WITH the summer blockbusters screened and forgotten, attention turns to autumn movies and ones that might attract BAFTA nominations.
The 50th anniversary release of Jaws is a reminder of how popular cinema still is, attracting audiences both young and old. Computer-generated imagery (CGI) has literally transformed the genre, facilitating some truly spectacular cinematography. Yet for countless individuals there will always be fond memories of films from yesteryear that, despite all today’s technical wizardry, cannot be surpassed.
Remakes are a tricky area because traditionalists inevitably draw unfair comparisons with the original, and modern actors struggle to portray characters with the verve and professionalism of their forerunners. The 1998 remake of Pyscho and 2016’s Ben-Hur are two examples.
Which is why I am delighted to report on one upcoming British film which, in my opinion, betters the original by some distance.
It is a deft re-boot of the Boulting Brothers’ 1959 BAFTA-winning classic I’m All Right Jack, which many readers will fondly remember for Ian Carmichael’s wonderful portrayal of Stanley Windrush alongside Peter Sellers’s inspired bolshie trade unionist Fred Kite. It is a credit to both the producer and director that this contemporary interpretation manages to inject a fresh twist while remaining largely faithful to the original picture. The real accolades however must go to the all-British ensemble who have been perfectly cast in their roles — each eager to make this production a box office smash. Not since the glory days of the Carry Ons has such a harmonious troupe been assembled
Boris Johnson (Our Man in Kiev, Oven Ready Deal, Lockdown) has made a successful career out of playing inept, tousle-haired toffs and here, while he could play it with his eyes shut, delivers an outstanding performance full of obvious enthusiasm that one can really appreciate. His interpretation of Windrush is a masterclass in acting, blending hopelessness and stupidity. He will have the audience rooting for him to be a success.
The casting of Kite was always going to be a tricky task, more so given the multitude of actors qualified for the role. Yet in selecting veteran performer Jeremy Corbyn (Islington Donkey, Party with No Name, Deranged) they have secured the talents of an actor best known for his obdurate dedication to his craft and without question one of the greatest exponents of method acting rivalling Daniel Day-Lewis, Al Pacino and Robert De Niro.
His immersion into the role of Kite is remarkable and audiences will really believe that they are in the presence of an irascible, delusional communist agitator. Anecdotally we hear that Jeremy insisted on being allowed to ad-lib certain scenes to lend verisimilitude to his character. Look out for his trademark expressions; one out – all out, we’re working to rule, and perhaps his most loved catchphrase, from the river to the sea.
Irene Handl memorably played Fred’s long-suffering wife in the original film and finding a modern-day Mrs Kite would always be a difficult commission, yet the producers have struck comedy gold with distinguished thespian Emily Thornberry (Snob! Rochester Flag, Troublemaker). She brings her own unique interpretation to the character and effortlessly drips a bossy condescension into everything she says and does. I could well see this as a vehicle that will resurrect her faltering career.
The love interest in the shape of Kite’s daughter Cynthia is taken by soap actress regular Angela Rayner (Home Alone, The Wine the Witch and the Wardrobe, Dinghy Trouble!) who steals almost every scene she appears in.
Dennis Price, who played Bertram Tracepurcel, Windrush’s uncle, was widely recognised as being a top-class thespian and locating someone of similar stature who was free to give over a year to filming proved a headache for the production team. As luck would have it, a European venture cancelled at the last minute freed Keir Starmer who, despite no formal training, has regularly been cast as a leading man. With his chiselled good looks and enviably thick hair, he has captivated audiences in films such as The Loneliness of the Long Distance Toolmaker, A Tale of Two Tier Cities, Specs Appeal! and The Man in the Free Grey Flannel Suit.
Traditionalists might find fault with Keir’s rather unlikeable characterisation and a somewhat monotonous robotic delivery likened to the speaking clock, but these are small quibbles.
Jacob Rees-Mogg takes to the part of Major Hitchcock, the personnel manager, like a duck to water and perhaps delivers one of the funniest lines in the film when peering over a wall to ask: ‘Is this an illegal migrant place?’
Verdict: a film that will appeal to all ages.
