The Secret of My Success

I've just viewed the gorgeous print recently shown on TCM, and I can assure the previous reviewer, and anyone else who has seen a pan and scan copy, that the film is no better in pristine condition than it is otherwise. James Booth is deadly dull as the lead, Lionel Jeffries is obviously trying to channel the spirit of one of Peter Sellers multi-role performances, and the story is ineptly developed. The giant spiders are vaguely amusing but gosh, I went to see Eight Legged Freaks the day before I watched this, and the spiders in that film were a lot more fun.

The cast is intriguing, with Shirley Jones, Stella Stevens, and Honor Blackman playing three femmes fatales and British character actor Lionel Jeffries pulling an Alec Guinness ("Kind Hearts and Coronets") or Peter Sellers ("Dr. Strangelove") by playing several different roles.

The production values aren't up to par for an MGM release, as the film has a low-budget British feel. But despite its shortcomings, THE SECRET OF MY SUCCESS (1965) is a fairly amusing black comedy.

Arthur Tate (James Booth) lives by his mother's advice to have faith in people and not go looking for evil. And that blind faith has carried him up to positions of wealth and power. Or so he thinks. The true secret to Arthur Tate's success in life is his naïvité, coupled with his clever mother's gift for persuasion (extortion?).

Throughout his various careers, Tate encounters beautiful women who may not be the innocent victims they'd have him believe. Does Stella Stevens know more about her husband's disappearance than she lets on? Is Honor Blackman telling the truth about the mutant spiders? Is Shirley Jones really only staging a political coup for a movie? Tate is willing to give the beautiful women the benefit of the doubt.

Tate's mother (Amy Dalby), however, sees through the lapses in her son's logic and pulls some strings behind-the-scenes to secure him the promotions and transfers he attributes to his faith in human goodness.

The movie is cheap-looking and pretty silly (spiders the size of St. Bernard dogs!), but I give it the benefit of the doubt for knowing how silly it is (unlike some schlocky low-budget flicks). This is an off- beat British comedy about murderesses, potentially mad scientists, blackmail, giant spiders, bloodless revolutions, bodies in the cellar, and corpses under the sofa.

The three leading ladies look wonderful: Stevens as a redhead, Blackman her usual blonde, and Jones as a brunette. They have Tate and just about every other male character eating out of their hands, as femmes fatales often do. (Interestingly all three women play characters named after flowers: Violet, Lily, and Marigold.)

Jeffries is always recognizable in his various guises, but it doesn't get in the way of the film.

The ending of the movie is a nice touch of black comedy, proving yet again that Mrs. Tate's advice is rubbish: people should NOT be trusted.

not great. but nice. an ironic story, a decent cast, few scenes with monsters, three beautiful actresses and Lionel Jeffries in a collection of characters. it is far to impress but can be not bad occasion of entertainment. a crazy script, a wise mother and a naive son. levels of a bizarre/unrealistic career and acceptable humor. in fact, a parody and puzzle of usual parts from dramas/thriller/horror of period. a play without great ambitions but acceptable for a rainy afternoon refuge. the acting, like the story is only an exercise to give some soul to a chaotic script. unique sparkle - Amy Dalby performance. result - easy form of fun and a gray movie.

Arthur Tate (James Booth) inherits 15 million pounds and reveals the secret of his success. He recounts his rise starting as a constable in a small town. Violet Lawson (Stella Stevens) comes looking for her missing husband. With the help of his mother, it leads to more success over and over again.

As a comedy, there is nothing that funny. It's a little quirky in spots but there are no laughs to be had. As a horror, the giant spiders are obviously walking around in miniature recreations. It's old timey special effects. It's cheesy without being scary and it comes out of nowhere. It's very weird and it's short-lived. This is an odd film. It's a jarring mixture. These are almost individual vignettes. They barely hold together. Separately, they are mostly inferior comedies and only fit for British black comedy fans. Arthur Tate is sort of like an Insp. Clouseau type character where he fails upwards. Only he does it in an unfunny way.

An amusing concept irregularly executed. A man who always follows his mother's advice to "help other people, and never look for the evil in them" is catapulted through a series of promotions, beginning as a flatfoot cop investigating lovely Stevens for murder to the dictator of a central American nation. In every case he is easily duped by the lovely criminals he encounters, and likewise in every case his mother intercedes after the fact with a little well-placed blackmail to advance him.

Probably appeals more to British audiences. The comedy is uneven, with few laughs but charming performances by Jones as a self-serving revolutionary and Jeffries, who appears (Sellars-like) in four parts. Worth it only to the most die-hard black comedy fans.