The Rise and Rise of Michael Rimmer

Saw this wondrous film when it first came out in London. I was at college and loved it immediately. It appealed to me cause it confirmed many prejudices and worries about Brit politics: manipulation, polls, spin.

It was way ahead of its time. Both funny and serious. The fact that it has not been available suggests that some of its points are too close to the truth for the 'establishment.'

I would love to see the scene again when the capsule is hidden in the hankie. He is meant to smash it which will cause a tear. It doesn't quite go as intended.

A brilliant film.

A mysterious, charismatic figure (possibly another incarnation of Cook's George Spiggot Devil character from 'Bedazzled') appears from nowhere and takes over a small advertising agency. Through a series of ruthless strategies (media manipulation, political chicanery, blackmail, bribery and murder) he attains huge public notoriety and rises to the heights of government and beyond.

With its amazing cast of contemporaneous British comedy actors and a script by Peter Cook, John Cleese and Graham Chapman, the film should have been a satirical classic. The fact that it isn't, and indeed has virtually disappeared, is mainly due to the very brilliance of its creators. The sketch-show dynamic and satiric insight with which they dominated television comedy and theatre revue does not translates well to the cinema. Here it appears as an unfocused and fragmented ramble.

Rather than create a set of rounded characters which might withstand big-screen scrutiny, Cook and company resort to what they know best - caricatures. Accurate caricatures though they are, these are not 'people' but conduits and Aunt Sallys for the film-maker's understandable exasperation.

Peter Cook never looked so urbane and strikingly handsome as Michael Rimmer: a charming manipulator whose every utterance is a covert announcement of his smoothly diabolical strategy. Cook plays the role like a kind of malevolent mannequin. Grinning and mechanical. It was a deliberate move on his part and quite brave. But the viewer soon craves for him to break cover, show a crack in the veneer, display some vulnerability to connect with. It never happens. Rimmer is no Richard III. Maybe that's the way Cook regarded such power-players: passionless shells of men with nothing but their ambition to drive them. Unfortunately, the film itself takes on these very aspects and becomes heartless and mechanical.

The script is also not quite funny enough. The intimidation of writing for the big screen seems to have severely compromised the talents of the writers. Many of the jokes are forced and frequently fall back on tits-and-arse sight-gags - an unhappy irony as the film is highly critical of the use of sex by advertisers to sell useless products. A severe case of "having your cake and eating it".

A lot of the minor players ham it up to grab laughs in that peculiarly loud, desperate, English rep-company manner. However, it is a truly wonderful thing to behold Peter Cook, Denholm Elliot and the great Harold Pinter (as a fantastically smarmy TV talk-show host) appearing in the same frame trying to out-smarm each other. It's a three way draw. Brilliant.

Yes, there are some good things. Kevin Billington has a nice eye for composition, but, perhaps understandably, he can't do a thing with the fractured narrative. Alex Thompson's camera-work is excellent and imparts a sense of real cinema. The film's insight into the cynical manipulation of the media by politicians seems even more prescient today. But ultimately, it all fails to gel.

Perhaps it came too late in the cycle of British satirical comedy to really get everyone's blood moving. Cleese and Chapman moved on rapidly to the ground-breaking surrealism of Monty Python, and David Frost, the film's co-producer, dived headlong into a lucrative career as a talk-show host and professional jet-setter. But Cook's hopes for becoming a major movie star were destroyed by the film's failure. Apart from sporadic periods of greatness (re-uniting with Dudley Moore etc), he basically drank himself to death over the next twenty-five years. A sad conclusion to a great comedian's life.

The film is worth seeing if for no other reason than to witness a snapshot of British comedy before it flew into a very different orbit.

This is a brilliant British political satire. Along with "Bedazzled" and "The Wrong Box", this must be rated with Peter Cook's best Work. The supporting cast is superb. I hope that it will be released on video one day soon. I would love to have a copy.

It is a real shame that this film has not been released on DVD or even VHS. The remarkable thing about it is that even though it has been aired so few times, its imagery is so immediately fresh in the mind, from the bumbling assassination attempts in a JFK style by Arthur Lowe, to the 'First British Gold Bar' extracted from the north sea.

This film is about manipulation and orchestration from the start to the end !! done with a very dry and British style sense of humour.

The manipulation and 'Spin' of the Political Party Broadcast filming - who could not forget the scene with the rotating countryside backdrop and tread mill - BRILLIANT!! The guile of a Prime Minister who offers the nation the right to decide on every issue -with the piles of paper work such referendums incurred - to the ultimate presidential / dictatorship power gained from the final referendum.

The film as many people have mentioned before may not have a plot, in fact it is more like a documentary at times, but it is wholly unimportant. Its content is a precise satire of the government and issues at the time of production - preceding the change to decimalization - entry into the EU and the discovery of oil in the North sea, the general feeling of social discontent and mistrust in Government that was brewing and what would almost prophetically occur several years later.

One possible reason for its lack of public viewing could be because Peter Cooks brilliant genius cut close to the bone, unashamedly attacking the political processes and media circuses that surround general elections and political manifesto.

Without any doubt if this film was ever released on DVD I would have to buy at least 3 copies.

If there was ever a point in history were spin doctor politics was defined - look no further than this film for it origins.

A monument to Peter Cook and a host of brilliant British comedy actors.

Michael Rimmer (Cook) joins an opinion poll company in a mysterious capacity, a silent and malevolent observer of what goes on. In this he's not a million miles from Bedazzled's George Spiggott, but in 'The Rise and Rise of Michael Rimmer' the targets are clear - big business, local government, the parliamentary parties, democracy itself.

As Rimmer gains more and more personal power, we see a Britain decaying at the seams in a sea of corruption - from the dim humbug makers with their sexy ad campaign to the would-be PM with planted questions at party conference. Supporting roles are judged well (Denholm Elliott, John Cleese, Arthur Lowe, Ronald Fraser in particular), while Cook himself looks the part, smirking and smart-suited, interfering in a cosy world of middle-aged execs and politics in need of a shake.

There's a lot going on here in a Britain stood still - and it makes for a very entertaining film.