Smile while you're makin' it. Laugh while you're takin' it. Even though you're fakin' it. Nobody's gonna know.
If you are looking for a perfect English uncut letterbox copy on DVD transferred from the LD or soundtrack on CD, just email me.
Role(s) | Actor |
Michael A. 'Mick' Travis/Plantation Thief | Malcolm McDowell |
Monty/Sir James Burgess | Ralph Richardson |
Gloria Rowe/Madame Paillard/Mrs. Richards | Rachel Roberts |
Mr. Duff/Charlie Johnson/Dr. Munda | Arthur Lowe |
Patricia Burgess/Casting Secretary | Helen Mirren |
Prof. Stewart/Prof. Millar/Meths Drinker | Graham Crowden |
Factory Chairman/Prison Governor | Peter Jeffrey |
Tea Lady/Tenement Neighbor | Dandy Nichols |
Sister Hallet/Tenement Neighbor/Court Usher | Mona Washbourne |
Interrogator/Jenkins/Salvation Army Major | Philip Stone |
Mary Ball/Vicar's Wife/Salvationist | Mary MacLeod |
Interrogator/William/Released Prisoner/Assistant Director | Michael Bangerter |
John Stone/Colonel Steiger/Warder/Film Executive/Meths Drinker | Wallas Eaton |
M.C. at Nightspot/Male Nurse/Warner | Warren Clarke |
Superintendent Barlow/Inspector Carding | Bill Owen |
MacIntyre/Dr. Hyder/RAF Officer | Ben Aris |
Oswald | Edward Judd |
Factory Girl/Mavis | Christine Noonan |
Mrs. Naidu | Pearl Nunez |
Basil Keyes/Examination Doctor | Geoffrey Palmer |
Army Captain/Power Station Technician/Duke of Belminster | Michael Medwin |
Soup Kitchen Lady | Vivian Pickles |
Vicar/Bishop | Geoffrey Chater |
General/Judge | Anthony Nicholls |
Plantation Foreman/Power Station Guard | Brian Glover |
Young Man (Sports Car)/Pig Boy/Sandwich-Board Man | Jeremy Bulloch |
Hotel Receptionist | Patricia Healey |
Bill | John Barrett |
Mr. Spalding/Doctor/Pickpocket/Meths Drinker | Glenn Williams |
Coffee Salesman/Pickpocket | Hugh Thomas |
Biles | Brian Pettifer |
Policeman (Accident + Tenement)/Customer/Munda's Manservant | David Baker |
Policeman (Accident + Court) | Edward Peel |
Plantation Judge/Nightspot Client/Meths Drinker | Paul Dawkins |
Attenborough/Examination Doctor | James Bolam |
Tax Inspector/Club Waiter | Peter Schofield |
Elizabeth Valerie Stewart/Tenement Neighbor | Adele Strong |
Mrs. Naidu | Kymoke Debayo |
Clinic Receptionist/Miss Hunter | Patricia Lawrence |
Lady Burgess | Constance Chapman |
Coffee Picker | Margot Bennett |
Alan (Vocals/Keyboards) | Alan Price |
Colin (Guitar) | Colin Greene |
Streaky (Roadie) | Ian Leake |
Tolly (Drums) | Clive Thacker |
Dave (Bass) | Dave Markee |
Director | Lindsay Anderson |
With: Bart Alison, Sue Bond, Peter Childs, Frank Cousins, Brian Croucher, Allen Cullen, Anna Dawson, Michael Elphick, Eleanor Fazan, Pat Healey, Geoff Hinsliff, Jo Jeggo, Stephanie Lawrence, Brian Lawson, Terence Maidment, Rachelle Miller, Tuesday Miller, Ken Oxtoby, Stuart Perry, Bill Pilkington, Cyril Renison, Irene Richmond, Roy Scammell, Frank Singuineau, Patsy Smart, David Stern, Betty Turner + Catherine Willmer.
Directed by Lindsay Anderson
Written by David Sherwin, Based on an idea by Malcolm McDowell and Candide by
Voltaire
Produced by Michael Medwin & Lindsay Anderson
Filming Began March 20, 1972
Filming wrapped June 16, 1972
The unfortunate loss of those involved.
Date | Person | 1st Roll |
2/22/77 | Anthony Nicholls | General |
6/26/79 | Paul Dawkins | Plantation Judge |
11/26/80 | Rachel Roberts | Gloria Rowe |
4/15/82 | Arthur Lowe | Mr. Duff |
10/10/83 | Ralph Richardson | Monty/Sir James |
2/6/86 | Dandy Nichols | Tea Lady |
11/15/88 | Mona Washbourne | Sister Hallet |
3/7/93 | Patricia Lawrence | Clinic Receptionist |
8/30/94 | Lindsay Anderson | Director/Producer |
11/3/95 | Wallas Eaton | John Stone |
7/24/97 | Brian Glover | Plantation Foreman |
7/12/99 | Bill Owen | Superintendent Barlow |
12/25/99 | Peter Jeffrey | Factory Chairman |
6/15/03 | Philip Stone | Interrogator |
8/10/03 | Constance Chapman | Lady Burgess |
9/4/03 | Ben Aris | MacIntyre |
Malcolm Explains:
"What happened was back in England we were watching the thing again, all of
us, Alan Price included - looking for places to do trims. The projectionist
dropped the ninth reel which is the one with Rachel committing suicide and it
went straight on. We all went, "Lindsay!! Great cut! Thank god we got the
cut. Now we can distribute the film in America." He was going, "I did
not cut it! What the hell are you talking about? This is nonsense!"
We're going, "That is the perfect cut." And Alan's going, "It is
not. I've lost one of my songs." I went, "Fuck your songs. We want
this thing to open."
TENEMENT COURTYARD
Tall grey building loom over a
central court. People are clustered at the bottom of the
courtyard, looking up at a flat with
closed windows. Women are hanging out of windows, and
over the railings that mark the open
staircase running up the center of the block. The two men
and the woman dash with their ladder
down the center of the courtyard, calling out: 'Mind your
backs!' 'Out of the way!'. MICK
follows them, takes in the scene and moves forward,
inquisitively. The men prop their
ladder against the wall. It barely reaches the second floor
windows. One of the men starts to
climb. The three women at the landing mock the man.
1ST WOMAN: You burk. It's too flipping short. (To her neighbor): Hey, look at
him.
2ND WOMAN: What are you trying to do? Pick apples?
1ST WOMAN: Picking apples...ha, ha.
MICK looks up towards the laughing
women. They call out to him.
1ST WOMAN: (yelling down to MICK): Here, you! You!
MICK looks over his shoulder.
2ND WOMAN: Here you, you down there...
1ST WOMAN: You with the bag.
2ND WOMAN: No, not you...You! (MICK catches on.) Bring up that bleeding bar. The
big one.
