Anthony Hope's classic tale gets a decidedly 'un-classic' treatment at the hands of Peter Sellers. Following the story somewhat, friends of the new King Rudolph of Ruritania fear for his ...
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In this comedy, set during the Nazi occupation of France, Peter Sellers plays most major male parts, so he stars in nearly every scene, always bumbling in inspector Clouseau-style. As ... See full summary »
After the heist of the 'gold of Cairo', an Italian criminal mastermind, impersonating a film director, plans to grab the loot once it's unloaded on the beach of an Italian fishing village where a bogus movie is being filmed.
Anthony Hope's classic tale gets a decidedly 'un-classic' treatment at the hands of Peter Sellers. Following the story somewhat, friends of the new King Rudolph of Ruritania fear for his life, and switch him with a look-a-like London cabby. Throw in two(!) lovely blondes, treachery, and a battle for life and honour, and enjoy life at its zaniest. Written by
Derek Picken <firstname.lastname@example.org>
Not as bad as some people say - but should have been tons better!
This is a very lavish looking, picturesque romp that should have been a sure fire hit. "Porridge" scriptwriters Dick Clement and Ian Le Frenais were the men responsible for turning the classic Anthony Hope into a comedy, which shouldn't have been too difficult bearing in mind the ridiculous scenario linked to the main story. However, this scenario is all they went for, and any characterisation or satirical touches are abandoned and a lot of cartoonish setups such as Gregory Sierra's role and also other segments such as the explosive bowls game and the early scene in the restaurant replace any serious comedy. Therefore, in his dwindling health and sorrowful state, Sellers looks a bit out of place amongst the diving into the water routines and the jumping of a tall castle stints. It is very similar to his Fu Manchu experience two years later (when he also played two roles) in that he's still putting the work in but to little effect. The film is a reminder of his earlier years and really backfires as a poor man's Pink Panther. However, he still proves that he can act (which is a lot more than most actors these days) despite the poor material and backed by a host of regular artists such as Catherine Schell, Elke Sommer (both stars of Pink Pantherfs), Graham Stark, John Laurie, Jeremy Kemp (who had starred in Sellers' The Blockhouse in 1972) - it should have been better considering the quality of Sellers' other films at the time, but it does fall very flat.
9 of 10 people found this review helpful.
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