Piccadilly Jim (2004)

Pretty Good

Good movie but grossly overrated

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Blistering performances.

This is the fourth filmed version of P. G. Wodehouse's comic novel of the same name. It was filmed in 1919 (directed by Wesley Ruggles, younger brother of the actor Charlie Ruggles) and in 1936 (directed by Robert Z. Leonard and starring Robert Montgomery), both times under its correct title. It was next filmed under the title THE GIRL ON THE BOAT (1961), directed by Henry Kaplan, and featuring the famous comedian Norman Wisdom as well as Millicent Martin, Richard Briers, and others of note. And then for this production of 2005, they went back to the original title again. 'Piccadilly Jim' is a wild young man who is the main character, and should be played by somebody truly extraordinary. Unfortunately, here he is played by a somewhat colourless actor who is about as interesting as a crushed toadstool, Sam Rockwell. However, the other performers do their best to 'act around him' and cover up the vacuum of his performance with their own energetic, and often hysterical performances. Tom Wilkinson is a steadying factor, good dependable Tom who can never let anyone down, including his son in this film, played by the nonentity aforementioned. The script by Julian Fellowes, the approach, the director, the design, all conspire in unison to leave the true Edwardian Age behind and enter into an overt fantasy-Edwardian Age for younger audiences who never knew any real Edwardians and might not realize just how hilarious every word that Wodehouse ever wrote really was. For those of us who knew genuine Edwardians (not to mention not a few surviving ancient Victorians as well), the fun of Wodehouse is the way he mocks, taunts, and teases the authentic types of the period by depicting them as the most outrageous caricatures imaginable. And as everyone knows, a good caricature only works if it closely resembles its subject. This film does not closely resemble anything that ever really existed, and was not planned to do so. I personally prefer the Wodehouse adaptations which affectionately and outrageously distort the truth, as opposed to this approach, which is to forget satire altogether and invent a wholly new truth where it is comedy rather than satire that is really the aim. For authentic vintage Wodehouse, one should see the three successive TV series called WODEHOUSE PLAYHOUSE, starring the amazing John Alderton, from the 1970s. Here it must be said that the design, the costumes, the look, are all simply dazzling. Taken in its own right, and forgetting its origins, this film is a tour de force of over-the-top but certainly scintillating fantasy. It takes the word 'camp' and raises it to a higher power. It is also great fun. But it is strictly for non-Purists only. I suppose that makes me impure.

McKay's messy adaptation of 'Piccadilly Jim' is as a confused film. First of all, it can't decide which time it's set in. In the original novel the story was set in the 30s. However, from the costumes one moment one would assume it was set in the 30s, another moment in the 70s and sometimes in 2004. Perhaps it was McKay's intention to create an ambiguous period but what we are left with is more like something of a joke. His direction lacks focus. The story lacks coherency and consistency as much of it feels very rushed. Moreover, there are plenty of plot holes and bloopers. Anyone notice the skyscraper when Ann and Jim are in the balcony? Sam Rockwell makes the best of what he's given. Understandably, Frances O'Connor appears very uncomfortable in her role. The supporting cast, that includes Allison Janney, Tom Wilkinson, Tom Hollander and Brenda Blethyn suffer from poor characterization. Overall, 'Piccadilly Jim' is a missed opportunity and a waste of these talented actors.

This film has no redeeming features whatsoever. I knew what I was in for when I saw that it was made in the Isle of Man. What is it about films made there over the past ten years or so? Why are they all so lousy? Think Blackball. Think The Dark. You look at all of the cast and crew and you think - Why did it end up so bad? Decent actors who look like they can't wait to get the money and sod off on the next ferry. The direction is woeful yet John McKay has done OK TV work. The editing is some of the worst I have seen, yet you look at David Freeman's track record and you go fair enough, he must know his stuff. The script is by Oscar winning toff Julian Fellows, surely he must know his Wodehouse back to front? It looks like a sure fire winner. I warn you, its all true...no wit, no style and no fun.

There are not many actors whose appearance in a movie is reason enough for me to watch. Sam Rockwell is one of them. His unique charm was perfectly suited to the quirky indie movies he's played in. It was inevitable that his shot at big time Hollywood would come. First George Clooney insisted on him for "Confessions of a Dangerous Mind" and then he co-starred with Nicholas Cage in "Matchstick Men". For a brief moment I feared we would loose Sam. But no, his next career choice was to be "Piccadilly Jim". If you've not heard of it, not to worry, it went most deservedly on the straight-to-video route.The thing is – the industry simply has little faith in Sam Rockwell. Just look at the Video and DVD art work of his movies. In "Lawn Dogs" (his finest film) – he's barely off the screen, and yet the art work is dominated by Angie Harmon who barely has a minute of screen time. One can forgive "Confession of a Dangerous Mind" for such treatment when co-stars include Clooney and Julia Roberts – but Angie Harmon ?! The art work of "Piccadilly Jim" is equally unfair. Rockwell has the title role and yet who should dominate the art work but Alison Janey, in a very minor part. What makes Sam Rockwell such an appealing actor is the inability to pigeon hole him. But it would seem that the powers that be in the industry hold that against him."Piccadilly Jim" is a hugely misguided effort which backfires in all departments. Even the likes of Brenda Blethyn and Alison Janey fall short, while Frances O'Connor is completely out of her depth. Only Sam Rockwell, miscast as he might be, is, as always, terrific. Steer clear of this one on all accounts. Search out Rockwell's earlier works and here's hoping he'll be more fortunate with future projects.