MICK turns and picks out a rusty iron
bar from a heap of rubbish behind him...old motor car
engines, axles and tires.
2ND WOMAN: The big one...That's right...bring it up here.
MICK runs with the bar up the
tenement staircase to the third floor landing.
LANDING
MICK arrives on the landing,
surrounded by chattering women.
1ST WOMAN: Come on up here. Get this door open.
2ND WOMAN: Better be quick.
ANOTHER: Bash it.
MICK beats against the door with the
bar.
2ND WOMAN: Better be quick.
1ST WOMAN: Mrs. Richards!
ALL: Mrs. Richards! Mrs. Richards!
2ND WOMAN: Come out of there!
1ST WOMAN: Come on out.
MICK gives up. He turns to the women.
2ND WOMAN: She's put the bed against the door and double-bolted it.
1ST WOMAN: She's going to do it this time. You mark my words.
2ND WOMAN: Selfish bitch. She's got the kids in their with her.
1ST WOMAN: She'll probably do them in an' all.
MICK: What's the matter? What's wrong?
1ST WOMAN: What's wrong he says!
They all laugh.
2ND WOMAN: She's going to kill herself. That's what's wrong.
MICK: Can't you stop her?
1ST WOMAN: Well, go on then. You stop her...nobody's holding you back,
are they?
MICK turns away from the women.
TENEMENT FACADE
MICK comes down and peers over the
railings, followed by the clucking women. They are
three stories up. He sees MRS.
RICHARDS' windows, a few feet away. He swings his leg
over the rails. The women moan with
excitement and cover their eyes. Below, the little crowd
stirs. MICK reaches out for a
drainpipe, gets a foothold and manages to clamber across to
MRS. RICHARDS' window sill.
MRS. RICHARDS' FLAT
MICK appears at the window. He peers
in, crouching on the sill. He knocks.
MICK: Mrs. Richards!
The room inside is drab and poor, but
neat. A little boy is sitting silently on a chair against the
wall, his legs dangling. MRS.
RICHARDS is on her knees in an apron, swabbing the floor.
MICK bangs the top half of the
window open. He wedges his head in.
MICK: Mrs. Richards! What are you doing?
MRS. RICHARDS (looking up at him): Cleaning the floor. What's it look like?
MICK (at window): What's all this about killing yourself?
MRS. RICHARDS gets up off her knees
and throws the cleaning rag into the bucket.
MRS. RICHARDS: I've had enough.
She starts to dust.
MICK: You've been shut up her too long. Think of the world outside.
MRS. RICHARDS turns her back on MICK
and continues her impulsive cleaning.
MICK: Mrs. Richards, now, please. Stop it. I want you to listen.
MRS. RICHARDS (crossing to the mantelpiece): My husband has to find the place
looking nice. I'll not have him saying I did wrong in the end.
MICK: You should meet some people. Find some nice friends!
MRS. RICHARDS: I haven't been out since we had Penny. That's six years.
MICK: Take a holiday!
MRS. RICHARDS: Harry's off work. He hasn't had a job for four years.
MICK: Well, think of the children. I mean, they're the only ones who matter!
MRS. RICHARDS reaches into the
corner; she polishes a cheap brass tray.
MRS. RICHARDS: How can I keep a child clean? How much do you think a pair of
kid's shoes costs? The cheapest? £1.20.
MICK: Life's a gift, Mrs. Richards. You haven't the right to throw it away.
MRS. RICHARDS replaces the carpet in
the center of the room. She looks up to MICK. She
moves the table back onto the carpet
as she speaks.
MRS. RICHARDS: Look, this is the food I buy each week for ourselves and the
kids:
7 loves of bread
20 lbs of potatoes
3/4 of a pound of tea
1 packet of porridge oats
2 packets of cornflakes
MICK: There's always tomorrow...
MRS. RICHARDS: 1 packet of Co-op soap powder
3 or 4 pounds of cabbage
2 swedes
Custard powder
Baked beans sometimes
Tinned tomatoes sometimes
Tinned spaghetti sometimes
Lettuce when cheap.
MICK: Food isn't everything. Fresh air! Sunshine!
He gestures to the great outside,
slips and nearly falls. MRS. RICHARDS turns away and calls
into the other room.
MRS. RICHARDS: Penny!
LITTLE GIRL (off-screen): Yes, mum.
MRS. RICHARDS: Bring the Brasso.
PENNY, aged about six, comes in with
the Brasso.
MRS. RICHARDS: Now I want you to go over there, love. Wash the big pan under the
hot tap. Get off every bit of tomato soup before your dad gets back.
She guides the little girl over to
the sink in the corner beneath the window.
MICK gets an inspiration. Hurriedly,
he gets out the prison governor's book.
MICK: Mrs. Richards! Mrs. Richards! Please listen to this, Mrs. Richards! Now
please listen.
She looks up at him.
MICK (reading): 'Life is mostly froth and bubble
Two things stand like stone,
Kindness in another's trouble,
Courage in your own.'
MRS. RICHARDS: (blank): Who said that?
MICK: Adam Lindsay Gordon. He was a poet.
MRS. RICHARDS: More of a fool, if you ask me.
She moves back to the table and
starts to take off her apron.
MICK: Oh wait there, Mrs. Richards! Now wait, Mrs. Richards! Wait Mrs. Richards!
Listen to this, please, Mrs. Richards!
At the fireplace now, she takes, her
comb out of her handbag and begins to comb her hair.
MICK tries to find the page.
MICK: Mrs. Richards!
She turns to MICK. She has ceased to
take any notice of his words.
MRS. RICHARDS: Tell Harry to leave a note for the milkman. Two pints. (Calling):
Penny!
PENNY: Yes, mum.
Penny comes to her mother. MRS.
RICHARDS kisses her as MICK reads.
MICK: 'There's a special providence in the fall of a sparrow.' - Hamlet
MRS. RICHARDS: (giving PENNY a pat): Now go and sit down, love.
As MRS. RICHARDS crosses back to kiss
the little boy, quiet all this time, MICK starts
again.
MICK: Please listen, Mrs. Richards! Please listen to this!
'One that
never turned his back,
But marched
breast forward...
Never doubted
clouds would break--'
MRS. RICHARDS stares at time for a
second, then walks firmly into the other room. MICK
shouts after her.
MICK: Every cloud has a silver lining, Mrs. Richards!...Mrs. Richards!
He moves past the window, following
her.
TENEMENT FACADE
MICK tries to climb onto the window
sill of the adjoining room. He reaches out, grasps a
drainpipe, gets a foothold and then
leaves the security of his window sill. Gasps from below.
Now he is hanging onto the drainpipe
between the windows. His book slips from his hand and
flutters to the ground. He reaches
across to the next window-frame.
MICK: Mrs. Richards!
