Papai é um Nudista

I was quite surprised with this film, not because of liking it (I did), but just how much union politics the Boulting Brothers put on their sleeve with working on this movie. I have been in a Union business that failed before, and I was quite shocked at how much I could compare my own experiences with what was on display here with the Unions and Management trying to maneuver themselves ahead of on another. While Peter Sellers does put on a great performance, this really is Ian Carmichael's movie. I hadn't seen any of his work, and this was a great introduction. All of the other cast is great as well. One final note, it probably contains the most annoyingly catchy title song ever, it'll probably haunt your cranium for days.

For me, this is the best film of all time. A superb cast of the UK's finest character actors and an A1 script.

Peter Sellers was truly magnificent as the left wing union shop steward and Terry Thomas excelled in playing the two faced Personnel Manager. Among his classic comments are "The Management have behaved like absolute stinkers" when talking to the union and " They are a complete shower" when talking to Management about the unions. Another fine comment is when on being told that some bigwigs are visiting the factory, Terry Thomas replies "You better spruce the place up a bit, you know soap in the toilets, that sort of thing".

I must have seen this film at least 20 times and I never grow tired of it. Great story, fine comedy and great acting. Never has a film handled the issue of industrial relations in such an amusing and pertinent manner.

Ah, progress. Never mind that tosh. "I'm All Right Jack" is a hilarious send up of the 20th century very much on point today, an anything-goes capitalist-meets-socialist system where workers and owners are equally victimized.

Peter Sellers won the British Academy Award for Best British Actor for his performance as union leader Fred Kite, beating out a field that year which included Laurence Olivier, Laurence Harvey, Richard Burton, and Peter Finch. Ian Carmichael is the actual lead actor in "I'm All Right Jack", and Kite doesn't even show up until after the first 20 minutes, but Sellers makes Kite a compelling and comedic character worth remembering as a symbol of organized labor run amuk.

A kind of sequel to "Private's Progress", also featuring Carmichael in the role of Stanley Windrush, "I'm All Right Jack" is a swinging social satire. Two factory owners (played by Dennis Price and Richard Attenborough) conspire to create a labor strike at a munitions factory to get a higher price. To do that, they need someone to create a bit of friction. Enter Windrush, a total innocent upper-class twit who only cares about earning his pay, no matter how much that offends Kite and other labor leaders.

"We're living in the welfare state," says the middle manager Hitchcock (Terry-Thomas). "I call it the farewell state."

"I'm All Right Jack" starts out very cheeky indeed, with a surprising eyeful of female nudity circa 1959 and cracks at religion and the military. Later, a stuttering character sees an array of photographers and asks: "Why don't you tell them to f-f-f-photograph something worthwhile."

The only major problem with "I'm All Right Jack" is the slowness of the film right up until Windrush arrives at Missiles Ltd., after which the comedy becomes a kind of classless class comedy, where shrapnel flies thick and fast and no one is immune. Sellers' performance is brilliant, giving you a character who's likable even as he plays the antagonist. You can scorn his love of Stalinist Russia, which he boils down to cornfields and ballet, but you empathize with his fairness (not wanting to fire Windrush is his undoubted downfall) and his sensitivity for the feelings of Mrs. Kite (Irene Handl) and their daughter (Liz Fraser). He's just a bit extreme.

"We cannot and do not accept the principle that incompetence justifies dismissal," Kite argues. "That is victimization."

The real bad guys are the bosses guying the system, though John Boulting, who directed and co-wrote this with Alan Hackney and Frank Harvey, wants you to see the union abuses that make such a scam not only possible but desirable to the upper classes.

Sellers also appears at the film's outset as "Sir John", a men's-club inhabitant who witnesses the end of World War II as an unpleasant upending of the old social order, before disappearing in the postwar wake. "A solid block in what seemed the edifice of an ordered and stable society," is his postscript.

Contrast him with the very hip, 60s-sounding Al Saxon theme song that sticks its post-war, pre-Beatles attitude in your face as smartly as flipping the bird to Churchill (something else we get to see in the first few minutes), and you find yourself watching what had to be for 1959 a very mod film. It still stands up today as one of the best labor-management comedies, even if the British class system it addresses is no more.

I remember seeing this film at the ABC Golders Green when it first came out and it seemed pretty funny then.It was on Channel 4 recently and i just believe that this gets better with age.I just wonder why cant they make films like this anymore.Do we have to rely on TV and "Little Britain"to satirise modern Britain.There are just so many small as well as big laughs .It makes you think whether you saw that first time round.Everything about this film was so true about Britain at the time that it was made.I recall that the Boultings were involved with a dispute with trade unions over which they litigated and which i believe they lost.This was their way of getting revenge.Every character is perfectly cast from Sam Kydd and his memorable stutter to dear Margaret Rutherford who was at her comedic zenith in the cinema at that time.Of course Peter Sellers gives what must be one of the top 5 comedic performances in British cinema.His shop steward is just so perfect.Oh why don't they make films like this anymore?

The cast alone is a triumph in this movie - some of the best British character actors who ever lived are here: Terry Thomas, Miles Malleson, John Le Mesurier, all backing up Ian Carmichael as the earnest, silly-ass upper-class bumbler and Peter Sellers as Fred Kite, the Marxist shop steward. Sellers in particular is wonderful; his Fred Kite is a lower class striver who has acquired just enough education to give him an inflated idea of his own abilities, but not enough to realize the gaps and inadequacies in his views. He is a perfect realization in miniature of Taine's statement that there is nothing more dangerous than a general idea in a narrow, empty mind. He boasts to his Oxford-educated gentleman lodger about the summer course he took at the university once, reminding him in a familiar fashion about the very good marmalade and toast provided by the college, while the obviously wealthy young man politely admits that he wasn't acquainted with the public dining hall during his years there.

The plot becomes more and more complex as the movie progresses, with almost everyone turning out to be on the take. The climax comes in a free-for-all over a bag containing thousands of pounds intended to bribe Stanley into joining the sensible schemers plundering the public while paying lip service to public service and solidarity with the working class. Malcolm Muggeridge has a interesting cameo in this scene, playing himself. Most recent broadcasts of this movie have edited out the disturbing racist statements of the working class characters, but the original movie had no sentimental soft spot for anyone, workers or bosses.