Assassino di fiducia

The Green Man is one of those movies that used to get a good deal of play on PBS stations but now seems to have disappeared. Too bad. It's a very funny example of wicked British black humor. The always excellent Alastair Sim plays an assassin attempting to blow up a fatuous politician who has found a hide-away for a tryst with his timid secretary. Raymond Huntley (perhaps best known as the family lawyer in "Upstairs, Downstairs") delivers the most hilarious soliloquy ever heard on the practices of English gastronomy in general and chopped toad as a delicacy in particular. Colin Gordon, familiar as one of the few actors to appear twice as Number Two in The Prisoner, does a send up of a rather precious poet who resembles T. S. Eliot. Wish this would appear on DVD.

Great Ealing farce in the Kind Hearts and Coronets murder-comedy stylee, revolving around Sim's hitman (specialising in slapstick bomb-hits) plotting the death of a prominent businessman, and George Cole's vacuum cleaner salesman, out to thwart the killer...Room for plenty of comedy shenanigans as the top cast blunder around leaving clues and confusing each other, building to a climax at the country inn of the title. Thoroughly enjoyable for fans of the genre, with just a little bit of Terry-Thomas thrown in near the end to add his unique suave zest to a very appealing mix. Expect the thrills to come from Sim's eyebrows and laid-back attitude, and Terry-Thomas' 'tache, rather than the plot.

THE GREEN MAN is one of the funniest black comedies ever made, but it has been hidden from most movie fans because it came in a period of many films from Britain of equal value and with higher star quality (i.e., Alec Guiness and Peter Sellers as the star, rather than Alistair Sim, their equal in British cinema). Sim influence Guiness (who copied him in appearance in THE LADYKILLERS) and he appeared to better effect in film with Sellers (THE MILLIONAIRESS), but he never accepted knighthood or got the Oscar like Guiness did (nor did he get nominated for an Oscar like Sellers did on several occasions). So he gets an unfair short shrift, although there is considerable evidence that he was their total equal as an actor...certainly as a comic actor.

Sim is a professional assassin, who blows up his targets. However, he insists on agreeing to destroy the men he is hired to kill only if they happen to be rather pompous as well as politically objectionable. At the start of the film one sees him blow up a Latin American dictator with a bomb in a soccer ball. He also blows up a self-important millionaire with an exploding hammer (used to call a stockholders meeting to order). His target in the film is a rising, self-satisfied politician...and who can better personify smug self-satisfaction in British comedy than Raymond Huntley. Sim plans to hoist Huntley with his own petard - a recording of his normal, boring speech, set to blow up at a particular moment of dullness. Huntley is going to a seaside resort for the weekend, and Sim plans to go after him.

Unfortunately for the normally careful Sim, a cleaning lady stumbles on his plot, and he has to tie her up. But she manages to get the attention of vacuum cleaner salesman George Cole, who slowly realizes that the "helpful" Sim is not so helpful. Sim manages to get to the hotel, but Cole soon follows him.

Huntley is there, but his weekend is not so clean - he has a young lady there for some non-political activity. Also at the hotel (which is called "The Green Man") is Terry-Thomas, also there for the weekend, and hoping to become lucky. There is also the normal set of normal eccentrics that people British farces like this.

So the last half of the film is following the following points: Will Sim manage to avoid Cole, and get at Huntley? Will Cole find Sim, and save Huntley, without getting Terry-Thomas sufficiently angry at him for spoiling all of his attempts at picking up ladies? And will Huntley have his improper weekend, and enjoy hearing his own speech? Sim's bomb plot against Huntley hits one snag which for sheer unexpected effrontery is hard to top - he sets it in motion, only to find he has not counted on an active critic. It is only a ten second bit in the film, but it is a hoot!

As always Alistair Sim brings his genius for comedy to a great British farce from the fifties. He seems to give an effortless performance as ever, making today's so called "comic" actors a lesson on how to do it. Even Peter Sellers, good as he was, could not approach this guy. Unjustly underrated by the British Establishment (all too keen to shower knighthoods etc. on lesser talents)Sim can elicit mirth from the slightest gesture or subtle change of expression. And that voice!! Incredibly mellifluous and characterful, he delivers lines like no-one else can ,apart from , perhaps, Kelsey Grammar in "Frasier". Try to see all his movies and you will not regret it - when the movies are not so great he always is. Just because the films are old does not render them uninteresting or unwatchable. A pity younger movie buffs do not study actors like Sim any more.

Mr Sim is ideally cast as a seemingly mild but actually ruthless assassin. His perfect comic timing, expressive features and ability to switch on a sense of genuine menace are well used in this sprightly farce. George Cole is admirable as the well meaning young hero while Jill Adams is a radiantly beautiful and desirable heroine. As indisputably English as Wimbledon but much more fun!