He feels himself slipping: grabs the
pipe with both hands. A rusty joint gives way; the pipe
breaks from the wall. For a moment
MICK hangs in space, then the pipe comes clean away
and he falls. Sky, buildings, ground
whirl past.
BLACKOUT
THE REHEARSAL ROOM
Hands strike a piano keyboard. The
camera tilts up to ALAN'S face as he sings...My Home
Town.
ALAN (singing): Down on the corner of the street
Where I was born we used to meet
And sing the old songs,
We called them dole songs.
In long shot we see ALAN at his
piano, COLIN perched beside him, strumming his banjo.
ALAN (singing): And we'd harmonize so clear
Even though it was the beer
That made the tears run
About the years gone by...
THE TENEMENT NIGHT
The song continues over as a
POLICEMAN, flashing his torch, walks down the pavement
in the empty, dark courtyard.
ALAN (singing): We'd go home and kiss the wife,
Hoping a kiss could change your life...
THE REHEARSAL ROOM
ALAN in close shot again...
ALAN (singing): That's how romance is
No second chances
Back in my home town.
Warner Brothers announced a release for 10/23/07
This one may not be an error as much as an anomaly. At 17:47 Mick is driving along and it looks like a round object is thrown at his car from the right side of the screen. But it doesn't start from the side of the screen, it just appears, then sails behind the car and disappears. Then two similar dots appear for a split second in different areas. It might just be water on the lens...
Sequence
of flying object
Two shots of similar objects appearing elsewhere.
Dropmore Hall (Lord Kemsley's house) - Mad scientist's hospital
The Reform Club, London
Stansted Airport - 'Honey' drums
House in Gerrard's Cross, London for Danda's conference.
Cafe Royal exterior, London
Alan Price's band was recorded at Olympic Studios, near Barnes.
Willesden Town Hall
Nuclear research center - cement works at Ivinghoe
Aftermath of nuclear explosion - Caesar's Camp, Bracknell
Mick's arrest - Dorking
Man with sandwich board - Leicester Square
Rolls Royce country shots - Black Common, near Pinewood
Driving shots - The M1 motorway at Chesterfield
Euston Tower, London.
Bellamine prison, Glasgow
Almost everything else was filmed at Colet Court, then an abandoned private school which Lindsay's team converted into a film studio. This is where Jocelyn built the sets for the Majestic nightclub; Mick's bedroom at Mrs. Balls; the court room; St James's office, etc.
Cuba - Un Hombe con Suerte
France - Le Meilleur des Mondes Possibles (The Best of all Possible Worlds)
Poland - Szczelsiwy Czloweik
Beta / VHS - PAL (1 tape) + NTSC (2 tapes) / LD - All OP
He's slightly deaf and I soon found that quick-fire Q&A
disrupts his flow badly, so I let him get on with talking through his life with
minimal prompting from me. We drummed up 20 attendees in total, so the upstairs
bar of the pub was very cozy indeed.
He spoke about Anderson with affection, referring to him as
Lindsay throughout. He stayed in touch with Malcolm McDowell afterwards, but
hasn't been in contact with him for about ten years. I tried to draw him out on
his roles in the Anderson films - commenting that the History Master
is the only establishment character to encourage free thought in the boys, and
as such, possibly a catalyst to the revolution. He agreed, and mentioned that
there was another scene shot with him talking to the boys in a corridor that
wasn't used.
I showed him clips from all three films, with Doctor
Stewart's demise provoking much hilarity from the audience (I particularly like
the way that Travis pretends not to notice Stewart at all until he grabs his leg
and pulls him out of the chair).
At the preview screening of "O Lucky Man!", he
slipped in late and sat next to Sean Connery on the back row. "Graham - how
are you?", asked Connery who hadn't seen him since the early sixties.
"Very well" replied Graham, adding "And what have you been up
to?"!
He had a very bad back before "Britannia" and did
the film on Aspirin. His fee then immediately paid for him to have private
medical treatment. While in a private hospital staffed by nuns he thought a
grape had lodged in his throat, but this turned out to be a minor heart attack.
He winced a bit at the "Doctor Who" clips, but seemed genuinely warmed
to see himself in "A Very Peculiar Practice" again.
Fundamentally, though, he's a man of the theatre, and
concentrated on that. It was impressive to be sitting next to someone who
casually mentioned Ralph, Lawrence, Yehudi [Menuin] and so on without batting an
eyelid.
I didn't get a chance to mention the "If..."
petition, I'm afraid. It felt physically painful to have to interrupt him to
show a clip or signal a comfort break.
He's a very pleasant man. And without any fuss, not in front
of everyone, on his way out, he waived his previously negotiated appearance fee,
and suggested we give it to charity. Our charity of choice, the Foundation for
Study of Infant Deaths is the beneficiary of his humanity - Prof Miller he
isn't! -
Dave
5/73 Films Illustrated
with Malcolm
7/73 Andy Warhol's Interview Magazine
8/2/73 Rolling Stone
Lindsay Anderson unpublished
letter from 10/27/82
Even today it rings true. The film didn't make any money so Warner Brothers
didn't care about it and haven't released it on video (like 20 years later not
releasing it on DVD) It is typed, but there is a hand written section about how
the English didn't find Britannia Hospital funny, they are losing their humor.
Why was the shot of the judge getting whipped used so much in
OLM! promotions?
The image was used a lot because it says a lot about the hypocrisy of the
British judiciary at the time. The civilized people in Britain had been shocked
by the severity of the sentences handed down to the publishers of a satirical
journal called 'Oz'; Lindsay Anderson writes about it his Diary:
Aug. 5th 1971
David turned up this morning with at least a draft of the roof scene with
Patricia that made the thing look feasible. The end is no good. We talked and he
went off to write again: still the end defeated him. We went for a walk along
the front after beer and sandwiches in the pub - the 'Hope' Inn. This evening
after dinner we look at TV and see the This Week feature on the OZ sentences:
fifteen months for Richard Neville and recommended deportation...do people care?
It's hard to imagine. When mum sees a long-haired demonstrator being pulled
along by the hair, she laughs. More distasteful is the legal correspondent of
the Guardian, rather smirkingly 'against' the sentences, but with a smooth
attitude of dissociation that merely establishes his superior impartiality, with
no suspicion of anything as vulgar or commonplace as a personal commitment. And
Donald Spoor, ineffably smug, also prepared to 'disapprove' of the sentences but
spend all the time stressing the trivial or vulgar or damaging 'attitude to sex'
- in such a way as to remove any possibilityy that his audience could associate
him with the publication - or care about the wretched fellows now in goal. The
moral of these TV discussions: either don't take part in them, or cut off
ruthlessly from any of the other participants, and above all disrespect the laws
and courtesies of polite English controversy. A very good quote in a TLS piece
by the Polish émigré writer Jerzy Peterkiewicz - from Simone Weil: 'REVOLUTION
IS THE OPIUM OF THE INTELLECTUALS' (1). 1. This was included in 'O Lucky Man!',
painted on a corrugated fence in the Derelict's scene.
