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I'm All Right Jack (1959)

 -  Comedy  -  7 March 1960 (Sweden)
7.4
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Ratings: 7.4/10 from 2,329 users  
Reviews: 29 user | 22 critic

A naive aristocrat in search of a career becomes caught up in the struggles between his profit-minded uncle and an aggressive labour union.

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(novel), (screenplay), 2 more credits »
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Won 2 BAFTA Film Awards. Another 1 win & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
Ian Carmichael ...
...
...
Fred Kite / Sir John Kennaway
...
...
Bertram Tracepurcel (as Denis Price)
Margaret Rutherford ...
Irene Handl ...
Mrs. Kite
Liz Fraser ...
Cynthia Kite
Miles Malleson ...
Marne Maitland ...
Mr. Mohammed
...
Waters
Raymond Huntley ...
Magistrate
Victor Maddern ...
Knowles
Kenneth Griffith ...
Dai
Fred Griffiths ...
Charlie
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Storyline

Naive Stanley Windrush returns from the war, his mind set on a successful career in business. Much to his own dismay, he soon finds he has to start from the bottom and work his way up, and also that the management as well as the trade union use him as a tool in their fight for power. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

Three of England's Top Comedians...One Big Laugh Riot!

Genres:

Comedy

Certificate:

See all certifications »
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Details

Country:

Language:

Release Date:

7 March 1960 (Sweden)  »

Also Known As:

Après moi le déluge  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Color:

(archive footage)|

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Ian Carmichael was 38, playing a 26-year-old. See more »

Goofs

Dennis Price, properly noted in the closing credits for his role as Bertram Tracepurcel, has his given name spelled with only one "n" (Denis) in the opening credits. See more »

Quotes

Cynthia Kite: Is them your own teeth?
See more »

Crazy Credits

Opening quote: "Oh! Brave New World that hath such people in't" --William Shakespeare See more »

Connections

Featured in The Ultimate Film (2004) See more »

Soundtracks

Land of Hope and Glory
(uncredited)
Music by Edward Elgar and original lyrics by Arthur C. Benson
Sung by the crowd with modified lyrics outside Aunt Dolly's house
See more »

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User Reviews

 
Benchmark British satire
10 January 2006 | by (Bronx, New York) – See all my reviews

Along with Alexander Mackendrick's "The Man in the White Suit," this is THE great satire of management-labor relations: less allegorical and more cheerfully crass. In a way this movie seems like a sort of crossroads in British comedy, poised between the warmer eccentricities of the Ealing films and and the screw-'em-all pop irreverence of the rising New Wave.

These days the film seems to be primarily remembered for Peter Sellers' magnificent caricature of socialist sanctimony, Fred Kite, but the whole gallery of players, many reprising roles from the earlier "Private's Progress," is excellent. Carmichael, all inane, wild-eyed grins, is Woosterish as ever as the brainless but well-intentioned Windrush. Terry-Thomas produces a very funny sketch of middle-class middle management. It's a perfect picture of lazy hypocrisy: the man who settles into a do-nothing job, knowing exactly how awful it is but not caring so long as he gets through the day. He had a face made for contempt; watching his mustache curl as he reads an entry in the workers' suggestion box ("Filthy beast," he mutters, as he tucks it away in a pocket) or as he picks his way through the rubbish of Kite's wifeless home is a joy. Price and Attenborough are, as always, first-class rotters, the iciest of the moneyed class, and Handl, Le Mesurier and Rutherford add vividly funny moments. As the war over Windrush expands from workplace to societal to domestic spheres, watching the various characters bounce and interact provides some of the movie's best-observed moments, such as the brief tea scene between Rutherford and Handl, who, though inhabiting utterly different worlds, seem to interact perfectly in mutual obliviousness.

And there is Sellers, of course, pitch-perfect whether marching around the factory like the lead float in a parade or rhapsodizing about Russia or going hilariously blank on live television. It's memorable work that might overbalance the movie's double-edged attack if it weren't human enough to be sympathetic as well.

All in all, silly, clever, raucous fun.


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