The Rebel

For anybody with a love for Handcock this film is a must see. For those who really know Handcock it is also a farewell as in many ways it could be seen as his last true work? Coming at a time when Handcock was desperately trying to re-invent himself and re mould his style whilst fighting off the blackness of depression the film is a mixture of hope and sadness. If you look behind the laughter and mirth you can see Hancock as he really is - a one of genius never to be repeated. Hancock plays a struggling artist who leaves his London office job to seek his fame and fortune in Paris. Look for the great line between himself and his Landlady Mrs Cravat when Hancock exclaims "Its a self portrait" Mrs Cravat looks and him and asks "Of who?" Handcock is at the end of his line "Who do you think Laurel and Hardy" Lol The film has the usuall Galton and Simpson tight story line and the action is very funny. In my opinion a film which in ever way is on a par with the carry on style genre. Enjoy you wont see the likes of Tony again!

I am 57 now and was weaned when I was a lad on the various BBC tv series of "Hancock's Half Hour in the 1950's.I became an addict there and then.In later life I carefully recorded the repeats on my vcr (not invented when I was a lad), and purchased cassettes of Tony's earlier radio shows whenever a new volume was available for sale.I have read his biography (1924 - his suicide in Australia in 1968), so he was only 44 when he died.Forget he had a drink problem and could be violent.

Yes, he considered he had outgrown his tv series with Sid James (and Kenneth Williams earlier) and even his later solo "Hancock" tv series from 1959 onwards.As a previous literate reviewer has rightly remarked, he hankered after a wider international audience for his comic abilities and appeared in later films like "Those Magnificent Men in their Flying Machines" even trying his hand in Hollywood with Walt Disney but I consider "The Rebel" from 1961 as his funniest film.It incorporates many characters like the existentialist lady on the big screen who have been heard before, e.g. Fenella Fielding in the radio show "The East Cheam Poetry Festival" from 1954.John le Mesurier often played "establishment" figures in his half hour shows and was a personal friend and here he plays Hancock's authoritarian boss in the dreary office where we first see him in an almost synchronised early scene where the clerks all do a similar computation function simultaneously.How we office workers with aspirations of individual creativity empathise with him in his rebellious behaviour!!

A new "Mrs Cravatte" in the shape of Irene Handle (not Patricia Hayes who was merely a char lady in the tv series), provides a female comic foil as Tony's landlady.It is interesting he retains his real name in this feature film, presumably he considered he could effectivly develop his bohemian character from the tv onto the broader canvas.I revisited this film after 20 years or so and laughed out loud in several places.The point already made that American/overseas viewers may be perplexed with his humour is easy to understand and our current UK generation may be left cold by it.My generation however which was reared on a diet of post war food rationing, spivs, watching wealthy Americans in the media, the McMillan type establishment figures in politics and industry, trends in fashion, pop music etc; can so empathise with his humour.I gave it 7/10.

This one is a long-time favourite for its great one-liners, its wit, its bright colours and the sheer joy of its performances. George Sanders plays the creepy critic with the same finesse he'd done many times before, Hancock as the leader of the Infantile school of painting is so preposterous its hysterical, even a very young Oliver Reed appears briefly in the cafe scene. The writing of Galton and Simpson is as sharp as ever but gets to take more detours and turns than it ever could in the Half-Hours ... a brilliant film. I particularly love the pathetic painting of the foot which crops up at the art exhibition and that hideous sculpture. Excellent.

An often overlooked and underrated Hancock vehicle as the Lad from East Cheam inadvertently becomes the toast of the art world when his flatmate's paintings are accidentally attributed to him instead of his own primitive childish daubs.

Great ensemble cast with John Le Mesurier as his boss, the sublime Irene Handl as his landlady Mrs Cravat and George Sanders as his pompous artistic agent.

At the films' centre is a sharp and nicely played critique of the hypocrisy and snobbishness of the art world with the usual taut Galton and Simpson script full of smart one liners.

"What's that?" asks Mrs Cravat looking at a bright pink picture of a man in a beret. "It's a self portrait" replies Hancock. "Who of?" counters Mrs Cravat.

Look out for a very young Nanette Newman as an Existentialist acolyte in the party scene and also Oliver Reed as a cafe artist.

8/10

It was a natural step for Tony Hancock in attempting to become successful in the medium of cinema. He longed for success in America and the only way he might have achieved this, was by making tailor-made films. "The Rebel" was the result. The year of the film's release - 1961, saw Hancock at the peak of his popularity in Britain. At one stage, about 23% of the British population were either tuning into his radio series or were watching him on television. Such an achievement is seldom. "The Rebel" is a very good effort and I always enjoy the film. For the first time in his distinguished career, Hancock appeared in technicolour after four years of performing in black and white. I shall forever recall my inital surprise and slight bewilderment at seeing this comedy legend in colour. It took me a while to adapt to seeing Hancock in anything except monochrome. The story wisely has the comedian playing the same character of 23 Railway Cuttings and with the identical character traits. Hancock is wanting to better himself after feeling he has denied himself his true potential and calling in his life. He has endeavours in wanting to become a painter and so, he leaves his job as an office clerk and moves to Paris. Whilst there, "The Lad Himself" meets a fellow struggling artist and they share digs, hoping that success might beckon. It does but in ways Hancock never expected...... I am glad that Ray Galton and Alan Simpson wrote the script as who better to write for Hancock than those two individuals? The comedian collaborated with the writers on the story and whose name is listed during the opening credits under story. There are some great scenes here, such as watching Hancock attempting to paint various buildings around Paris, befriending the Avant Garde characters, getting mixed up with a criminal mob and other highlights. Watching "The Rebel," I sense a kind of loneliness with Hancock in his character. The way he has no family to speak of, not many friends, feeling somewhat dissatisfied with his lot in life, embarking upon his adventures in Paris alone and not knowing a single soul in France anywhere. However, he comes across as self-reliant, independent and determined to realise his dream as an artist. This film would mark the final time that Tony Hancock worked with Ray Galton and Alan Simpson. One of the most talented and successful collaborations in British comedy history would draw to a close. The film did respectable business at the British box office and a Gala reception was held in London for the films release. Unfortunately, America took little notice. Their loss! I highly recommend this film to anyone who is a fan of Hancock or of British comedy in general.