June 16th 1972
Today we shot the AUDITION: I played my part, for good or ill: we tried to shoot
the smile (1) - and not surprisingly, at the end of an exhausting day, we
failed. The sequence may be regarded as the heart of the film. The dialogue with
the director is not cynical. At least it isn't intended to be so. It is intended
far more to challenge Mick (and therefore the audience) with the proposition
that maturity and understanding is only to be achieved when we can look the
facts of life directly in the face, not obscured by materialist or by
sentimental illusion. A touch of 'Zen', you might say. 1. At the end of the
film, Mick, the happy smiling adventurer has lost the ability to smile. The
director coaxes one out of him.
June 17th 1972
The whole end of the scene won't do. Malcolm shouldn't have worn makeup: should
have played much more out of desperation and the gutter - didn't play the
'smile' scene with enough despair. This had been Jocelyn's point apparently -
but Malcolm stopped her speaking to me - and she I suppose had this attitude
'well whenever I say anything you tell me I'm wrong!'. I seem okay. Good? I
don't know. I think so - but I fear the sequence insufficiently poetic. I should
have checked the setups. Framing too high for my taste. The final smile remains
an unsolved problem. How am I going to shoot this final sequence??? The
transition??? GOD!!!
June 18th 1972
GRAND FINALE ... But before this I endeavor to reshoot at least the shots of
Mick with books and gun - which on rushes yesterday seemed too constricted ...
to this the call had to be switched from 10.00am to 9.00am. When Malcolm walked
on the floor I sensed something wrong - he hadn't seen the rushes and he hadn't
had his new call till 7.30 - and had been to bed late after being out all
afternoon playing cricket for Harold Pinter's XI (1). Poor Malcolm; I
understood. We did the reshooting. I fear it will never be what I envisage. I
think we did get better setups, and did get the 'Why?' dialogue with more depth
behind it. We even did a couple of hits - and smiles. I shan't soon forget the
sight of Arthur [Lowe] over at the corner of the room, having to wait - while I
was bashing poor Malcolm on the head with my script. At least it illuminated how
the smile has to be achieved - i.e. by taking time. Ridiculous, in fact, and
terribly shallow of me to have thought it adequate just for poor Malc to explode
into enlightenment. But we will have to go back to this, however difficult Mirek
says it is to match. Maybe a hypnotist? Malcolm is very game...
July 30th 1972
A further mad day ranging from STEEL WORK GATES in Middlesborough, through those
decaying redbrick streets - then out onto the MOORS where we saw a road, looking
out over a green valley, which would do well I think for the 'Pennine Road' -
And so to SCARBOROUGH ... And the English 'enjoying themselves' at the seaside
(which earns me another reprimand from Jocelyn's liberal guilt, for being nasty
about the poor underprivileged): then Hotels at HARROGATE ... then SHEFFIELD -
where in five or ten minutes it is obvious that it is impossible to situate the
Coffee Factory about the grime and huge engineering sheds of heavy industry.
(Jocelyn. 'Well I know, but that's what you said you wanted').
It was filmed by John Fletcher, who also made the theatrically released documentary 'About The White Bus'. Paul Sutton mentions it in 'The Diaries of Lindsay Anderson'. He hasn't seen it and doesn't know where to get a copy. For example, Lindsay writes about his first rehearsal with Helen Mirren and telling Fletcher to piss off (which probably isn't in the final film).
From Jeff's email: I remember sometime before OLM! opened in the US seeing it late one night on ABC TV on a Friday or Saturday night. It was at least 30 minutes long.
Given in NY on 5/25/02. This was not planned and was done on the spot as he said, "Because I am here I might as well do it."
Thank you all very much for coming friends, fans and of course
fans and friends of Lindsay Anderson. This is as much a Lindsay Anderson day as
mine, especially this afternoon. He really was the jewel in the crown of British
directors. The best! The best! A most wonderful man and the wonderful friend. I
was this cocky know-it-all who really didn't know anything and got taken into
his whirlwind of a life. I suppose he plucked me from the gutter, that's what he
used to think anyway. Of course it is all bullshit. I was actually quite a small
established supporting actor. He really taught me everything there is to know
about this. I was swaggering along behind him on the quasette at Cannes after it
had been announced we won Palm D'or (For if.... - Alex). I think it gave Lindsay
the greatest happiness of anything that ever happened in his life. It shocked me
because who gives a rats about the stupid award? He was so thrilled. It was
because he was a critic who went to Cannes to write about these films and to
come back and to win. We didn't know then how close it was. There was a very
fine film called by Costa-Gavras called "Zed", you call it
"Z", and that really should have won. Stanley Donnen who was won of
the jurors told us that they were on Zan Spiegel's yacht when they were doing
the count, voting for the winners. When it came down to best film "Z"
was number 1, a Swedish film called Ådalen '31directed by Bo Widerberg was 2, 3
was if....! The Eastern Europeans didn't like any of that, the Western didn't
either. The compromise vote was if.... We were third!! So it always amused me
that Lindsay was thrilled beyond belief.
I went skipping behind him like, "Hey wow, we've
arrived". I said, "You know Lins..." trying to put my arm around
him and he didn't really want to know by at this time he wanted to dump me fast!
Get on to the applause, the critics, to be the center of attention which he
found no trouble being by the way. I said to him, "Lins we're very
successful here, let's make another film." He stopped and looked at me down
that emperor nose and said, "Good lord Malcolm you think good scripts falls
of the trees? If you want to work with me again you better write a good
script!" So I said, "As a matter a fact I am going to write a
script." He said, "Oh, good. Well show it to me when you are
finished." I thought, "Fuck that! I'll do it!" So I came back to
England and I was doing another film and I started to write my adventures as a
coffee salesman and they were. That was all I had done in my life was become a
coffee salesman which was pretty meager stuff. I always like to say that was my
drama school - up in the north of England. Can you imagine trying to sell the
Northerns in England coffee!? "Tea lad, tea!? Where's the tea!?
You don't drink coffee up here that's a woman's drink innit?" I had these
amazing adventures as you see them happen. Of course Lindsay pushed them
slightly. We didn't have a nuclear explosion as I remembered, but I was arrested
outside a company called English Electric - they make rocket engines. Because I
was a coffee salesmen I had all the stuff from the previous salesman. I knew the
catering manageress was called - Doris. "Ah, no I've come to speak with
Doris about the catering arrangements." "Doris, Doris who?"
"Well, It doesn't say who, just Doris." They went, "No. Well, we
don't have a catering manageress called Doris. You'll just have to sit
here." They sort of arrested me for a minute and then they went and
emptied the car that I had of all the coffee samples, the planted peanuts, the
Idaho instant potatoes. To prove that I wasn't a spy I whipped them up a quick
sample. I was very good at that.
