A cosmetic salesman sets out to prove to himself and his wife that he is not a failure.

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(story), (story) (as Peter de Sarigny) | 1 more credit »
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Cast

Cast overview, first billed only:
...
John Cummings
...
Lionel Meadows
...
Anne Cummings
Adam Faith ...
Tommy Towers
Carol White ...
Jackie
Mervyn Johns ...
Alfie Barnes
Noel Willman ...
Inspector Thomas
David Lodge ...
Cliff
Peter Jones ...
Alec Berger
John Bailey ...
Mackinnon
...
Regan
...
Pennington
John Dunbar ...
Station Sergeant
Charles Houston ...
Cyril Spink
Cyril Shaps ...
Cypriot
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Storyline

A cosmetic salesman sets out to prove to himself and his wife that he is not a failure.

Plot Summary | Add Synopsis

Taglines:

Peter Sellers in a new and exciting role!

Genres:

Crime | Drama

Certificate:

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Details

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Language:

Release Date:

14 June 1963 (USA)  »

Also Known As:

A Fúria de um Bravo  »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

When Richard Todd is talking to the police outside the run down building that houses Mervyn Johns' flat, there is a peeling poster on the wall advertising the 1955 production of the play The Remarkable Mr Pennypacker starring Nigel Patrick and Elizabeth Sellars. See more »

Goofs

About five minutes into the film, Cummings (Richard Todd) is looking for his lost car. One of the shots is "flipped" - you can see the sign for "Berger's Cosmetics" but it's backwards. See more »

Connections

Referenced in The Life and Death of Peter Sellers (2004) See more »

Soundtracks

When Johnny Comes Marching Home
(uncredited)
Traditional
Arranged and conducted by John Barry
Lyrics by Louis Lambert
Sung by Adam Faith
Heard over the opening and closing titles
See more »

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User Reviews

Successful experiment in casting against type.
26 August 2003 | by (London, England) – See all my reviews

Of course, it's Peter Sellers' name which has attracted attention to this little-known film, made at a time when he was trying out some serious acting work in addition to his renowned comedy talent. It must be said that he does pull off a remarkable performance. As the gangster, Meadows, he does a lot more than put on a tough voice and bash a few heads in. He perfectly portrays an outward smoothie, concerned for appearances, a man who doesn't like getting his hands dirty - but underneath is a barely-repressed streak of sadism verging on psychopathic tendencies. There is a remarkably daring scene (for the time) which distinctly adds a sexual dimension to his dominant personality. As he tells Carol White to take her top off, the sound of his breathing and the look in his eyes verge on the shocking, and the fact that it is Peter Sellers performing this, adds to the shock value.

However, Sellers does not upstage the film from Richard Todd who is also cast considerably against type. In films of this period Todd always played the handsome debonair hero, but in a complete reversal Todd here plays what the Americans refer to as a "milquetoast". But again, multidimensionality in the character is beautifully brought out, as Cummings starts to show the obsessive side of his personality. The expository scene in which his wife tells him, as gently as she can, that he has always been a failure, and that getting the car back would not, as he claims, solve all their problems, is beautifully handled by Todd and Elizabeth Sellars as his long-suffering wife.

This film, an X-Certificate upon release (equivalent to 18 or NC-17 certificates today) doesn't shirk from showing the execution and effects of violence. One scene, in which Todd gets badly beaten up by David Lodge (of all people), must have represented a very early usage of amplifying the sound of a fist hitting a torso for the purposes of magnifying the horror. This scene remains effective over forty years later. As a result of this, the film acquires a beautiful sense of unpredictability. There's clearly going to be a showdown between Cummings and Meadows, but the film very effectively adds to the suspense by a long sequence in which Cummings in a cafe and Meadows in his penthouse flat are both shown waiting for it - without any clue tipped to the audience as to what finally will happen. John Barry's score is very effective, if a trifle old fashioned, in heightening the tension - Barry's trademark chord progressions are still a way off in the future.

De Sarigny and Guillermin put together a brilliant script, two wonderfully talented actors and superlative direction to create a great British noir movie which should be more widely known.

Incidentally, for young Harry Potter fans who think the car in "The Chamber of Secrets" was made up, here is the proof that the Ford Anglia really did exist, all the way back to 1959 (although sadly it doesn't fly) - here an example of one is the cause of all the trouble.


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