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Your next sale may be your last!
Pete has recently got a new job as a vacuum cleaner salesman. His mentor is the veteran Tommy, whose... See more » | Add synopsis »
1 nomination See more »
User Reviews:
The film that made a somber audience laugh hysterically three days after 9/11! See more (18 total) »


  (in credits order)

Timothy Spall ... Tommy Rag
Michael Begley ... Pete
Katy Cavanagh ... Sheila
rest of cast listed alphabetically:
Caroline Ashley ... Uki
Alice Barry ... Lorna
Terry Barry ... Ted
Julie Brown ... Receptionist
James Cartwright ... De Kid
Lorraine Cheshire ... Hot Pot
Keith Clifford ... Sidney
David Crellin ... Mr. Ron
James Foster ... Porter
Sandra Gough ... Spaniard
Marvin Henriques ... Tony
Renny Krupinski ... Pockmark
Rodney Litchfield ... Throat
Gareth Miller ... Mugger
Caroline Pegg ... Boney Lyn
Maggie Tagney ... Stonecheeks
Miriam Watkins ... Claywoman
Jonathan Bridge ... Bespectacled Man at Party (uncredited)
Jason Croot ... Gangster (uncredited)

Directed by
Danny Boyle 
Writing credits
(in alphabetical order)
Jim Cartwright 

Produced by
Martin Carr .... producer
Des Hughes .... associate producer
Hilary Salmon .... executive producer
David M. Thompson .... executive producer
Original Music by
John Murphy 
Cinematography by
Anthony Dod Mantle 
Film Editing by
Chris Gill 
Casting by
Beverley Keogh 
Production Design by
John Coleman 
Art Direction by
Emer O'Sullivan 
Sue Pow 
Costume Design by
Susannah Buxton 
Makeup Department
Elizabeth Armistead .... makeup designer
Janet Horsfield .... makeup assistant
Second Unit Director or Assistant Director
Ann Iveson .... third assistant director
Cath Lill .... second assistant director
Claire McCourt .... first assistant director
Art Department
John Brown .... property master
Michael Preece .... production buyer
Ben Sweet .... props
Sound Department
Tim Alban .... dubbing mixer
Tim Alban .... sound re-recording mixer
Chris Cartwright .... boom operator
Dennis Cartwright .... sound recordist
Rory Farnan .... dubbing editor
Bernard O'Reilly .... dialogue editor
Jonathan Seale .... boom operator
Visual Effects by
John Harvey .... cg supervisor
Tony Lawrence .... digital compositor
Jim Parsons .... visual effects
Peter Brayham .... stunt coordinator
Dean Forster .... stunts
Nick Wilkinson .... stunt performer
Camera and Electrical Department
Thomas Neivelt .... gaffer
Chris Ogden .... assistant camera
John Rundle .... grip
Tony Wilcock .... best boy
Costume and Wardrobe Department
Liza Bracey .... wardrobe supervisor
Lee Joseph .... costume assistant
Editorial Department
Peter Bach .... head of post-production
Nina Bradley .... assistant editor
Music Department
Simon Denny .... score engineer
Other crew
Lesley-Ann Barcroft .... production secretary
Vicki Breene .... production secretary
Jess Cleverly .... script editor
Andrew Cooke .... location manager
Lindsay Grant .... continuity
Dan McTiernan .... production runner
Jacqui Rafferty .... production coordinator
Louise Townsend .... production runner
Eve Wheeler .... production accountant
Nathan Woods .... production accountant

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
76 min
Aspect Ratio:
1.78 : 1 See more »
Sound Mix:

Did You Know?