When I had written 40 pages I took it around to him. He sort
of sighed like 'oh god he's got to read it'. "Sit down. It's really good. I
think you'll really love it." He put his glasses on and he read it and I
could hear him go, "oh...oh...is this a comedy? Is this supposed to be
funny?" "Just read it! Just read it to the end!" He got to the
end and looked at me and he said, "Well...it's not very good is it?" I
went, "It may not be good to you Lindsay, but I have got to explain. You
are from the South and you don't understand Northern humor. This is good stuff.
And it is a start. It'll start us on our way." And it did. Because a few
days later David Sherwin who had written if...., and was really Lindsay's
whipping boy and his collaborator with his scripts, came around for dinner and
asked to see this. I gave him the 40 pages and he went into the bedroom and he
came out when he read it and said, "God Malcolm this is brilliant!
Brilliant stuff!" I went, "Well, yes." He said, "No really
this is our next film!" I thought, "That fucker Lindsay.
Unbelievable!" We worked on it...it was 73 when we made it and this was in
69. So it was a long and arduous road. David was a wonderful collaborator and of
course the genius, the man himself, would point us the way. He gave me three
books - Voltaire's "Candide" which was the imprint, Thornton Wilder's
"Heaven's My Destination" and Kafka's "America". I was
required to read them before we had gotten deep into the script. We had all
sorts of things going on and we pared it all down. Lindsay had been shooting the
first sort of video, but it wasn't called a music video then, on this very
popular singer called Alan Price. I was talking to Jay Cocks the other day and
he agrees that it is possibly the best score ever written for a film. I couldn't
understand why Alan wasn't even nominated (for an Oscar - Alex) well of course
I could understand sure. We'd write scenes and Lindsay would give it to Alan and
say we need a song and he would write the song. It was incredible. I remember
the night he recorded the last version of "O Lucky Man!" It starts
with one and then finishes on a real high one. They just recorded that in the
studio in Barnes and he came over to my house with the tape and put it on. Oh my
god it was incredible, it was so incredible. Alan is such an important part of
this film.
He thinks he's such hot stuff acting wise. He came onto the
set and I was reading the Times in between set ups. He's a Geordie. He came and
said (puts on a thick British accent), "Was alright for you then innit?
Just sitting there reading the paper." "Yeah." "Well is that
it for acting in the movies, eh? That's it is it? Eh, just read the paper
ha!" "Well, OK fine." Then it comes to Alan's big entrance. He
had to walk through a door and say "Are you comin' or stayin'?" That's
all he had to do. Take 1. "Are you...eh...am I supposed to be standin'
here?" That's right, in the doorway. Take 2. "Are you, eh...eh...eh...ahh...eh."
I said, "Maybe you'd like a copy of The Times to give a quick glance?"
It wasn't quite as easy as he thought, but as I must say as an actor he learned
rather quickly and he is wonderful in the film. My dear friends Helen Mirren is
brilliant in the film...they are all brilliant! Helen, I always adored her, she
was in The Collection which you saw earlier today. We worked to together quite a
lot. I pulled her with me to Rome to do the dreaded Caligula. Thank god!
At least I had Helen to talk to. She was a wonderful and loyal friend and I
adored her. She was fabulous in this film. That rooftop scene was rather magical
and David had a hell of a time writing it. He went through 20 rewrites before
Lindsay would even read it properly. "No good...throw. No good...out."
Can I stop now or I'll go on forever? Please enjoy. Am I doing questions after?
Oh, then I'll shut up!
At the New Beverly Cinema, located at 7165 Beverly Blvd., Los Angeles, CA - If… and O Lucky Man! - screen as a double feature for only $7 admission 8/18/06
Film Encyclopedia: Museum of Cinema Program in St. Petersburg, Russia is showed the film 8/16/06 at 8:30pm.
The working title was "Coffee Man". For some reason many people think the title is Oh Lucky Man!
The 2nd film in the Mick Travis Trilogy. if.... is the 1st, Britannia Hospital is the 3rd.
Clocks in at 164 minutes in the theater. 174 minutes on video with the deleted scene.
This would be Christine Noonan's, who also played The Girl in if.... , final movie.
This would also be Margot Bennett's last film. She appeared because she was dating Malcolm at the time.
Meths drinkers is British slang for 'Tramps' or down-and-outs (homeless people). It refers to 'methylated sprit', an industrial cleaning fluid made from Methanol (liquid alcohol). Tramps used to drink it because it was cheaper than beer. It gets you high but soon makes you blind.
In France the title is 'The Best of all Possible Worlds' which is the refrain from Voltaire's novel: Candide, from which the film is very loosely inspired.
Travis Bickle from Taxi Driver was named after Mick Travis in OLM! because it was Martin Scorsese's favorite film.
Montrose covered Alan Price's "O Lucky Man" in 1975.
Grapes of Wrath have an original song titled "O Lucky Man" from 1987.
Warner Brothers still owns the rights to the film and also Britannia Hospital in the UK. Lindsay made a deal with them in 1985.
A Thai movie called "O Lucky Man" released in 2003 has nothing to do with the original.
The film influences spam!? From: Charley Qomsorp "nsppp Are you lucky man ? dblekbg" - received Wed 07/14/04
In Norwalk CT on 12/14/04 there was a special screening with Jay Cocks there to discuss just what 'Musicals Out of the Mainstream' are all about.
Mick's sale sheet in the film was written by Malcolm and has in jokes. #1 is a reference to Malcolm's high school headmaster, #6 is his sister - a family reference to his birth name of Taylor, #7 is a reference to his girlfriend at the time or possibly Alan Bennett, a friend of Lindsay's who co-wrote The Old Crowd, #9 is a reference to Alex from ACO.
1. ...er Stores - Mr. Baker - 2-80
2. ...Metals Miss Haur - No Sale
3. ...'s Coffee Ho. - Mr. Brown 1-65
4. (Crossed Out) Malcolm and Dool, Iron Mrs. Williams - No Sale
5. British International Mrs. Smith @ the post - No Sale
6. Growell Permutation in Miss G Taylor - 1-72
7. Bennett's Stores - No Sale
8. Cromwell Partners - by special - No Sale
9. De Large, Co. - No Sale
Total £5-97
Behind the Scenes
B-A8
How to Do It - Malcolm and
Lindsay
Movie
Comp 1 - Malcolm's four faces
Margot Bennett as a coffee picker (Malcolm's ex-wife)
Malcolm as the Plantation Thief
Christine as Coffee Packer & Mavis
OLM! Xmas Card
Mick on the research table
Mick shaking hands with Lindsey at the party
Mick hugging Lindsey at the party
Mick
and Gloria Rowe
at the party
Mick and the Vicar's Wife at the party
Memorabilia
DVD Menu - Disc 1
DVD Menu - Disc 2
Laserdisc Cover
VHS 1984 Cover - Front
VHS 1984 Cover - Back
6/07
Alan Price will not be touring until after November because he will be recording and writing for the O Lucky Man! stage play project. There is still no actual date for the premiere, but it's at the stage now where the total finished package has to be complete for 'delivery' at a moments notice.
