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
Although the scenes featuring Emilia Fox's performance as Peter Sellers' fourth wife Lynne Frederick were left out of the final cut, Fox is still visible in the background of the scene showing the filming of a scene from Being There (1979). She is the blonde woman standing behind the cameraman and crew behind Peter Sellers (Geoffrey Rush). In a deleted scene on the DVD, there is a continuation of this scene. After the take is over, Lynne tries to talk to Sellers, but he remains in character as the simpleton Chance. See more »
At the beginning of the scene where Sellers flies to Rome to film The Pink Panther, footage of a BEA Hawker Siddeley Trident taking off is shown. This plane didn't enter service until 1964, the year after "The Pink Panther" was released. See more »
[Peter Sellers and Stanley Kubrick are riding in a limousine]
Three character is enough. Three is a good number.
You're being paid for four.
You're stretching me too thin, Stanley. Who do you think I am?
I think you're whoever I want you to be.
Then who am I now?
Peter, have you ever heard of Mutually Assured Destruction?
Hum a few bars and I'll join in.
It refers to when both sides in an atomic conflict are so powerful that if either side were to take action, it would inevitably result in the ...
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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?
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