Prisioneiro da Ambição

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.

I cannot recall having even heard of this movie until I saw it advertised in the TV listings as part of a series of British movies otherwise unrelated to each other in any way. The cast is wonderful particularly Denholm Elliot. Alan Bates gives the part the bland vacancy it requires. The song that opens the movie was of its time and was so bad I almost stopped watching. And the rest of the movie is never quite right. The movie tries to tell the story that Lindsay Anderson told so well in O Lucky Man, and falls far short...but most movies fall short of O Lucky Man. It's worth seeing for another reason: it illustrates very well the mentality that led to Margaret Thatcher.

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

What a superb film in my opinion difficult to beat. The British system slyly used to the main characters advantage . Alan Bates and Denholm Elliot excel in this classy tongue in cheek rendition of how to succeed. A film worthy of release particularly since the demise of both main stars.

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.