At the US premiere of the uncut film in New York 5/25/02
"Lindsay's vulnerability, I think, came from the fact that he was a homosexual who couldn't show it, and always fell in love with heterosexuals because then he couldn't do anything about it. This all came from the diaries, because, when he was alive, I had no idea. We always thought he was sort of neutral or asexual. I was in three of his films, and he only made six, so I presume he was in love with me. If he'd been openly gay, and comfortable with who he was, he never would have made if..., O Lucky Man!, or any of these great films because there would have been none of the repression, none of that volcanic emotion that was in all of his work." Malcolm - 4/02/04 Contact Music
"It was all sex, drugs and rock-n-roll" - Helen Mirren Mid 80s.
Lindsay Anderson's
Preface to the O Lucky Man! Script
David Sherwin's Diary of writing the
script
1. O Lucky Man! (2:19)
2. Poor People (2:11)
3. Sell Sell (4:02)
4. Pastoral (2:12)
5. Arrival (3:03)
6. Look Over Your Shoulder (2:22)
7. Justice (1:48)
8. My Home Town (2:40)
9. Changes (2:02)
10. O Lucky Man! (2:26)
Malcolm McDowell as told to Bob Merlis, October, 1995:
O Lucky Man! was Lindsay Anderson's most ambitious
film because it's really about the world as a whole, rather than as a microcosm.
O Lucky Man! like if.... before it, was an original screenplay. I had
naively thought that we'd snap right into another movie after if.... because
it was such a big hit. And so I remember saying to Lindsay, "Let's not sit
around, let's do another film." He said, "Malcolm, what do you think?
Scripts don't grow on trees; if you want to do another film, go and write
it." So I told him I'd had an idea for a film about a coffee salesman and
he said, "Oh good, all right, go write it." So I did. I wrote quite a
few scenes and he read them. Of course, he thought they were awful and basically
"no hopers," you know. He didn't think we'd have a chance. But I knew
that was his way of encouraging me, so I kept on with it. When I met up with
David Sherwin, the writer of 'if....', it became something else and so, we wrote
it together.
Of course, Lindsay had tremendous input. One of his
ideas - although David tells me it was his - everyone is claiming ideas, but who
knows now anyway? It was a collaboration, for God's sake! It's impossible to
split it up. David says it was his idea to have the actors playing different
roles. It doesn't sound right to me, it sounds like a Lindsay thing to me. But,
of course it's possible. I do know that it was Lindsay's idea to have Alan Price
do the music. Lindsay had known Alan quite a long time before this. Just after
we made 'if....' he said to me, "Have you ever heard of a singer called
Alan Price?" I said, "Of course, I've heard of him; he's very
talented." He used to cover a lot of Randy Newman stuff - "Simon Smith
and His Amazing Dancing Bear" was huge in England. Alan did a beautiful
rendition of it. Lindsay also thought it would be a very good idea to
have Alan and the band appear as themselves in the movie. He'd earlier gone on a
trip with Alan in the van when the band was touring the north of England.
Lindsay would sit in this van when they were coming away from a gig and going on
to the next town; he thought this would be really brilliant in the film. He
thought it would be a great idea to have the character Mick somehow meet with
them and go in the van. He came up with the idea that it would be Alan who would
actually drive him to London, which was, you know, one of the film's big scenes.
The van you see on the screen may very well have been the same one in which Alan
drove Lindsay around the North but I don't really know. I do know that's where
the idea came from.
We'd be writing the script and turn the pages over to
Lindsay and he'd say, "We better get Alan to write a song here." So,
during the process of writing the script the songs were simultaneously written.
Only one was written after the fact. There had never before been a film that was
not a proper musical where the songs were integral to the script. It's very
revolutionary in that way. Altman's Nashville came later and I know that was
inspired by O Lucky Man!. I'm sure it was. A very wonderful film, Nashville
is too. I love it, I think it's one of Bob's best. In O Lucky Man! the songs on the
soundtrack were used as a Greek chorus - that was what was so amazing about it.
Lindsay asked Alan to do a song which included the
lyrics "Everybody's goin' through changes, no one knows what's goin'
on" set to the tune of one of his favorite hymns, "What a Friend We
Have In Jesus." Alan said "Oh, all right. If you insist, it's a boring
old song." What he did was a brilliant rendition. It was great, the lyrics
were fantastic. "O Lucky Man!", the title song, was recorded at
Riverside Studios and I remember one evening that Alan came from the recording
studio with a tape of the last rendition of it. He was up in the clouds about
it; we put it on, put up to full volume, and we just sat there and the goose
bumps came all up. And I said, "Alan, that's genius. That's a work of pure
genius, what a great end for the movie." And it was. And it actually
changed my approach to the end of the film, where my character is reaching for
the balloons and is understood to be forever reaching up for something in life.
That just happened because of the music.
Of the two versions of the title song in the film, the
finale, the more fully realized one is, I think, wonderful. Lindsay was there
when they were recording them. He and Alan had a few rows. Alan can be touchy
and Lindsay was no peach - the creative process, the usual thing. I mean when I
look back, I realize how damn lucky I was, you know? And I took it all for
granted at the time. 'Cause you did. That's how life is. What else did we know
about? But actually it was the most extraordinary period. Well, he did the two
"O Lucky Man!" tracks and the next one was "Poor People"
which is a very great song too. And that's where the lyrics are so incredible -
"Smile while you're making it, even though you're faking it, nobody is
gonna know." - such a great piece. And then "Sell Sell" which was
used for a montage of my character, the coffee salesman theme.
"Pastoral" and "Arrival" are rather nice - he's going to the
church after Armageddon, after the world is blown up, and as he walks down and
goes into the church you hear this beautiful pastoral piece. "Look Over
Your Shoulder" is a bird singing on your windowsill. That's the only song
that was written after the filming. Lindsay said, "Look I need a song
here." They cut a reel and left it out, but it's been restored to the video
version. Lindsay got it put back years later. I had to schlep back to Warner
Bros. to check the prints.
"Justice" is the courtroom scene - "we
all want justice but you've got to have the money to buy it" rings true
more than ever. It's a great lyric again. And then there was "My Home
Town." It's one of those real Geordie songs, something which sets a
Northern scene. This is an incredible region, an area of great hardship. Their
industry had been mining, shipbuilding and, of course, it died economically as a
region but now it's coming back. They have the great soccer team; they're the
champions so there's a big revival of the Northeast. Just like in
"Changes" - everybody's changing places, but the world still carries
on. Ain't that the truth.
