This affectionate documentary examines the turbulent partnership of Peter Cook and Dudley Moore, the double act that re-defined the comedy genre. It follows their beginnings in London's West... Read allThis affectionate documentary examines the turbulent partnership of Peter Cook and Dudley Moore, the double act that re-defined the comedy genre. It follows their beginnings in London's West End through their rise to stardom which won them accolades but forced a wedge between the... Read allThis affectionate documentary examines the turbulent partnership of Peter Cook and Dudley Moore, the double act that re-defined the comedy genre. It follows their beginnings in London's West End through their rise to stardom which won them accolades but forced a wedge between them.
- Won 1 BAFTA Award
- 2 wins & 4 nominations total
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Featured reviews
I remember Peter Cook from my youth and I thought it uncanny how Ifans reproduced the frustrated genius of the man. As for the production as a whole, it was a very insightful look into how Cook had difficulty coping with Moore's success away from him, and his own problems with matching his earlier career later on in life. (Personally I think he was extremely bright, but was handicapped by idleness.)
Now, I've seen a number of films that have featured Ifans. Perhaps I have been unlucky and only caught the bad ones, but this has to be the first I've seen him in that I've enjoyed. The films incidentally were: Love, Honour and Obey (where he was quite good as a bad-tempered gangster, but the film itself was pretty dire), Twin Town (awful), 51st State (a nightmare) and Notting Hill (sugary nonsense where Ifans was playing a sort of "Uncle Tom" slob of a Welshman to Hugh Grant's sophisticated Englishman - why does scriptwriter Richard "Blackadder" Curtis laugh at the Welsh so much?).
But until last night, the best thing I've seen Ifans in was on stage - in Accidental Death of an Anarchist (admittedly Dario Fo's play is one that an actor can have a lot of fun with) at the Donmar Warehouse a few years ago. Hopefully, he will be more discerning choosing his parts in future. If he does then I reckon he could be a future Guinness (but please don't get involved with Star Wars).
The emphasis is (however) firmly on Peter Cook, even though it is primarily about Peter Cook and Dudley Moore's relationship. The lack of focus on Dudley Moore, is my only serious criticism of the piece. You only really experience Dudley through Peter Cook, yet the film is set up to imply that it is balanced between the both of them.
I have know idea how true it is, but like all the best biopics, it is utterly convincing and compelling viewing. Arguably Peter Cook invented 'alternative comedy' and this film supports this view, and all his personality flaws as well as his genius.
I would liked to know better how Dudley and Peter met, and how Dudley entered the 'business', this is very glossed over; in fact the film doesn't really go into Dudley's equally long list of flaws, which would have been fun, instead the film gives us a strange mixture of 'noble Dudley' mixed with extremely 'shallow Dudley'. However, (as a Peter Cook fan) I was still very satisfied with the result.
This film contains extreme language used in quite nasty ways, in quite large quantities. I have no problem with this, but if you do, you won't like it!
Hilarious, disturbing and genuinely moving.
The performance from Rhys Ifans is one of the greatest ever given to celluloid and should clean up at the awards. At times it is difficult to remember that I was watching a drama and not a documentary - so credible is Ifans. I have never seen an actor give as convincing a performance where I actually believed I was watching Peter Cook rather than an actor playing him.
Likewise, Aidan McCardle is also very strong as Dudley Moore.
Terry Johnston's script and direction blends light and shade and is always imaginative.
An absolute gem of a movie.
10 out of 10
Johno Hartigan
Did you know
- TriviaMany who knew the real Peter Cook and Dudley Moore objected to the way their long partnership was depicted in this heavily-fictionalized TV movie. Alan Bennett pointed out with considerable acerbity that Dudley Moore, far from being victimized by his university peers because of his working-class origins, was, in fact, enormously envied by them, partly because he was already a success in show business whilst still an undergraduate, and more especially because of his phenomenally active sex-life.
- GoofsThe film states that Cook and Moore's movie Fantasmes (1967) went into production in 1969. In fact, it was released two years earlier.
- Quotes
[Peter discovers Dudley shagging a young woman in his dressing room when he should be getting ready to go on stage]
Peter Cook: If you *do* decide to come on stage, Dudley, make sure you take her off your penis first.
- ConnectionsReferences Not Only... But Also (1965)