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For some reason, this film failed on it's release in 1966, and coincidentally marked the first in a long line of cinema flops for the star Peter Sellers, but now, on viewing it on DVD, I think it stands very comfortably amongst his more recognised work. The plot, written by Neil Simon is brilliantly fast-paced, the comedy lies everywhere, and there's terrific support from Maurice Denham, Britt Ekland, and of course Victor Mature sending up himself as a age-defying crummy actor. Why it flopped, heaven knows. Under the masterful direction of Vittorio de Sica, this map-cap farce makes great viewing, although it does take a bit to get the momentum up. Overall, very enjoyable.

This late 60's comic bumbling, silly fable with the Peter Sellers and his then (or soon-to-be wife) Britt Ekland AND Victor Mature..and Martin Balsam (OSCAR winner before this - who was also in ON THE WATERFRONT, PSYCHO, and BREAKFAST AT TIFFANY'S) is a comic easy fable about egos, movie-making and just "you know" 60's fun and I'm sure it bombed. Such a pity. This flick is a laugh-fest in the easiest fun way in 1966 that only an idiot COULDN'T ENJOY, unless he or she hates Italians OR Peter Sellers (playing an Italian). Joyeous stuff!

Not slapstick, not bathroom or mother-in-laws or Bob Hope stupid humor, this has a PLOT and conveys, so subtley, the joy of a crime-thriller while you're catching up to the maniacal silly plot. The acting is beyond talking about Oscar-worthy stuff. It's totally believable because of the story (AND Sellers sings the opening credits title song). It's quite unique and dedicated to 60's fun!

While certainly not one of his greatest works, Peter Sellers nonetheless shines as Aldo Vanucci, aka "The Fox". He underplays the role in his early scenes, as the scheming criminal, but pulls out all the stops when the character hits upon the idea to masquerade as "Fredrico Fabrizi" the great neo-realist. Much like the scheme inspires Vanucci, the disguise inspires Sellers, and his wildly inventive genius kicks into high gear.

Equally funny is Victor Mature as aging, past-his-prime movie idol Tony Powell. It's a well-written part (by Neil Simon), but Mature really brings him to life, and rather than merely making him a buffoon, which would have been easy to do, he gives him a quality of sympathy; deep down, despite all his posturing and pompousness, Powell probably knows he's on the decline.

All-in-all, a very funny film, with a truly inspired Sellers performance, even if it's not his best. Even a little really good Sellers goes a long way. He's sadly missed.

Peter Sellers is a real enigma. During his career, he made many brilliant films with amazing characterizations (such as DR. STRANGELOVE, BEING THERE, THE MOUSE THAT ROARED and many others), but he also did a lot of amazingly limp films that he practically slept through (THE FIENDISH PLOT OF FU MANCHU and THE PRISONER OF ZENDA). AFTER THE FOX is unusual in that it isn't exactly brilliant but still is very good. As far as Sellers' performance goes, he did a lovely Italian accent and his character was pretty credible, though despite being the star of the film, he wasn't the standout performer (I think this was actually Victor Mature--doing a wonderful self-parody).

The Fox is a master criminal who escapes from prison rather easily in order to keep his sister out of trouble. At first, he thinks she's become a prostitute, but later he finds she's become (horrors) and actress!! Interestingly enough, his sister is played by Sellers' real-life wife, Britt Ekland and his love interest in the film was played by an unknown (but beautiful) Italian. Once out of prison, he learns about a big caper from Akim Tamiroff--smuggling in millions of dollars worth of gold into Italy. So, inspired by his sister's desire to be a movie star, he decides to make a fake film and use this as the cover to smuggle in the gold--and this is how Victor Mature comes into the film. He plays a parody of himself but is very vain and over the hill--telling everyone he's in his thirties even though he's pushing 60! I loved how he insisted he was so young when it was so obvious he wasn't--especially in the scene where Britt throws herself at him and runs her fingers through his hair--only to have them stained black by hair dye. Plus, he was so full of himself that he was gullible enough to believe he was making an art film when in fact Sellers and his gang obviously had no idea what they were doing.

By the way, how Sellers got all the film equipment was pretty interesting. As the film was directed by Vittorio DeSica, he himself appeared in a small scene. He and his crew were filming some Egyptian epic when suddenly the wind machines turned on at full blast. When they were finally turned off, all the equipment--even DeSica's platform and cameras--were missing--stolen by Sellers' gang.

Throughout the film there were many cute moments, but also towards the end the film did lag a bit and the ending seemed to be a bit of a letdown. I especially became bored with the chase scene and the ensuing courtroom scene. Still, it was original and moderately funny with some excellent performances.

By the way, the film clip we see of a younger Victor Mature in an older black and white film was from EASY LIVING--one of Mature's better films. I suggest you try to find it.

When I found this film I had never heard of it. In glancing at its box I saw "Peter Sellers" and "Vittorio De Sica." Just those two names prompted me to take it home.

I was quite happy with what this film is.

The story is solid, and is what keeps this film running. Sellers does a good job, but I still enjoy his Pink Panther role, as well as his roles in Dr. Sstrangelove. Nevertheless, he does well as an Italian crook and "flamboyant" film director.

The comedy isn't too slapstick, it is smart. There are sight gags, there are setups and punchlines, there are one-liners, not to mention spoofed-themes, and pokes at other Italian film directors/producers.

I didn't exactly know what I would get with a De Sica comedy. He did a fine job, though. "Federico Fabrizi" sometimes looks and seems to be just like Federico Fellini. There are some moments where Fellini's 8 1/2 comes to mind.

A critic said that he didn't understand the ending. At first, I didn't. Think, though! Think! This is De Sica!

Take a look at this film, it's a good one.