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
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 »
The BBC broadcast a version with some scenes rearranged, some scenes shortened and a few other edits:
The montage of Peter Sellers' earlier films is cut together with the scene where he moves into a big new house with Anne and the children. Also the song 'I Haven't Told Her, She Hasn't Told Me' sung by Peter is played instead of Frank Sinatra's 'Fly Me to the Moon'.
The first Maurice Woodruff scene and the car showroom scene are moved ahead to after Peter's father's death scene, swapping places with the scene where he phones Harry Secombe asking if he wants to come over for a beer. The car showroom scene also replaces the Shirley Bassey song 'Big Spender' with incidental music composed for the film.
The first Maurice Woodruff scene begins with a shot of Peter smoking a cigarette in the waiting room before cutting to a shot of Woodruff's book, which is where this scene begins in the original version.
The Harry Secombe phone call scene is shortened, cutting out the bit where Peter tells his son to go to his room.
A shot of Peter as Dr. Strangelove saying "Boom" is added after the Dr. Strangelove filming scenes.
Peter and Britt Ekland's wedding reception scene is shortened slightly, the shots of the children on the carousel are cut out.
The scene where Peter drives Britt to the hospital to give birth is shortened, cutting out footage of the car going past a church, pulling out in front of another car and Peter telling Britt to keep breathing.
The very brief scene of Peter seeing a plastic surgeon followed by shots of him in a makeup chair and taking pills is cut out.
The scene where Maurice Woodruff tries to get Peter to do another Pink Panther film is shortened, the bit where he channels Peter's mother and tells him to do the film is cut out. Also a different take is used when Maurice gets out the film script, instead of saying "Are you absolutely sure about that?", he says "Are you sure about that?".
The scene of Peter in his trailer dressed as the old salty sea dog is moved back to in between the scenes of him agreeing to make The Pink Panther Strikes Again and the film's premiere, making it look as if this character is part of that film when actually he appears in Revenge of the Pink Panther. In the original version this scene takes place later on, after a shot of Peter picking up a Revenge of the Pink Panther script. Whereas this version changes this shot to show a Being There script.
The scene of Peter in character as Blake Edwards is shortened. The line at the end of the scene "What did he do after me? The only thing he never gave up on" is cut out.
The montage of Peter doing character preparation for Being There and burning his old movie stuff is arranged differently. The overlaid shots of him doing The Goon Show and playing Strangelove, Clouseau are removed, although a shot of him burning a photo of President Merkin Muffley and a shot of the Being There novel in his pocket are added.
In the first shot of Blake Edwards waiting for Peter at the restaurant, instead of starting with a close up of the script for The Romance of the Pink Panther and cutting just before a waiter pours water into a glass, it starts with the water pouring into the glass, using a different part of this same take.
At the ending, when after the closing text it zooms out to show Peter watching it on a monitor and getting up to go to his trailer after which the end credits roll, this version inserts after the text another shot of Peter standing in the snow, then the cast list rolls before the zoom out to Peter watching it on a monitor. Also in this version The Kinks' song 'A Well Respected Man' starts playing as Peter gets up to go to his trailer, in the original version incidental music is played here instead and 'A Well Respected Man' doesn't start playing until the credits roll.
I'm a sap when it comes to movie watching so the peeling away of the character of Peter Sellers made the film a hard watch for me. That in no way implies anything derogatory about this wonderful film, just that Seller's life as depicted on the screen made me uncomfortable watching it as it unfolded before me.
Intellectually I can understand the forces driving Sellers but I find it difficult when these forces begin to devour the personality behind them as happened to Sellers throughout the film. You're left with those timeless questions about the price of greatness and with this movie you're left with even more than the viewer might be expected to deal with.
It was not pretty watching the Greek tragedy that was the life of Peter Sellers and now, having seen the movie only several hours ago, I have great respect for Rush and the director for having crafted such a brilliant film. I can't imagine another actor who could have brought Sellers to life so accurately. The film was far from straight forward-it pulsed and entwined itself around Seller's life such that the viewer was challenged constantly to involve themselves with the characters rather than being a dumb waiter between screen and viewer.
A tough, excellent film not to be missed.
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