Jusqu'au bout

This is not as great a film as the comments lead me to believe. However, it is a well done piece of work and obviously done on a very modest budget. The story is a bit heavy-handed in places, and the scene where the wife tells her husband that he's a loser is very hard to believe. That all being said, it is a dreary, gritty slice of England in the early sixties and is a showcase for the dramatic talents of Peter Sellers. While some of the supporting roles are well done, Sellers shines like a bright diamond with his intense and convincing portrayal of a carjacker, free of any moral pretense. If this film had been widely seen, I am convinced that many directors would have tried to get Sellers into more serious roles. His ability to leave all traces of the Goon comedy figure behind is truly astounding. If you are interested in post-war English cinema, this is an interesting film. If you are a fan of Peter Sellers, it's a must see.

Nasty and brutish it may be but this British crime movie is also extremely gripping and very well done for what it is. Richard Todd is the salesman who goes after the thieves who stole his car. Adam Faith is the young thug who actually took it and, cast against type, Peter Sellers is superb as the psychotic Mr Big figure. A 17 year old Carol White, (she of "Cathy Come Home" fame), is Sellers' young mistress. The director was John Guillermin and he gives the film a nice sleazy atmosphere and makes very good use of his London locations.

Of course, it's Peter Sellers' name which has attracted attention to this little-known film, made at a time when he was trying out some serious acting work in addition to his renowned comedy talent. It must be said that he does pull off a remarkable performance. As the gangster, Meadows, he does a lot more than put on a tough voice and bash a few heads in. He perfectly portrays an outward smoothie, concerned for appearances, a man who doesn't like getting his hands dirty - but underneath is a barely-repressed streak of sadism verging on psychopathic tendencies. There is a remarkably daring scene (for the time) which distinctly adds a sexual dimension to his dominant personality. As he tells Carol White to take her top off, the sound of his breathing and the look in his eyes verge on the shocking, and the fact that it is Peter Sellers performing this, adds to the shock value.

However, Sellers does not upstage the film from Richard Todd who is also cast considerably against type. In films of this period Todd always played the handsome debonair hero, but in a complete reversal Todd here plays what the Americans refer to as a "milquetoast". But again, multidimensionality in the character is beautifully brought out, as Cummings starts to show the obsessive side of his personality. The expository scene in which his wife tells him, as gently as she can, that he has always been a failure, and that getting the car back would not, as he claims, solve all their problems, is beautifully handled by Todd and Elizabeth Sellars as his long-suffering wife.

This film, an X-Certificate upon release (equivalent to 18 or NC-17 certificates today) doesn't shirk from showing the execution and effects of violence. One scene, in which Todd gets badly beaten up by David Lodge (of all people), must have represented a very early usage of amplifying the sound of a fist hitting a torso for the purposes of magnifying the horror. This scene remains effective over forty years later. As a result of this, the film acquires a beautiful sense of unpredictability. There's clearly going to be a showdown between Cummings and Meadows, but the film very effectively adds to the suspense by a long sequence in which Cummings in a cafe and Meadows in his penthouse flat are both shown waiting for it - without any clue tipped to the audience as to what finally will happen. John Barry's score is very effective, if a trifle old fashioned, in heightening the tension - Barry's trademark chord progressions are still a way off in the future.

De Sarigny and Guillermin put together a brilliant script, two wonderfully talented actors and superlative direction to create a great British noir movie which should be more widely known.

Incidentally, for young Harry Potter fans who think the car in "The Chamber of Secrets" was made up, here is the proof that the Ford Anglia really did exist, all the way back to 1959 (although sadly it doesn't fly) - here an example of one is the cause of all the trouble.

While the star of this film technically is Richard Todd, Peter Sellers' supporting performance dominates the film and it's no surprise that the DVD features Sellers on the cover, not Todd. It's one of the better performances of his career--and, interestingly, it's not at all comedic but a VERY gritty and serious role.

The film begins with a working man (Todd) leaving work--only to discover that his car's been stolen. He goes to the police but after a couple days there doesn't appear to be any chance he'll get it back--and it's not insured. Todd is a very mild-mannered man and not the sort you'd expect to do anything about the crime, but his car is needed for his job and he won't let it rest. So, he starts trying to find leads on his own--and repeatedly he nearly gets himself killed. Yet, for once this mild-mannered man is NOT going to just back down--he will follow this as far as he can and the consequences be damned. Through the course of Todd's investigations, the trail leads to a truly horrible man (Sellers). On the surface, Sellers seems sophisticated and mild-mannered himself. However, he is a very violent bully--and this comes out with the least provocation. What's to happen next? Tune in to this excellent film to see for yourself--just be forewarned...it's amazingly brutal for 1960--so brutal the Brits gave it what is equivalent to a restricted rating!

As I said, Sellers is at his best here. Wearing bulky clothes (and perhaps lifts to make him look taller), he looks beefier and plays a great heavy. His violent and sadistic routine is mesmerizing--and it was hard to believe this is the same guy who made a career out of making people laugh. Here, he's malevolent and cruel--and very effective. Now all this does NOT mean Todd isn't quite good as well--he is. But even in turning in a dandy performance himself, he is overshadowed by the malevolent Sellers. The sum effect of both of them is quite compelling--making a simple and inexpensive film much better than you'd ever expect. If you like to see excellent acting and characters, then see this one.

Never Let Go, a movie rarely shown in the U.S. (and perhaps elsewhere), is well worth your time, especially if you are a Peter Sellers fan. The plot is reminiscent of The Bicycle Thief, though this movie will not be confused with Italian Neo-Realism. Under John Guillermin's direction, this drama moves from a nervy look at the underworld to a climax comparable to a western's showdown on a deserted dirt street. Richard Todd plays a cosmetics salesman barely doing well enough to make a living, in part due to his milquetoast-type personality. When his car is stolen, his life takes a serious downturn--he cannot work without it. His quest to get his car back drives the plot till the movie's end. Unlike The Bicycle Thief, however, much of the focus scene-by-scene is on the thief, played here by the late, great Peter Sellers.

Sellers's performance is overwhelming, completely over the top. The best comparison I can make is to Dennis Hopper's memorable performance in Lynch's Blue Velvet. As the movie progresses, his manic behavior becomes infectious: there was a palpable sense of the hysteric in the theater where I saw this movie, the audience just waiting to explode with laughter or shock with each move that Sellers made. This can be see as a distraction, and for a moment here or there it is, but by the end, the performance works very well, making the Todd character's growing determination to reclaim his car a point of tension--it will lead to direct confrontation with a maniac. Inexplicably, there is a sugary last scene tacked on to the end of this film, but it is easily forgiven. Ask your local art film house if it can show this movie--if so, it will be a memorable experience.