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
Won the most Emmys for a made-for-television movie without winning for the Outstanding Made for Television Movie award. It won nine Emmy Awards for Outstanding Cinematography for a Miniseries or Movie, Outstanding Hairstyling for a Miniseries, Movie or a Special, Outstanding Prosthetic Makeup for a Series, Miniseries, Movie or a Special, Outstanding Single-Camera Picture Editing for a Miniseries or a Movie, Outstanding Sound Editing for a Miniseries, Movie or a Special, Outstanding Special Visual Effects for a Miniseries, Movie or a Special, Outstanding Writing for a Miniseries, Movie or a Dramatic Special, Outstanding Directing for a Miniseries, Movie or a Dramatic Special and Outstanding Lead Actor in a Miniseries or a Movie--Geoffrey Rush. See more »
A cinema marquee advertises Ghost in the Noonday Sun despite the fact that this film was shelved until after Sellers' death and never received a theatrical release. Similarly, The Blockhouse didn't have a U.K. theatrical release but is shown playing on a London marquee. 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 »
Interesting film of a deeply disturbed, unpleasant person
I never thought I'd find myself feeling sorry for Britt Ekland: this film of Peter Sellers' life and career achieved that. One must assume that many of the details are based in truth - his behaviour to his children in particular was awful.
There is no doubt that Sellers was an amazing talent, and troubled as so many are (Tony Hancock, for instance) - the toll that took on those closest to him must have been great.
But to the film: it's worth seeing for the extraordinary performance from Geoffrey Rush, uncannily portraying Sellers. There is fine support, in particular from John Lithgow as Blake Edwards, Miriam Margoyles as Sellers' mother, and Charlize Theron's Ekland.
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