Dieu et mon droit

No other actor has had a career filled with more idiosyncratic roles than Peter O'Toole, and his role in "The Ruling Class" is perhaps the most idiosyncratic of them all.

O'Toole plays the heir to a British House of Lords who dies accidentally (and bizarrely), leaving his family to hash out the estate. The family is much disturbed by the fact that O'Toole is the heir -- understandably so, since he believes that he's Jesus Christ. Much wackiness ensues, until O'Toole has a change of perspective and decides that instead of Christ, he's Jack the Ripper. More wackiness ensues, the film gets darker and darker in that way that only British films can, and the whole thing may leave you scratching your head but will no doubt also leave you gloriously entertained.

For O'Toole fans, this is a chance to see him single-handedly carry a delirious mess of a movie on his shoulders, and make a rousing success out of it. Much of it doesn't make a lot of sense, but it's all a hoot, especially the impromptu musical numbers peppered throughout the film. There's some scathing satire aimed at the British class system, but it's nothing you haven't seen before, and the whole film has the feeling of being the pet project of an undisciplined director. But I highly recommend this, because you've never seen anything quite like it, and it's a chance to see one of our generation's greatest actors strutting his stuff like the pro that he is.

Grade: A

The Ruling class is a disturbing commentary on the nature and necessity of our whole belief systems. It both highlights the extreme fragility of those beliefs, and takes gently mocking aim at us for our dependency on them. Viewed in that light, the film succeeds 100%. When viewed merely as a satire on the British ruling classes, of course it doesn't. It goes far deeper, becoming also an essay on our tendency to manipulate others for our own benefit: the characters' collective idiosyncrasies serve as punctuation for that essay. Brilliantly acted, often hilarious but always profoundly moving, it is a genuine classic of its kind, notwithstanding its undeniable, though relatively minor, flaws. I'd love to have it on DVD!

This movie has EVERYTHING!!!!! I'm serious. Does it have musical numbers? Yes, it does. Beautiful costumes, fabulous sets, serial killers, witty dialogue, burlesque striptease, opera and aristocracy, romance and insanity, jealousy and drama, comedy and theology? Yes, yes, yes!!! Oh, why couldn't there be more films like this? In a way, it reminded me of "The Ninth Configuration" although that movie lacked humor. Peter O'Toole is just gorgeous, as well. My father (psychiatrist) says that this film is just about the only accurate film representation he's seen of MANIA, but when i asked him about it, he didn't recall the musical numbers. So i suppose it's got something for everyone. I could write about THE RULING CLASS for hours and hours and compare it to everything in the entire world but i don't want to give anything away. This is an absolute MUST-SEE for anyone with an interest in film, England, mental disorders, or dancing the Varsity Rag.

Peter O'Toole has often played characters who are obsessed and even a bit mad. But in The Ruling Class he is utterly over the top crazy, and it's a bit disquieting how naturally he slips into the role. Yet this is a comedy, a wonderfully bizarre, often black comedy that deals with acceptable and unacceptable behavior -- insanity, and morality, being irrelevant. It's characters mostly belong the English elite, but they simply stand in for all those whose power and prestige demand that appearances be kept up. So this isn't a film for everyone. And some may not like the way it swings from the very flippant to the very dark. It requires a wide range of humor to enjoy it all. Unfortunately, I hear that enjoying it all may be impossible. It seems that all home versions are cut several minutes from the theatrical release, sometimes much more. The longest length available is apparently 141 minutes, so that is the one to get.

After the 13th Earl of Gurney succumbs to a fatal autoerotic asphyxiation incident, his mentally unbalanced son Jack inherits his position in the aristocracy. Jack, believing himself to be Jesus Christ incarnate, pledges to use his family's wealth and influence for the good of mankind. His philanthropic ideals displease his relatives, who plot to oust Jack from the estate so they can continue to enjoy the quality of life to which they'd grown accustomed. For everyone involved, however, things will get increasingly complex, as Jack's unhinged psyche is near breaking point; and his family's machinations may just push him over the edge.

Based on Peter Barnes' play of the same name, 'The Ruling Class' is a wildly amusing, madcap movie. Directed by Peter Medak- and with a screenplay from Barnes himself- the film shows us a comedic portrait of a man fully enveloped by madness, while skewering the British class system in a sharp, entertaining way.

Combining broad comedy with barbed, witty dialogue- as well as a dose of gallows humor- the film is sure to make you laugh. In the latter half, there is a tonal shift, and 'The Ruling Class' gets considerably darker; but is no less enjoyable. While the continued treatise on the aristocracy does seem a little one-note at times, and some of the jokes fall rather flat; the story is mostly inventive, bizarre and fiendishly humorous.

On the technical side of things, 'The Ruling Class' is a mixed bag. Ken Hodges' cinematography isn't awful per se, it's just uninspired; a little drab. There are some fantastic images in the film, but Hodges doesn't capture them with any sense of fun or style. Hodges and Medak worked together on Medak's debut feature 'Negatives,' and their collaboration on that project yielded infinitely more interesting and affecting results. Additionally, Ray Lovejoy's editing feels loose and inconsistent, with some scenes going on far too long and others feeling positively brisk in comparison; leaving the pacing erratic and irregular.

Also of issue is John Cameron's overblown score, which is exhaustingly energetic. While there are a couple of effective pieces, his arrangements are the antithesis of subtle work, and they actually rob a few scenes of power and impact. On a more positive note, Ruth Meyers' costume design is striking, with her outfits for Jack being especially notable and grand. Tim Hampton's production design is superb all round, and the locations consistently look marvelous on screen.

'The Ruling Class' boasts a cast that any fan of English movies will go cock-a-hoop over, featuring the likes of Graham Crowden, William Mervyn and Kay Walsh; all performing at the top of their games. Alastair Sim and Arthur Lowe both have small but meaty roles as an eccentric bishop and a butler, and Harry Andrews makes the most of his all too brief scene as the 13th Earl; delighting with his outrageousness. Coral Browne also impresses with her turn as Jack's aunt, a comically duplicitous wench if ever there was one.

Peter O'Toole dominates the movie, though, giving a performance of alarming intensity and boundless comedic skill. As Jack, he is insanity personified, a lunatic of monumental proportions. O'Toole brings the over-the-top role to life so naturally and effortlessly you forget he's acting, and that the man himself hasn't snapped. He carries the film, and it is hard to imagine anyone else playing the part- or, indeed, the film working had he not been cast. It is a towering performance of immense strength and depth that is genuinely unforgettable (and quite frightening, from time to time).

'The Ruling Class' is a terrific movie that combines pointed satire, broad humor and witty dialogue, with results that are sure to please. The film boasts a large cast of talented actors giving it their all, as well as a powerful central performance from Peter O'Toole that is mesmerizing, macabre and memorable. Though 'The Ruling Class' may get a little frantic in places, and the cinematography is nothing to write home about, it is always entertaining and utterly unique: a fabulous, frenzied farce.