Il cadavere in cantina

I haven't see this movie for years but remember loving it. It is devilishly clever and beautifully filmed, with a great cast, especially Alan Bates. I had forgotten the name of it and now that I have found it, I plan to buy it for my personal collection. Let's face it, you almost can't go wrong with a British comedy and this is one of the best.

A pretty superb black comedy with award winning screenplay by American born Frederick Raphael, distinguished screenwriter. A good story, great performances and excellent production. And, more than 50 years later, still fresh. Popular music, fashions, decor, language, behaviour -so much has changed in 50 years. But a lot remains unchanged: money and class to name but two.

Brewster (Alan Bates) is an exceptional young man. Of lower middle class background he can maintain a habitually pleasant expression, be charming and humorous, is very quick-witted, opportunistic, coldly calculating , completely unscrupulous and will do anything necessary to feed an almost unlimited ambition - without ever losing his habitual pleasant expression. Brewster is determined to climb the social ladder but the exclusive club of the upper class and very wealthy keeps its doors firmly shut to him and his like. However a happy chance meeting suggests a scheme to breach the club's defences. One of its members (Mr Prince - Denholm Elliot), thoroughly-disgraced son, disowned by his family, can be persuaded, for money, to train Brewster in the ways of his class: how to dress, how to speak, how to behave. And quick learner, Brewster turns out to be. But Brewster is no snob and is always practical: while it's his boss's daughter he plans to wed, he nevertheless finds it advantageous to retain a place in his middle-aged landlady's heart and bed.

But it is the screenplay which received the film's single award and the dialogue is at its smartest as Prince instructs imposter Brewster in the ways of the class he aspires to join. It's not just their opinions but the different manner with which each must be delivered. Faking an Oxbridge background, how to behave when watching college rowing (be ostentatiously disparaging as if an older and better rower). Suitable opinions (circa 1963) on foreigners: Americans - "let us down badly over Suez". Black people "make fine cricketers". The commandments seem to include: be brief, never bore, never be overly earnest, understate, don't be adventurous.

This is Frederick Raphaels satire and take on the British upper classes, that a clever fake can remain under all circumstances undetected. I think the evidence is that their antennae are especially finely tuned for the avoidance of just such unfortunate marriages. However history suggests that the titled owner of the grand London estate agents auctioneers (Harry Andrews) where Brewster works, prizes business acumen over actual social background. Over time, with good schooling for the next generation, social class can be retained. But without money neither a growing financial empire nor a dynasty is possible.

Some great moments as when Brewster's pleasant expression is tested to its limits when a familiar large case arrives at his shortly be in-laws grand house, and falls from a considerable height. Bates and Denholm Elliot are both superb. A great British film.

Until Talking Pictures TV came on the scene and revived some of these quality films, I would have never realised the cinema talent Britain had. So badly are we let down by the broadcasters

Its a wonder this movie has been recently shown on the TV in the UK, a certain movie called Saltburn is currently having a moment which bears many similarities.

This is a British 1960's romp in which an ambitious man happens upon an upper class waster who has been shunned social and lost his job as a result of being caught committing fraud. The lead sees this as an opportunity to climb the social ladder from his lower middle class rung onto the one occupied by the upper classes. He does this by offering the waster a proposition, free board in exchange for being taught the social ropes of the upper class. He agrees and that's where things get interesting.

In order not to spoil the plot, this does get very dark two thirds of the way through. Its tone is that of a dark comedy/satire and as a result its actually quite difficult to second guess where the narrative will go. As a result its a highly entertaining watch. Of course its dated in terms of music but not so much in terms of the upper classes who haven't budged an inch into modernity lest it alter their identity.

This would be a great companion piece to Saltburn as it is a very similar story but without the obvious meme generating scenes shoehorned into Saltburn which didn't add to the story, but were simply there in order to hijack social media and generate interest into what is at best an average movie. This one however manages to keep you engaged because its simply a well told story. Even if it is quite a bitter one.

Alan Bates is the scoundrel here who thinks he is about to get away with anything. Everything is wrong with him except his ambitions. In order to climb the social ladder to riches and success he not just uses any dirty tricks to get along on the way, but his knack is simply to follow the mainstream of general hypocrisy, consistent deceit by means of sticking to lies, outrageous audacity and the general euphemistic way of life ignoring all that is out of any private interest to you. Everything here is permanent dishonesty, and for its blatant shamelessness the film is actually shocking in its horrible satire of upper class business life, while you must admit that it is extremely well done, in perfect cleverness, wit and elegance. All the actors are perfect, and you don't even feel sorry for Denholm Elliott who actually did nothing to help himself except in digging his own grave, while Alan Bates' acting is a marvel of sticking to a masked role. Millicent Martin actually suits him, it is even suggested that she sees him through and appreciates his charade, and you are used to Denholm Elliott as the perfect loser. In brief, in spite of its revolting immorality, the film is thoroughly enjoyable for its virtuosity in cleverness and elegance.

A film from the "Swinging London" era and, like much of the output pertaining to that camp, one that feels quite dated when viewed today. It nevertheless maintains a sense of style throughout (Nicolas Roeg was the cinematographer) and the familiar plot (following the exploits of a social climber in the none-too-exciting world of high-finance – suffice to say that it is sometimes hard to discern the exact function of the various minor characters the protagonist comes into contact with!) still works thanks to the blackly comic vein in Frederic Raphael's script and Alan Bates' central performance as the cocky anti-hero. Even so, the supporting cast is just as notable – highlighting in particular Denholm Elliott (as Bates' 'tutor' in the money-making ways and whom he later callously disposes of), Millicent Martin (as the high-society girl he sets his sights on: she also sings the title number!), Harry Andrews (as the latter's father and Bates' boss), Pauline Delany (as Bates' ageing landlady and occasional fling) and James Villiers (as, typically, an upper-class twit and Martin's intended). The inherent amorality at work anticipates ALFIE (1966) in many ways (incidentally, Martin turned up here as well): though a box-office smash and a multi-Oscar nominee, I had actually found that film to be similarly overrated. The twist involving Elliott's true identity – which threatens to expose Bates for what he is, but which he still manages to turn in his favor (since the script clearly wants us to root for him) – does end proceedings on a high note in this case. For the record, this seems to be another ultra-rare title, having acquired it via a less-than-optimal copy culled from an old TV broadcast