HEAD IN THE CLOUDS is a sweeping romantic drama set in 1930's England, Paris, and Spain. Gilda Bessé shares her Paris apartment with an Irish schoolteacher, Guy Malyon, and Mia, a refugee ... See full summary »
A fictionalized account of the first major successful sexual harassment case in the United States -- Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit.
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
When Peter Sellers is in the car having sex with Sophia Loren's body double, the song being played is "Goodness Gracious Me". This particular song was performed as a duet between the real-life Sellers and Loren, and was a hit in late 1960 in the UK and throughout Europe. See more »
When Sellers finds out (via the newspaper) that Britt Ekland is arriving in London it is the early 1960s, yet on the wall of his room at the start of the scene is the UK film poster for his film Undercovers Hero. See more »
[Peg visits Peter on the Dr Strangelove set, but he stays in character as Strangelove the whole time]
How was lunch with your son, Mrs Sellers?
I don't know really. I didn't see him.
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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 »
Peter Sellers is without question one the greatest comical geniuses of not just the 20th Century, but of all time. Rush's portrayal of Sellers is brilliant, a man whose true self was as transparent of one his many character creations. For those seaking an "A&E Biography Channel" type film will be sorely disappointed as was I. I wasn't prepared for this alternative packaging of the material. I've seen it twice an am afraid it will be a third viewing before I am truly able to grasp it's full meaning. In as well crafted a movie can be, the camera work, set decoration, period computer enhancements to better reflect the era, all work together in producing a beautiful piece of cinematic eye candy. So much so that is takes away from the story to be told. If trying to show this tragic human bankruptcy, mortgaged in a quest for fame and fortune, then the producers did a fine job.
One doesn't know whether to love or hate Sellers. It's not hard to understand why those close to the man disapprove of this film's tone. In a mad-cap dash that gallops all over the globe, in and out of the arms of the world's most beautiful women, we see a man consumed with lust and how the condition can drive men obscenely crazy. For a unique look at the life of Peter Sellers, one can't go wrong by watching this movie.
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