When it came time for the Academy Awards I was
absolutely shocked that Alan's music wasn't even nominated; it was one of the
biggest travesties in history. It was staggering, and of course, the film wasn't
nominated either. I suppose it was a bit ahead of its time. Who knows? But, you
know, in those days look at the Academy members. I think the average age was
seventy-five. Alan's work was so incredible in this film; of course, everyone's
work was at a very high level. But the fact that it was so unique, that it had
never been done before, I thought that Alan really deserved to at least get
nominated. What they nominated that year was pathetic. It made you cry!
I remember once when Alan came onto the set. He didn't
come onto the set very much because we were shooting the film and his bits were
done in a week, including the filming of the band sessions and all that. I
remember him coming onto the set, and I don't know what we were shooting, but I
remember I was reading the paper. And he comes in and he says in that Geordie
accent, "Aaahhhh, so this is shootin' a movie, ay? Well this is pretty
easy, ay? Pretty easy." I said, "Yeah, yeah," and continued to
read my paper. So the next day, he had his first scene and I remember I was
shooting with Helen Mirren, and he had to come on to the roof and say "Are
you comin' or stayin'?" while looking at her. And he came on to the roof,
and of course: nothing - he just couldn't get it out. I said, "Yeah, hey
Alan, man, it's easy, it's easy like readin' the paper!" And of course I
was teasing him terribly. He was really pissed off at me and I said to Lindsay,
"Look, make it easy for him, have him shout it from the street up to the
roof." Which is what they did. He just shouted it, and that's how they got
around that. But after that he was fine. Alan is actually a rather good actor.
He learned very quickly and he did a wonderful performance. Just working with
him was a lot of fun, and being in that bloody van for a week, or whatever it
was - I don't know how these musicians do it. "They earn their bread,"
as they say.
Well, Alan is still doing the gigs up North, he's
working away. He said to me once and I was furious with him, but he said "I
have to bear the cross of 'O Lucky Man!'." Because he has to sing it every
night. I said, "Alan, what a fucking great cross to bear. If all artists
had that kind of cross to bear they'd be very happy. Mine is A Clockwork
Orange." I think this is Alan Price's greatest work. Although Alan did the
composing and songwriting, Lindsay focused him, and you know how wonderful that
was with that man, a man who could be trusted and here was Alan, a great artist
at the top of his powers. It was an amazing time. It really was.
When you're lucky, it also pays to be wise.
Mick Travis is a lucky man. He's also an ordinary man who
wants what we all want - success. It's just not going to come his way in quite
the way he expects.
Malcolm McDowell (A Clockwork Orange, Time After Time) stars
as salesman Travis in O Lucky Man!, director Lindsay Anderson's hilariously
satiric masterpiece. McDowell, who played Mick Travis the schoolboy rebel in
if... and Mick Travis the hustling opportunist in Britannia Hospital (both
directed by Anderson), here gives us Mick the wide-eyed innocent. Armed with
ambition and a bedrock work ethic, Mick sets out on the road to success and
finds that desire alone can't bring wealth and status.
Director Anderson (This Sporting Life, The Whales of August)
spins fate's wheel masterfully, landing hapless but never hopeless Travis in one
uproariously improbable event after another. The optimistic Everyman rubs elbows
with rich and poor alike... and learns firsthand the cruelty that comes from
scamming an extra million or lifting a wallet. Ralph Richardson, Helen Mirren,
Mona Washbourne and 10 more stars in multiple roles help knit the picaresque
adventures together. And commenting with incisive wit and irony on the goings-on
is musician Alan Price, the former Animals rocker who provides the film's
incredible score.
Watch closely as a smile forms on Mick's cherubic face during
the finale. It could be the smile of enlightenment. Or the smile of a man who
understands he'd rather be lucky than good.
The story starts out as a silent black and white Russian
style film that
is only 1/4 the normal size. It is set on an unknown South American coffee
plantation where workers are picking coffee beans under the eyes of the foreman
guard. A pretty girl is shown picking beans and then a man is shown stealing beans by putting them into a pouch around his
neck. The foreman sees this, catching him in the act. 'Unlucky!' the title card
reads.
He is taken before the judge and is sentenced. He is found
'Guilty' - the title card repeats again and again. His punishment is to have his
hands chopped off. The last shot shows his hands about to be chopped off by the
guard as he screams.
The story then switches to normal color and full screen. As
the credits role Alan Price and his band are shown rehearsing the song "O
Lucky
Man!" as Lindsay Anderson sits and listens. Other crew members are also there and at one
point Lindsay gets up to check a lyric.
Now to present day. Mick Travis is a salesman trainee for the
Imperial Coffee company in England. He is inside their coffee factory taking the
tour given by foreman John Stone. There are also another five men in training
and all are wearing long white coats and hats. Mr. Stone leads the trainees down to the
shop floor where many women are working packing coffee beans in boxes to ship
them off to Nigeria. Mick breaks away from the group and slips under a conveyer belt to
flirt with one of the girls. He doesn't get very far when Mr. Stone notices he
is gone and calls out to him. He is demonstrating their latest packing machine
and asks a question of Mr. Biles who gets it wrong. Mick jumps in with the
correct and answer and Mr. Duff, the works manager, comes over to take the group
to a lecture hall.
The hall is where the trainees learn the tricks of the
selling trade.
Mr. Duff speaks his propaganda and all Mick wants to know is how much a salesman can
make. Mr. Duff tells him and soon turns the floor over to Gloria Rowe, the Public Relations
Director. She is to teach them the psychology of selling. She invites Mr.
McIntyre up to the front of the class and wants him to smile and shake her hand.
He fails miserably. He is too nervous and can't even smile. She calls Mick down
and he grabs her hand and smiles warmly. She is very impressed and says that she
would buy what Mr. Travis is selling. She then wants Mick to
show the others how to do it right. Mr. Duff suddenly gets a call from the
chairman and he and Gloria both have to quickly exit.
The chairman is not a happy man. Oswald, their number one
salesman in charge of their biggest region, the North-East, has disappeared. No
one knows where he is and they need an immediate replacement. They insist the
trainees need another two weeks, but the chairman can't wait. He tells Gloria to
pick one. Miss Rowe looks down a window at the shop floor and sees Travis and
tells him that is his man.
Mick is brought up to the chairman's office and tells him
what an opportunity he has. In one day he has climbed the ladder to the top
sales spot. He tells him what he needs to do and sends him off with an apple.
Mick goes back with Miss Rowe to her office. She has three
pots of coffee brewing and wants to give him a taste test to see if he can
identify them. She pours the first one and he gets it right. For the second cup
she drinks it herself and passes it from her mouth to his. The two begin to kiss
and disappear behind the brewing pots.
