The professional and personal life of actor and comedian Peter Sellers was a turbulent one. His early movie fame was based primarily on his comic characterizations, often of bumbling and foreign-accented persons, characters which he embodied. As his movie fame rose, he began to lose his own personal identity to his movie characters, leading to self-doubt of himself as a person and a constant need for reassurance and acceptance of his work. This self-doubt manifested itself in fits of anger and what was deemed as arrogance by many. In turn, his personal relationships began to deteriorate as his characterizations were continually used to mask his problems. His first wife, Anne Howe, left/divorced him and his relationships with his parents and children became increasingly distant. His relationship with his second wife, Swedish actress Britt Ekland, was based on this mask. In his later life, he tried to rediscover himself and his career with what would become his penultimate film role, ... Written by
In the original concept, the screenwriters wanted Peter Sellers to comment on himself through his own characters as they sat around the War Room set from Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). The idea was dropped because it would have been prohibitively expensive in royalties. As an alternative they decided to have Sellers speak about himself through the characters from family and colleagues. See more »
A cinema marquee advertises _Ghost in the Noonday Sun (1973)_ despite the fact that this film was shelved until after Sellers' death and never received a theatrical release. Similarly, _The Blockhouse (1973)_ didn't have a U.K. theatrical release but is shown playing on a London marquee. See more »
I'm under a lot of pressure, I could use your support.
You've always had my support, Peter. It's my patience that I'm no longer sure about.
See more »
The frame freezes and the end credits start. After some informations about the last part of life of Peter Sellers have scrolled up the screen, the credits stop and the camera suddenly pulls back, revealing Geoffrey Rush watching the end titles sitting in front of a monitor on a studio set. He turns toward the camera, waves, gets up, leaves the set and walks to a trailer. The camera tries to follow him inside, but he turns and says "You can't come in here". The door closes, and the camera zooms in on the sign with the name "Peter Sellers". The film again fades to black and we see the rest of the end credits. See more »
Biopics are a devilish thing. Is as if the subject himself boycotted the operation from beyond the grave. The ultimate breach of privacy, isn't it? One feels like a voyeur, compelled and revolted at the same time. Goeffrey Rush's brilliant portrayal makes things even worse, I mean better, no I meant worse. A life of massive ups and downs for public consumption. Peter Sellers with a Cary Grant complex and a talent bigger than himself told in bits and pieces. To the ones who know about Sellers is a rather frustrating experience. Dr.Strangelove yes but not Lolita? The relationship with Blake Edwards deserves a movie of its own. The first massive heart attack was during Billy Wilder's "Kiss Me Stupid" but there is no mention of that. I know that to compress such a life without a structure within a two hour film it's an impossible task so what we're left with is a courageous attempt at tell us the sickly existence of one the greatest that ever was, a superlative performance by Goeffrey Rush, an astonishing Charlize Theron as Britt Eckland and very little else. I suppose that should be enough. Yes, it should, shouldn't it?
39 of 47 people found this review helpful.
Was this review helpful to you?