Confessions Of A Window Cleaner (1974)

While I have done my bit to fight back against the erasure of the British sex comedies that helped to boost the box office numbers for a few years in the 1970s, I am far from an expert on the topic. I will persevere, however, even if it means continuing to see far more of Robin Askwith than I ever wanted. I'm not going to claim that these movies have enduring appeal, nor am I going to say that many of them have an artistry and sophistication unjustly ignored by snobs, but they have earned a place in the history of cinema that remains worthy of note.

Based on a book by Christopher Wood (as Timothy lea), this is the tale of a young man (Askwith) who finds out that being a window cleaner is about more than just cleaning windows. He has to go out of his way to ensure that every client is happy. That's easier said than done though, especially when our young lead ends up taking a proper shine to a female police officer named Elizabeth Radlett (Linda Hayden).

Adapted into screenplay form by Wood and director Val Guest, this is silly and horribly dated stuff. It's based around the idea that all attractive women are really desperate for horny men to help take care of their needs, and also tries to convince viewers that Robin Askwith can often become the main object of their desire. Askwith works in his role because he's very much an everyman, but that also works against him, considering how he is supposed to be able to stir up such a passion in a number of the featured female characters.

The most fun here comes from the supporting cast. Aside from Askwith, who simply has to look cheeky and chirpy, and always ready to jump into bed with someone, there are turns from Anthony Booth (the man who shares the lore of the mystical window cleaner lothario), the aforementioned Hayden, John Le Mesurier and Joan Hickson (sorely underused as the parents of Hayden's character), Bill Maynard and Dandy Nichols (the parents of our randy lead), and a number of other faces familiar to fans of British TV and cinema.

Guest may be very aware that he's not making any kind of absolute classic, especially in contrast to some of his much better work throughout the '50s and '60s, but he knows exactly what he's helming. There's a lot of titillation (despite the extra raunch factor of both this and the "Adventures" series, things are still presented with the emphasis on sauciness ahead of anything truly pornographic. It may be a bit more full-on than the seaside postcard humour of the Carry On movies, a series that fell by the wayside when it tried to balance the milder sensibilities and comforting companionship of the main stars with the more liberal attitudes of cinema-goers, but it's still trying to offer a bit of something for everyone (no pun intended).

People will continue to roll their eyes at me, and they'll pull my leg about my reasons for watching films like this, but I'll continue to bang the drum for the inherent value of these relics. They're a fascinating snapshot of one facet of British cinema, and I'm absolutely delighted to now own many of them in home media releases that also contain a wealth of supplementary features and information providing important context for them. 

Oh, this isn't one of my favourites though, but it's better than any of the instalments in the "Adventures" movie series. 

5/10

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Filmstruck Friday: The Wrong Arm Of The Law (1963)

With a fine British cast, an enjoyable crime caper at the heart of the plot, and plenty of gentle humour throughout, you would be forgiven for assuming that this 1963 movie was one of the many small gems produced by the Ealing Studios. It wasn't. Ealing had passed it's peak by this time, leaving a gap in the British cinematic landscape that I don't think anyone has ever really filled in since (despite the wonderful filmography of Hammer, Amicus, and a few others).

Anyway, let's get back to the actual film. Peter Sellers plays Pearly Gates, a smooth criminal boss who helps to front his operations with his role as a purveyor of fine dresses for women. All seems to be going well for him and the other crime bosses, including Nervous O'Toole (Bernard Cribbins), until a trio of Australian crooks get the bright idea of impersonation police officers and taking their rewards from criminals they catch at just the right time. They seem to have a lot of inside information, causing all of the crime gangs to lose out on a good chunk of change, which puts the likes of Pearly and Nervous in the uncomfortable situation of having to work with the police, mainly Inspector "Nosey" Parker (Lionel Jeffries) and his Assistant Commissioner (John Le Mesurier).

Constantly amusing throughout, The Wrong Arm Of The Law is not a film planned around belly-laughs or big set-pieces (although the finale piles on the satisfying payoffs and breakneck chase scenes). It instead relies on a quality cast delivering great performances.

The direction from Cliff Owen pitches the material exactly how it should play out, and the script (by John Antrobus and the famous duo of Ray Galton and Alan Simpson, working from a screenplay by John Warren and Len Heath) manages to keep everything moving along speedily enough while allowing the performers to play to their strengths.

Sellers gets to put on a couple of different voices, and there's some amusement to be had when he switches between his refined persona and his more uncouth natural style, Cribbins is one of the nicest and politest criminal bosses ever to be seen onscreen, and Jeffries is excellent as the main character being taken for a fool by everyone around him, including his superior (Le Mesurier, giving one of his characteristically unflappable and calm turns - that's how I always think of him anyway).

It may not be up there with the very best of the classic British comedies but I think The Wrong Arm Of The Law is a film that deserves to be seen by more people. Will it become your new favourite? That's highly unlikely. Will you enjoy yourself while the film is on? I think so, even if you don't end up liking it as much as I did.

