 1960's collaboration from director Michael Winner with actor Oliver Reed, I'LL NEVER FORGET WHATS'ISNAME has an obvious and incredibly intended message from the get-go as Reed, a young and successful ad man, comes to work wielding an ax, destroying his own desk before quitting to his literally big boss Orson Welles, who, with every significantly-spoken one-liner, represents the evils of commercialism...

The movie feels like either a direct sequel to an original story showing how Reed's Andrew Quint became a success or that it started twenty-minutes in... Either way, with so much anger towards this occupation right off the bat... or ax... the writer has more things to say than the characters...

In this case Peter Draper of Winner/Reed's first and overall greatest joint, THE SYSTEM aka THE GIRL-GETTERS, which took time to flesh-out Reed and his cronies strategically chasing girls...

Not much different in Reed's specific case: while he quit a lucrative job for an old position writing for an indie magazine, he still loves (and is loved by) the ladies, including separated wife Wendy Craig, seductive lover Marianne Faithful and this film's innocent ingenue Carol White...

Who's the best thing going here... the POOR COW starlet playing a kind of comparably naive and ambiguous witness (the jerks are jerks and the good guys perfect idealists) for both Reed and the audience as director Winner... using surreal/psychedelic montages and flashbacks popular in this era, herein showcasing London's Swinging Sixties... traipses through a partial mind-trip sporadically weaving in and out of reality...

Before ultimately finding a genuine plot-line when Reed, forced back into working for the monopolizing Orson, finds his revenge by making a loaded, telegraphed thus predictable commercial in a counter-culture study that's often easier on the eyes (creative/intriguing visuals) than ears (forced/contrived dialogue).

Universal like many other American film companies came to London in the sixties.Films like this made them retreat back to Hollywood.Pretentious at best boring at worst.All of the leading actors died an early death due to one form of over indulgence or another.