Un mort en pleine forme

I've recently bought this video not only to hear the music, which I do enjoy, but to be honest, it's the amusing shenanigans of the fortune seekers which I find so amusing. What will they think of next! Of course Michael Caine is his charming, adorable self, and his lady love, Julia, is captivating in her Victorian role of modesty personified, such a charming couple. I never thought John Mills could be so funny as he plays his role to the hilt, being very active for an ailing elderly family member. Peter Sellers' role as the absentminded Dr. Pratt would be hard to top as a performance. He certainly has a way with kittens and ink! It's the highlight of the movie, I'd say. The ending is hilarious and I'm still trying to figure it out as there's confusion galore. Altogether a very enjoyable film that you won't forget.

Sixties take offs of the Victorian era are usually very entertaining. All of the clichés of repression and morbidity are always very over the top and they are here. A woman falls madly in love with a man when she sees his arms, the salvation army stick their nose into everything. It is perhaps more insightful into the sixties than anything! This is by no means a master piece, frankly with such a stellar cast it is rather disappointing. The script tries too hard to be funny and the gags come too thick and fast , especially at the end, for the viewer to be able to follow, certainly it is very unlike the slower, more leisurely pace of Stevenson's book.

However it is certainly worth watching. If nothing else it contains one of my favourite lines ever 'Listen to me all you eggs'!

Little known in the United States, THE WRONG BOX is an absolute must-see for serious students of comedy. The plot revolves around a tontine, a lottery established by the well-heeled fathers of a class of English schoolboys, the proceeds to be awarded after many years to the last surviving member of the class. The story picks up at the point where only two of the classmates are still alive: the brothers Masterman and Joseph Finsbury, who rather detest one another. The plot is full of Finsburys, all of whom want one or the other to die first so they can get a piece of the loot.

Bryan Forbes's direction is first rate, visually exquisite, and even though the convoluted plot is a bit slow to get started, nicely paced. Forbes has a notable cast of experienced actors, and he gives them free reign to perform comedy as only the British can do. The climax chase comes to a head at exactly the right time and is hilarious, the more so because it is marvelously unforced. The actors involved give the impression they're delighted to be in the film, as they should be.

THE WRONG BOX is one of Michael Caine's earlier films and he performs creditably, and Peter Sellers shines in an excellent bit part. Nevertheless, my hat goes off to three other actors who give the performance of their careers: Ralph Richardson, as the quintessential pedant Joseph Finsbury, the world's most boring narcissist; Peter Cook, as Joseph's incessantly scheming nephew who wants to see his uncle die a few seconds after Masterman croaks; and most especially, Wilfrid Lawson as the wondrously torpid Peacock, Masterman's dignified but disheveled butler whose peculiar grunts and malapropisms remain fresh with every viewing of the film. I would put Lawson's performance on a par with Humphrey Bogart's in THE CAINE MUTINY or Fred MacMurray's in DOUBLE INDEMNITY -- it is truly that good.

THE WRONG BOX ranks on a par with THE LIFE OF BRIAN as one of the finest British comedies ever. Enjoy it!

There are many reasons to enjoy this film. It is a catalogue of English comic and serious actors, Peter Cook and Dudley Moore not the least among them. But this show belongs to the bit players. Wilfrid Lawson as Peacock is superb. I hope he garnered enough attention from this role to cap off his career. Bit and character players are a special breed.

The film is vaguely psychedelic. The art nouveau lettering on title cards fits in with the Haight Ashbury tone of the times. The plot is solid and humorous throughout yet it depends on the basic slapstick for its conclusion.

Well-written, well-acted, well-directed, well-conceived. A treat.

In my considered opinion, this is one of the best British comedies of all time (and I flatter myself that I am not usually given to hyperbole). To buttress this opinion, I could mention the fact that the movie is based on (and quite faithful to) one of the most hilarious stories ever penned in the English language (by R. L. Stevenson of "Treasure Island" fame); that the story in spite of its endless comical complications never once becomes too confusing (except of course to Tony Hancock's hapless inspector); and that the story is interpreted by some of the most memorable and talented actors of two generations.

The (then) old guard is worthily represented by Ralph Richardson as the deliciously exasperating Joseph Finsbury, John Mills as the cranky and cantankerous Masterman, and especially Wilfrid Lawson's unforgettable doddering yet stalwart butler (his fellow actor Michael Caine has stated that Lawson is his favorite actor--as well as the favorite actor of every other actor who knew him).

The (then) younger generation, however, does not pale by comparison. Peter Cook's Morris Finsbury sets down a delightfully unprincipled cad (one suspects that Masterman may have resembled him in his younger days), yet we can't quite stop rooting for him, because Michael Caine and Nanette Newman strike just the right sweet and innocent tone as Michael and Julia to make us surreptitiously feel that perhaps they deserve to be cheated out of their money. Moreover, the fact that the fate of the more deserving members of the younger generation is not exactly aligned with the more deserving member of the older generation reinforces the ambiguity--so we find ourselves rooting in turn for Joseph, Morris, and John, then again for Michael, Julia, and Masterman. In this respect, the eventual denouement (which I won't give away) is pleasantly and surprisingly satisfying.

Spare some kudos also for the excellent supporting cast, from Peter Sellers' vacuously venal Doctor Pratt and Dame Cicely Courtneidge's imperious Salvation Army major to such brief but perfect walk-ons as the unflappable engine crew ("We haven't heard the last of this") or poor Hackett's lachrymose widow. This is what British acting is all about.

If, in spite of all this circumstantial evidence, however, I still have not fully conveyed the essential laugh-out-loud, tears-in-your-eyes, still-uncontrollably-snickering-in-church-twelve-hours-later (warning: do not watch this movie if you plan to attend a funeral anytime soon), then I can only say one thing:

Go watch this movie. You'll love it.