8/10

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School For Scoundrels (1960)

Based on a popular series of comedic novels, School For Scoundrels is a constant pleasure from start to finish, mixing the best of British with a familiar tale of one poor zero trying to turn himself into a bit of a hero.

Ian Carmichael is Henry Palfrey, the poor schmuck who finds himself in the doldrums when he realises just how much of a schmuck he actually is. He's a polite, nice guy. Which leads to him being patronised by hiw workforce (mainly one man, played by Edward Chapman), having the wool pulled over his eyes by some dodgy car salesmen (Dennis Price and Peter Jones), and, most importantly, being overshadowed in a competition for the woman he loves (Janette Scott) by a charismatic bounder (Terry-Thomas). Hoping to make himself a better man, Henry enrols at The School Of Lifemanship, an institution run by Dr. Potter (Alastair Sim) to teach people all of the tricks required to maintain a position of superiority in any social situation. It might just help him become a winner, but maybe not in the way that he had always envisioned.

Considering the quality of the final product, it seems redundant to comment on how troubled the production was behind the scenes. So I won't. I'll just say that Robert Hamer is credited as director, with Patricia Moyes and Hal E. Chester being the named writers. And, taken at face value (judging by the final result - which is really all there is to do in many instances), they all did their bit to create a minor classic of comedy.

But let's not underestimate the value of the perfect cast. Whether being walked all over or asserting his dominance, Carmichael is, essentially, a very likable lead. This makes his mistreatment all the more affecting, and his attempts to achieve success all the more enjoyable. A good hero, however, needs a good villain, and that spot is taken by the irreplacable Terry-Thomas. Few people, if anybody, could play a charming rogue like Thomas, and he's in his element here. As is Alastair Sim, who fades into the background for most of the main scenes, yet remains memorable thanks to the strong impression he manages to make in the first 10-15 minutes. Scott is suitably lovely as the woman who drives our hero to such extreme "self-improvement", and every other player fits perfectly in their respective roles, with John Le Mesurier also deserving a mention for his wonderfully disdainful head waiter.

Timeless, charming, often outright hilarious, cutting, and smart. School For Scoundrels is essential viewing if you're a fan of any of the cast members, a fan of British cinema, or just a fan of great comedy. You could even call it educational.

8/10

School For Scoundrels was digitally restored for the Studio Canal DVD (August 31st) and Blu-Ray (October 5th) release here in the UK. Extra features include interviews with Peter Bradshaw and Chris Potter (about the film and the source material), and an interview with Graham McCann (about Terry-Thomas). There's also a stills gallery and a trailer.

http://www.amazon.co.uk/gp/product/B00Y0HMYAS?keywords=school%20for%20scoundrels&qid=1441135534&ref_=sr_1_2&s=dvd&sr=1-2

The Hound Of The Baskervilles (1959)

This movie contains so many things that I love that I can't believe I hadn't managed to see it any sooner. Sherlock Holmes, Peter Cushing, Christopher Lee, a seemingly supernatural mystery, this film made me smile within the first few moments (standard upper class Hammer characters being horrendous to some standard Hammer peasants), and that smile just got bigger and bigger as the movie went on.

Cushing plays the famous Baker Street detective, and what a great performance it is. Is it Cushing's best performance? No. Is it the best version of Holmes I've ever seen? No. But, somehow, it's just wonderful enough to watch Cushing being Holmes, and it helps that he's given great support from Andre Morell in the role of Dr. Watson. Christopher Lee is Sir Henry, the man who may fall foul of the curse that has claimed others before him, death caused by a devil hound.

Director Terence Fisher does a great job here, of making both a fun Hammer movie and also a fun Sherlock Holmes movie (although, to be fair, this tale is one of the more Hammer-friendly tales that they could develop for the screen). Writer Peter Bryan takes the story (by Arthur Conan Doyle, of course) and does just enough to tailor the whole thing to the stars without changing too much of what is already a recipe for success.

In case you couldn't tell from my comments above, I think the casting is pretty much perfect. Cushing puts in yet another effortlessly graceful performance, portraying a character well suited to his personality, while Morell is actually one of the better Watsons I can think of. He's certainly in the top tier. Lee gets less to do, but acquits himself admirably, while Francis De Wolff, Marla Landi, Miles Malleson, Ewen Solon, John Le Mesurier and Helen Goss all do their bit to stand out from the other supporting players. De Wolff and Landi are the two who stand out, but nobody disappoints.

It's hard to present such a well-known tale in a way that seems fresh and completely entertaining, but this certainly tries hard, and largely succeeds, thanks to the writing, direction and the great casting of the lead roles. Get those things right and the end result is guaranteed to be enjoyable. That's elementary.

8/10

http://www.amazon.co.uk/The-Hound-Of-Baskervilles-DVD/dp/B0000C24HR/ref=sr_1_3?ie=UTF8&qid=1389278193&sr=8-3&keywords=the+hound+of+the+baskervilles