If....

More so than with any other film I've watched in recent memory, I rather don't entirely know what to say after watching this. There's a stark, jolting precision and brutality to much of the movie, even well preceding the abject violence, yet also a weirdly poetic beauty at many points. This is as true for Lindsay Anderson's direction as it is for David Sherwin's screenplay, in all ways, but also for the acting. Performances are exact and practiced, but also fluid and natural. Whether presented in pure black and white, or in color under drab skies or sunny blue, the very image before us and cinematography is rich and lush. For viewers such as myself whose perspective on schooling in the United Kingdom is informed wholly by cinematic exhibition and not personal experience, the strict regimentation and forced social arrangements are both fascinating and uninviting - to say nothing of what embellishments the movie makes in imparting its tale. When all is said and done, the result is that for any similarities one could find to this, that, or the other thing in more than 50 years since, 'If....' still feels quite unlike anything else.

For all the pomp and circumstance and plays for power and social position, and the inherent fictional nature of the feature, there's an earnestness to every aspect - characters, dialogue, scene writing, narrative, direction, performances - that comes off as very real, organic and relatable. It's an enticing balance maintained at all times between various moods and tones, with the interactions between characters taking foremost precedence as a focal point and anchor, whether trending toward antagonism or camaraderie. And with that said, not to belabor the point, but the contributions of the actors seems particularly essential in 'If....' to cementing the picture. As I've suggested, I think everyone on hand does a fine job of helping to bring the story to life with portrayals of nuance, poise, and personality, yet this goes above all for those whose characters are ultimately dubbed the "crusaders." While credited alongside those more prominent, Rupert Webster and Christine Noonan have little more than bit parts as Philips and "the girl"; we know so little about their characters, and one wishes they could have been fleshed out more at least to solidify motivations. Still, Webster and Noonan make strong impressions despite their limited time on screen. David Wood and Richard Warwick are decidedly more visible as Knightly and Wallace, and both actors do well in embodying the sneering disregard of the boys. But of course it's unmistakable Malcolm McDowell, starring as protagonist Mick Travis, who stands out most of all. There are subtleties in McDowell's distinct vocal timbre, and in his expressions and body language, that communicate definite confidence, defiance, and attitude, and just as it's hard to imagine anyone else as Alex DeLarge in 'A clockwork orange,' he is a perfect fit to depict the boiling malcontent of young Travis.

I don't feel that it's perfect. As well made as it is, and as enjoyable as the viewing experience is, there's a part of me that think maybe my perception of shortcomings is actually just an inability to glean the artistic choice behind certain inclusions. Again speaking to the characters of Philips and the girl - we're given minimal information of them generally, and little or nothing that would meaningfully serve to explain their participation in the finale. Jute is given a fair amount of screen time early on, then wordlessly fades from the narrative. One could infer to a reasonable certainty the significance of a specific scene featuring Mrs. Kemp, but in the end it just seems superfluous to the whole. Broadly speaking, it just seems like the writing could have stood to be a little tighter and more concrete; by no means does this completely dampen the value, but it's a notable aspect of the production.

Subjective faults notwithstanding, however - by and large, 'If....' is pretty fantastic. I'm not sure that it totally met my expectations based on what little I had read of it, but for the most part, I'm glad to have been surprised. It's a wonderfully subversive story of individuality and discontent set against the rigidity and corruption of the establishment, and it's presented with a refined touch behind almost every element. Even if something about the feature feels a little off, and not fully copacetic, that sense is minor in comparison to the engrossing drama to play out. Minding content warnings for violence and nudity, this isn't going to be for everyone, but I think it's solid enough that I'd have no qualms about recommending it to just about anyone. Though perhaps not altogether essential, 'If....' is an excellent, satisfying picture that's worth checking out if one has the opportunity.

I was in a sort of daze for hours after seeing If...for the first time in 2017. A work of art? Certainly but also a poetic historical document. After all the film dates back to 1968. 1968! when things were really changing and youth was taking a step forward, reminding the older generation that we'll be suffering the consequences of your thoughtlessness. So move over or else. I remember my father despising this film, he call it, propaganda. Propaganda?Maybe that's why I never saw it, until now. I was really moved by the film. Malcolm McDowell is the perfect man to incarnate the revolution that was about to come. It also made me look for all of Lindsay Anderson films - Just half a dozen feature films but my God! What an extraordinary director.

'If...' is a fascinating and powerful film set in an oppressive and archaic public (that's private to us non-Brits) school. It is one of the most original and innovative of all British movies of the 60s, a decade which began in some ways with 'Peeping Tom' and ended with 'Performance', two much maligned movies which in hindsight are astonishing achievements. 'If..' is equally as striking (and disturbing) as those two criminally underrated movies, but in contrast actually achieved quite a level of popularity on its original release. Even so I don't believe the movie gets the attention it deserves. Hopefully it will be rediscovered by a new generation of movie lovers as it is still very relevant and powerful even now, thirty five years later. Malcolm McDowell (his film debut) stars as the ring-leader of a small group of dissatisfied students who don't fit in with their ultra-conformist contemporaries. His performance is first rate, and in several scenes you can almost see Alex, his droog to be ('A Clockwork Orange'). The movie mixes documentary like realism with fantasy sequences involving "The Girl" (Christine Noonan), and eventually violent rebellion. A movie very much of its time it still is very watchable today and has lost little of its power and ability to surprise. Lindsay Anderson, arguably Britain's most underrated director, continued to expand upon McDowell's Mick Travis character in two subsequent movies, but 'If..' has a very different feel from those "sequels", if they can truly be termed that, and can be watched as a stand alone movie. I was impressed with this movie when I first saw it on black and white TV as a young lad, and I was still impressed when I watched it again the other week. And I will guarantee it will not be my last viewing of this brilliant film! A must see for anyone with any interest whatsoever in 1960s pop culture or film.

Made in 1968, this film still made me shiver even though I started at public school in 1977. Things had changed somewhat by then, but not beyond recognition, and for sure I felt powerful echoes in this movie. By the time I left, the country was steeped in Thatcherism, and the style of self advancement that came with it was replacing the old guard watchers of 'If....' would recognise. The housemaster and headboy were 2 characters I can especially recall, but there are flashes of others in many of the characters.

When you see this film, see it as a historical satire, with first the historical atmosphere of a public school being accurately recreated, then second the satire taking form just in time to administer the purgative judgement of the surreal denouement.

There. Spoken like a public schoolboy.

This glorious 1968 film is a document not just of its times but of the eternal and mysterious communion between two enormous artists. Lindsay Anderson, the director, the mentor, the older man and Malcolm McDowell his young, brilliant, loving disciple. The trust between this two men is overwhelming and the results are in every frame in every nuance. For me, to see this film after many years was a remarkable emotional experience. Daring, visionary with a Malcolm McDowell that broke new ground with the fearlessness of an explorer venturing into totally virgin territory. Brilliant, beautiful, unique. Lead by the magical hand of Anderson and McDowell we confront the anger of the artists with their love for each other. Wow!