I'm All Right Jack (1960)

A different way of telling a story

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Made as a follow up movie to Private's Progress setting several of the same main characters in industry, I'm Alright Jack way exceeded expectations to become one of the most celebrated British comedies of all time. Everyone is on top form from the scriptwriter and director to every actor. There are so many above average performances here it seems unfair to single individuals out although the inclusion of up and coming character actor Peter Sellers in typically meticulous form lifted it high above the ordinary.It's sharp as a razor in its depiction of British industrial relations and a lot less dry than previous satires on the theme like Ealing's The Man In The White Suit. This is a far harder hitting satire with a more realistic 'getting down with the workers and shirkers' feel which squeezes a lot of humour out of the coarse blue collar language and working practices. Chock full of subtle visuals and verbals, this film is a joy to watch not just once but many times - very rewatchable.Other memorable highlights are the cross class relationship of posh but pleasant twit Ian Carmichael and the sultry spindle polisher (ha ha) Liz Frazer and has a pleasing hint of chemistry to it. Made in a period where your class still very much mattered in England it shows the real needle between the lower and upper classes at its height with both the workers and the management trying their best to get one over the other. The film's biting satire was aimed as much at the unscrupulous business practices of greedy owners and playing the stockmarket as it was the manipulative unionised workers who demand the best pay and conditions for their meagre efforts and are quick to down tools to get them. It may be a terrible advert for British industry which rang very true to life of the next two decades but it's a stonkingly good one for British comedy, the one industry in which the Brits are genuinely hard to beat.

To watch this film, you would think that Britain is the center of the universe. Never once do they mention any other country, such as Canada, America, Argentina or Iceland. No, it's all about Britain, Britain, Britain (oh, and Russia). And missiles, missiles, missiles. There are lots of speeches about how important missile production and exports are to the economy of Britain (or is it England, or Great Britain, or GB, or U.K.? I do wish you UKers would make up your mind!) I'm All Right Jack is fine, if you like listening to lots of patriotic propaganda, which I, being an American, love to do. Now I can see why you Brits are always assuming Hollywood is an extension of the U.S. Department of Propaganda and Patriotism, because that's what Pinewood Studios is. I keep reading reviews by Brits complaining about how every American movie they are FORCED to watch is nothing but more American propaganda that doesn't even give credit to England for all the contributions you Englanders have made to civilization over the centuries, like inventing Shakespeare, tabloid journalism and blancmange. Well, America makes missiles, too. How come American missile production wasn't worked into the plot? And we've got unions, too. Why not have an American union official working at the missile plant as a sort of union exchange program, kinda like the role Peter Sellers had in Dr. Strangelove? Now, there's a fine patriotic American war movie that even included a Brit and a Russian in the plot, so quit complaining, England!Peter Sellers delivers a subtle, dramatic performance of the harried union leader whose wife and daughter move out, leaving him to fend for himself, with results along the lines of The Odd Couple, as his boss darns his socks for him.The movie, and in particular the television talk show, Argument, is a remarkably realistic depiction of life in Great Britain today. A rich twit (is "twit" the right word to describe Stanley Windrush? I picked up the odd bit of vocabulary from your excellent documentary television program, Monty Python) seeks fame and fortune in the noble calling of Industry, not too heavy and not too light, wanting at least one afternoon off per week. (Spoiler alert) Yet in the eyes of his co- workers and union members, he is working too hard and seems a mite worn out, so he is sent on an all-expenses paid vacation to Coventry with a bag of cash, a gift from his boss and union. From this it is safe to assume that all Brits are lazy union members, except for the moneyed upper classes, who are lazy twits, and Stanley Windrush, who is a hard working, hard driving forklift driver.But no good deed goes unpunished, and Windrush dumps the cash on the table during an argument on Argument, causing a stampede in front of the cameras. He gets arrested for being a pain in the ass, which is illegal in the United Kingdom, and is sentenced to a year in a very realistically portrayed nudist colony. There, he gets chased across a field by all the pretty girls, wanting him to play with them. That's what happens to me, too, every time I go to a nudist resort. It's torture, and a fitting punishment for the evil Windrush, (spoiler alert) who dies when the union shop steward at Missiles Ltd. targets the nudist colony with a missile that fell off the back of a truck. Serves them right, too. As we all know, Brits are a bunch of preverts practicing their preversion. Have a nice day.

Anyone who thinks Old British films are 'quaint' should watch this, one of the sharpest satires ever made. A finer film on industrial relations has never been made and I doubt could be made now in the current climate of intellectual dishonesty. The film makers do not take the easy route in blaming one party or another but holds them all up to scrutiny. The bosses, the unionists, the clients are all (rightly) shown as self motivated and cynical. Fred Kite is a character very familiar even in modern British politics (Bob Crowe still thinks and talks very much like him), with his hilariously Utopian views on the impoverished horror state of the USSR "fields of corn and ballet in the evening". The bunkum of the bosses is hardly less true and delightful to behold.

I like me some British comedies from all over the spectrum (Kind Hearts and Cornets, Ruling Class, Python stuff, Lady Killers, etc.) but this ungodly, slow-moving plot wrings profoundly meager humor from its social commentary. At a factory the layabout socialist workers are one powerful faction and management is another. Each tries to get the upper hand, as an eager and "horrors!" productive new worker upsets the delicate balance. That's not a bad premise, but the movie is a neverending chain of lost opportunities. In the end it goes all Frank Capra when the new worker finds his conscience during a live TV show.It doesn't exactly move. At the 30 minute mark, the premise is still creakily coming together. After a very long first hour, I still hadn't even grinned once. Not only is Sellers not funny, but the script is humor free. If there are laughs in it, I'd need a team of British paleontologists to help me find them. I found this movie long and trying. 'The Mouse the Roared' is another promising comic concept executed horribly like this. If you had to watch one of the two, this is slightly more competent. A satire without a single laugh.