Tout ou rien

A film from the "Swinging London" era and, like much of the output pertaining to that camp, one that feels quite dated when viewed today. It nevertheless maintains a sense of style throughout (Nicolas Roeg was the cinematographer) and the familiar plot (following the exploits of a social climber in the none-too-exciting world of high-finance – suffice to say that it is sometimes hard to discern the exact function of the various minor characters the protagonist comes into contact with!) still works thanks to the blackly comic vein in Frederic Raphael's script and Alan Bates' central performance as the cocky anti-hero. Even so, the supporting cast is just as notable – highlighting in particular Denholm Elliott (as Bates' 'tutor' in the money-making ways and whom he later callously disposes of), Millicent Martin (as the high-society girl he sets his sights on: she also sings the title number!), Harry Andrews (as the latter's father and Bates' boss), Pauline Delany (as Bates' ageing landlady and occasional fling) and James Villiers (as, typically, an upper-class twit and Martin's intended). The inherent amorality at work anticipates ALFIE (1966) in many ways (incidentally, Martin turned up here as well): though a box-office smash and a multi-Oscar nominee, I had actually found that film to be similarly overrated. The twist involving Elliott's true identity – which threatens to expose Bates for what he is, but which he still manages to turn in his favor (since the script clearly wants us to root for him) – does end proceedings on a high note in this case. For the record, this seems to be another ultra-rare title, having acquired it via a less-than-optimal copy culled from an old TV broadcast

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.

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.

Its a wonder this movie has been recently shown on the TV in the UK, a certain movie called Saltburn is currently having a moment which bears many similarities.

This is a British 1960's romp in which an ambitious man happens upon an upper class waster who has been shunned social and lost his job as a result of being caught committing fraud. The lead sees this as an opportunity to climb the social ladder from his lower middle class rung onto the one occupied by the upper classes. He does this by offering the waster a proposition, free board in exchange for being taught the social ropes of the upper class. He agrees and that's where things get interesting.

In order not to spoil the plot, this does get very dark two thirds of the way through. Its tone is that of a dark comedy/satire and as a result its actually quite difficult to second guess where the narrative will go. As a result its a highly entertaining watch. Of course its dated in terms of music but not so much in terms of the upper classes who haven't budged an inch into modernity lest it alter their identity.

This would be a great companion piece to Saltburn as it is a very similar story but without the obvious meme generating scenes shoehorned into Saltburn which didn't add to the story, but were simply there in order to hijack social media and generate interest into what is at best an average movie. This one however manages to keep you engaged because its simply a well told story. Even if it is quite a bitter one.

The year before he won an Oscar for "Darling", Frederic Raphael adapted Stanley Ellin's short story "Nothing But the Best" for the screen. It was a kind of comic "Room at the Top" directed by that fine and underrated director Clive Donner and photographed by none other than Nicolas Roeg. Alan Bates is the social climbing Jimmy Brewster who does marry the boss' daughter, (Millicent Martin, very good), on his way up the ladder but still has to indulge in a spot of murder as well.

It's got a terrific supporting cast that includes Denholm Elliot at his Machiavellian best as Bates' tutor in the art of social mobility, Harry Andrews as his boss and, best of all, Pauline Delaney as an over-sexed landlady. It all adds up to a delightfully sharp satire yet hardly anyone has seen it. Seek it out because, apart from anything else, it's also one of the great London films.