Maluco Genial

"Horse's Mouth" certainly stands up well in it's advanced age; at 45 years old it has remained as timeless as any of the great comedic films.

One IMDb writer has tagged Gully as a "vulgar" painter, which goes to show that the sensitivities this film violated are still around. Pinching your loving ex's bum and tickling the rich lady's knee (shades of Groucho), though, are pretty tame today.

Gully Jimson is a rich character, Chaplin-like, who single-mindedly pursues painting while disillusioning aspiring young Nosey about the artist's life. All growled on tiptoes by one of film's classic great actors.

Jimson is a man who's given up all else, including health, wealth, conventional relationships, to live in a leaky houseboat with a vision. But as the story develops it, like all great literature, manages to puncture almost all of life's rationalizing balloons. Jimson is valorized as is Don Quixote, without suggesting that his hero's journey is a painless one.

All is set in a colorful environment with a delightful if conventionally unpolished cast, all the improbably gleeful turns that make the Marx movies so delightful, and a director who contrives seamlessly with Guiness to create a clever and hilarious marvel that can be enjoyed over and over.

Heck yeah, there's even a chase scene! And pull your socks up!

The DVD version includes a short by Pennebaker that feels as fresh and contemporary, accompanied by a Duke Ellington tune, which played along with "Horse's" original release.

This is probably my favorite movie. It may be overstatement to call a mere British comedy a timeless classic, but this outstanding movie, beneath its raucously madcap surface, has some very serious things to say about what it means to be an artist, to be driven by visions while living in a society that doesn't care. I think Guinness is the greatest actor of the century, and that his performance here as the maddening, irascible, impossible Gulley Jimson is the zenith of his movie roles. Kay Walsh, who partnered with Sir Alec in Tunes of Glory, is equally brilliant.

Having said that, I recently read Joyce Cary's novel, on which the movie is based, and I have to say that the book is much darker than the movie, which plays up the darkly comic scenes of the novel while diminishing - or even omitting - some of the darker moments. Still, the movie stands well on its own, even if it is a somewhat different entity than the book.

Confession time, I first saw 'The Horse's Mouth' around ten or twelve years ago, one afternoon on British television and hated it. Alec's "Gulley Jimson" seemed to me to be very un-likable and I found myself unable to get the point of the film. However, re-watching this on DVD, I found it to be far, far better than I remembered and something of a revelation.

I found myself identifying with "Gulley" this time around and appreciating Alec's subtle performance (to the extent that I was genuinely sad to see the film end). Guinness is backed by two astonishingly fine performances by Walsh and Houston (it's Rene's finest performance, for someone with a tendency to play 'broad' here she is remarkably subtle).

All in all, a wonderful if sadly under-rated film and one equal to Alec's best Ealing work.

Alec Guinness wrote the screenplay. Already an actor of great repute, in doing so he was in a very dominating position. The film gives the impression of a much less collaborative affair - writer/director/star - than is usual, or successful. Very hard for director to question a portrayal when the star can truthfully say that he knows the character far better than does the director.

Guinness chose a deep croaky voice. He consequently lost all musicality - most obviously when he sings but throughout his voice is an inexpressive monotone. The dialogue lacks sparkle further dulled by his monotone. There is a problem in any case of portraying a talented but inarticulate artist - how do you indicate talent or even genius? Apparently based on the writer Dylan Thomas, whose drunkenness was companionable (Richard Burton once a companion?), there was no doubt wit in their conversation. Here the painter is mainly rascally, the paintings shown don't particularly impress either intrinsically or by the way they are treated. All that is left is the implication that for someone so badly behaved yet to still be sought after, must have a great deal of talent. The film fails to show people being won over by his pictures and forgive his trespasses - that's a failure of direction.

Given the great talents involved, it is less than it could have been. But given these talents, it should not in anyway be patronised. Even great artists get it wrong sometimes, it doesn't affect their greatness or my admiration.

One of the best movies about art ever made, `The Horse's Mouth' examines the relationships between vision and creation, between art and commerce, and – most importantly – between art and criticism; and makes us laugh at the same time. Alec Guinness is inspired (when was he ever not inspired, come to think of it) as Gully Jimson, a painter of unlimited ideas who has met with only limited success in the art marketplace – partly because he is so contemptuous of that marketplace. His search for the perfect wall on which to paint, and the subject matter he ultimately winds up painting on one of the walls found in his search, is priceless. The Joyce Cary novel, and its companions in the Jimson trilogy (`Herself Surprised' and `To Be a Pilgrim') are well worth reading, but this movie is a very British, very engaging classic. In many ways, it's the movie that `Pollack' (good though it was) should have been.