Friday, May 6, 2016

Messrs Hancock and Rimmer

Tony Hancock, The Rebel, Peter Cook, The Rise and Rise of Michael Rimmer

Revisited two truly great British movies over the recent Bank Holiday that in different ways reflect very stark modern-day realities in the United Kingdom - Tony Hancock's 1961 The Rebel and Peter Cook's 1970 The Rise and Rise of Michael Rimmer. Hancock's movie was the sixth most successful British film of that year at the box office while Cook's political satire was a commercial and critical failure - having had its release held back so as to not coincide with the General Election of that year when Labour's Harold Wilson lost to Edward Heath's Conservative and Unionist Party.

Whereas the latter half of The Rebel tends to fundamentally stall in the main - and I personally have never seen the appeal of Hancock's second and final film The Punch and Judy Man of the following year - the earlier segments of the movie remain utterly joyous. Hancock portrays a thoroughly disgruntled and soul-destroyed banking clerk who dreams of the bohemian life and one day leaves surburban London commuter hell and goes for it in cool France. The scene where he is down to his last sous in a Boho Parisian cafe and becomes so inspired to be even within hearing distance of impassioned artistic debate all around him is priceless. The hook of the movie being that his utterly crap, infantile and shitty art suddenly becomes seen as valid cutting edge product off the back of his own hamstrung idiotic misinterpretations for the awestruck Beatnik cognoscenti.

The Rise and Rise of Michael Rimmer sunk Peter Cook's career in one fell swoop as a solo headline performer though alike Cook and Dudley Moore's 1967 Bedazzled time has been very kind to this work. The movie is essentially the story of a marketing and PR genius' rise to prominence within political Conservatism - without ever breaking sweat or questioning the moral codes of society in truly psychopathic fashion.

The cast of both films are interesting in turn - The Rebel has John Le Mesurier as Hancock's dreary City boss and one of the angry artistes in the cafe in the beginning is a young Oliver Reed. The Cook movie has a great peformance from Le Mesurier's Dad's Army superior Arthur Lowe as an advertising manager whose cushy life is about to be obliterated by the amoral Rimmer down to the point of having to sell his own furniture and car under his wife's nose in the wake of his slick rival's career light flight. Other well known cast members include Graham Chapman, Ronnie Corbett, Diana Coupland, Michael Bates, Ronald Fraser and Denholm Elliott - all of whom are now deceased.

In reality Tony Hancock and Peter Cook were complex personalities on so many fronts and lived fundamentally foreshortened lives - Hancock committed suicide in Sydney in 1968 at the age of only 44 while Cook died of alcohol-related liver damage in 1995 when 57 years of age. Both The Rebel and The Rise and Rise of Michael Rimmer do seem so clearly relevant to irreversible societal changes of the modern day and especially with regard to modern London - vile greed, grotesque media spin, avarice that has altered the national DNA forever, the distancing of the general public from the political classes, staggering social immobility and the retardation of creative endeavour among them.

Indeed recently while on a walk through the bland remnants of Soho to see the new blue plaque to Mary Millington in Great Windmill Street I noticed a chain of art shops in the West End whose frontage was emblazoned with the legend TURN LONDON INTO A CITY OF ARTISTS. The irony being almost overwhelming in a city whose experience of one of the biggest population transfers in global history in the past decade now overlaps with what would certainly appear to be an imminent
collapse in property values off the back of grim Ponzi mischief that will end in very big and very bitter tears. In turn having a creative talent today that is even the equivalent of being in Birkenhead in 1959 with a flashy Rickenbaker and a good voice may alas count for sweet fuck all in the scale of things.

Check out both of these films at some point with regard to a devastated London, a lost England and a mangled British value system.

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