Revealing mistakes: Near the beginning, the chap with the glass eye proudly announces "Look at me, I made it. And I've got a glass eye". Both eyes then swivel to look at Pete, then away, showing us that it is a contact lens.See more »
Pete:The lady downstairs has collapsed - in there! She's in there all... collapsed! And then, there was fire, and I'm puttin' it out. I kicked a door. Oh god, I didn't know! She's still lying there! She's in there, dead, dead I tell ya! Sheila's gone. Oh, Sheila left me. I was in the street, I went in there
[Pete points to the old lady's room]
Pete:, you came; I don't know what's happening. Say something.
Tommy Rag:Supercalifragilisticexpialidocious. Say it.
Tommy Rag:Go on! Say it! Docious-ali-expi-fragilistic-ali-super! You're late! And you've got a partial picture of the 1966 England Wall Cop Squad on your forehead...
See more »
Morning Train (Nine to Five)See more »


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11 out of 17 people found the following review useful.
The film that made a somber audience laugh hysterically three days after 9/11!, 10 March 2002
Author: Art Snob from Rochester, NY USA

You won't find a much tougher crowd for a comedic movie to premiere to than one assembled just three days post-9/11. That was the fate of a pair of new Danny Boyle movies that premiered at the 2001 Toronto Film Festival, and such is the power of VACUUMING COMPLETELY NUDE IN PARADISE that it was able to evoke convulsive laughter even from an audience this somber.

Boyle, who soared with the British films SHALLOW GRAVE and TRAINSPOTTING, then fell on his face with the Hollywood duds A LIFE LESS ORDINARY and THE BEACH, is clearly back in his element and back in form. It would appear that he's been reborn of the freedom that digital technology affords today's daring (and invariably under-financed) filmmakers. He's obviously fascinated with the limitless possibilities for camera placement, embedding miniature cameras all over the sets to permit individual scenes to be viewed from a rapid-fire succession of perspectives. His editing and music skills, combined with stellar camera-work by noted dogme cameraman Anthony Dodd Mantle, results in a raw, exciting new 'dogme-MTV' type of look that's certain to accelerate the acceptance of digital film-making.

But 'look' alone cannot make a movie. You still need a script to work with, and Boyle is blessed here with an outstanding one from Jim Cartwright. The story is nothing less than a bold and brilliant comedic re-conceptualization of Arthur Miller's DEATH OF A SALESMAN for the digital age. (Note: People with actual sales jobs will be just as helpless to resist from laughing as anybody, but for them, the laughter will be of the 'so that I might not cry' sort - trust me.) Unlike Miller, Cartwright doesn't play coy with what the salesman is actually peddling -- you know right from the start that it's vacuum cleaners.

The 'surrogate' character in this film is a likable young slacker named Pete (Michael Begley) who loves dance music and has some mixing talent, but hasn't been able to carve out any kind of career in the music biz. His girlfriend has to perform strip-o-grams in order for them to make ends meet, and they both want out of this situation in the worst way. The girlfriend's plight gets especially humiliating one night when she performs at a retirement party for a vacuum cleaner salesman, and on a suggestion, Pete decides to pursue a career in this profession as a way out for both of them.

Enter the most blazing, mesmerizing, maniacal lead performance by an actor in many a moon. Pete is made an apprentice to star salesman Tommy Rag, played with incredible over-the-top intensity by veteran Timothy Spall. If there were an ABSOLUTE 'best actor' award for the BEST performance, period, in a given year, Spall would be my hands-down choice for 2001. He makes EVERY ruthless salesman in movie history (Kurt Russell in USED CARS, the gang from THE BOILER ROOM, etc.) look strictly 'soft sell' by comparison. This is truly a performance for the ages, one that's certain to skyrocket Spall's status in the acting community. There just aren't WORDS for it . he's off the MAP here!

You may think that you've seen the 'rookie paired with vet' thing done to death in the movies, both in dramatic and comedic contexts, but I can assure you that you've never seen anything even close to the 'eye of the hurricane' variant that Boyle has come up with here. What he's managed to pack into little more than an hour's running time is astounding ... a fully realized comic tragedy of Shakespearean proportions that manages to be relentlessly and mercilessly funny. Having now seen it for a second time following a near six-month wait since that memorable premiere in Toronto, I can add that it holds up sensationally to a repeat viewing. (Spall speaks with an unfettered Manchester accent, and there's no way that American audiences can absorb ALL of his great lines in one viewing.)

About the title: It comes from Tommy Rag's one moment of quiet reflection in the movie ... when he relates to Pete a very Freudian dream he had after seeing a chilling portent of doom on the previous day. It's a short-lived peek into Tommy's hidden humanity ... but this scene definitely adds resonance to the memorable final scene.

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