The shot cuts back to Alan Price in the studio singing
"Poor People", which then cuts to the song playing over the radio in
Mick's car.
He can't afford a car stereo, so he has a small transistor radio hanging
from the rearview mirror. A man in a sports car passes Mick and looks over at him when
he does. He speeds off into the foggy weather and shortly after there is a
crashing sound. Mick can't see what happened until he gets close. The man in the sports car
crashed into a food delivery truck, spilling all kinds of groceries onto the road.
The man in the car has smashed into the windshield and is bleeding from the head. Mick
stops and goes over to check on the bleeding man and puts his coat around him.
He is still alive, but dies after giving him a message. Mick checks on the truck
driver, but he is dead as well. Shortly after two policemen arrive. Mick is
ready to give a statement, but the police aren't interested. He wants to help,
but they tell him that if he doesn't take off he might be charged with a crime.
The police could say it was his fault. Mick goes to leave and one cop picks up a
bag of cheese and gives it to Mick. He drives off and the two policemen starting
filling their truck with the spilled food.
It is nighttime when Mick pulls up to the Southerland House
Hotel which will be his home base from now on. Mary Ball runs the place and
welcomes him at the door. Bill takes his luggage and leads him up to his room,
which until yesterday was Oswald's room. Mary has put all of Oswald's things in a
drawer because she didn't want to throw them out.
Mick goes through Oswald's things when Monty comes in
the other door. He is his neighbor and questions Mick about what he is doing and
asks if he knew Oswald. Mick tells him he didn't and find some booze and porno
magazines and checks them out. Monty wonders if Mick has what it takes to handle the
job. Soon after Mary calls up to Mick that dinner is ready.
Once again we cut back to Alan Price in the studio
signing "Sell, Sell, Sell". The music keeps playing as we see Mick
doing his job. He goes from store to store, makes deliveries, drives, sells,
makes notes and keeps going and going. He goes from town to town with his note cards
about the people and what they want. Mick pulls up to a
large steel works that seems abandoned. He finds out they are closing the place
down.
He sits in his car and adds up his totals for the day which
aren't even 6 pounds, not a good start. He then heads to the Wakedale Hotel
which is very upscale and asks for the catering manager, Mr. Faulkner, at the
front desk. He is told to sit and wait while they look for him. After a short
time a man comes up to him, not the catering manager, but the hotel
manager. He is also the mayor of the town. He tells Mick they can do business
together and makes cryptic statements about Oswald. He then tells Mick he has
arrived at the perfect time for a party as they have one every Tuesday. He leads
him out the back of the hotel to a place in the back called the Nightspot.
Upon entering the secret location Mick learns it isn't what
he thought as all the women working there are scantily clad. Linda, the door
girl, takes Mick's briefcase and gives the mayor a smoking jacket and they head
off to the main room.
There is a very crowded barroom and the people are packed at
the tables watching a stag film. Mick and the mayor make their way to a nearby table.
The films sows a
woman waiting on her bed as Santa comes down the chimney, undresses her and
prepares to have sex with her.
The lights come up and everyone applauds. The mayor
introduces Mick to everyone at the table including a girl named Mavis sitting on the lap of
the man next to him. An MC in a silver jacket comes up and asks the crowd
what they'd like to see first. Choices are yelled out like 'Roman Candles' and 'Tutti
Frutti'. One man yells 'Chocolate Sandwich' and soon the whole crowd, including
Mick, starts
chanting 'Chocolate Sandwich' over and over. The MC knows they have made their
choice and calls out to two white woman and a black man in the crowd. On the stage a fold
out bed appears and the two girls in negligee sit on it and start to strip
as a black man joins them. During this a woman named Rebecca puts the moves on
Mick and sits on his lap. They all watch the activity on the stage as Rebecca
pours drinks for them.
Mick returns back to the hotel late that night with a
complimentary case of whisky. He staggers into his room and is about to collapse
when he finds Mary naked in his bed waiting for him. She motions to him and he
starts to undress and join her.
It is the next morning and the phone is ringing. Bill comes
upstairs and tells Mick the phone is for him. He leaves Mary's sleeping arms and
hurriedly dresses and goes down to answer it. It is Gloria and she is telling
him he now has to take over Scotland as well as the North-East. Mick can't
believe his ears as he has just gotten started and has to travel north another
200 miles and has no clothes for the cold weather, but he has little choice.
He gets off the phone and heads back upstairs and Monty is
waiting for him. He has made a gold suit for Mick and wants to give it to him.
Mick doesn't know what to do, but is in little position to turn it down and
Monty assures him it will keep him warm.
Mick, now in the gold suit, grabs his things from his room
and tells Mary he'll be back. She knows what he doesn't - that he will never be back.
Mick goes into his car and drives off as she watches from the window with tears
streaming down her cheeks.
Mick drives down a long dirt road and must be lost as the
road ends at a gate to a government base. The radio is playing and a man is
talking about the meaning of Zen. Mick pulls out his map and takes a look to no
avail. He then pulls out a pair of binoculars and climbs on the roof of the car
for a better look. He has now brought unwanted attention to himself and very
quickly two trucks full of soldiers pull up to him. They have him at gunpoint
and the captain orders him down. He is taken into the back of the truck and a
black bag is put over his head as they drive off.
The guards lead him into a small room in the giant Atomic
Research plant where he is left at a table and the men leave, locking the door behind
him. He sits and nothing happens. He tries to open the door and it is locked. He goes
to a door on the other side of the room and tries it as well. Surprisingly it is open and he
heads out. He goes down a corridor and looks down at some kind of bizarre
experiment going on below. It doesn't take long for the guards to catch up to
him and take him to a new room with a sort of electric chair they sit him in. Two men are now questioning him and want to know why he is there and where
is pass is. He doesn't have a pass and tells him he is looking for Mr. Woolley,
his catering contact. They don't believe his is a coffee salesman and think he
is a spy. A woman comes in with a beverage cart and sells tea to the two
inspectors.
They want him to sign a confession and when he refuses a guard ties
him down and they zap him. They ask him a battery of questions and cut open his coffee samples
looking for evidence. Mick isn't happy about that as he has to pay for them now. Soon after he is willing to sign anything to get out
of there. Suddenly an alarm goes off which startles the men and they get up
and leave. No one unties Mick and he is stuck there until the tea lady comes
back to clean up. She isn't the least bit interested in the alarm, only in
cleaning up the mess. She sees Mick still there and unties him. He makes a mad
dash for the exit and people are running everywhere on the compound. He leaves
through the front and there is thick black smoke pouring from a lab and the
staff fleeing everywhere. Soldiers and heavy equipment are rolling in the
compound and Mick is able to go right
out the front gate with a crowd unchecked. He runs through a wooded area as the
sirens continue to wail, hoping to reach his car. Before he gets there a
tremendous explosion is heard and debris rain down starting fires all around
him. He
slides down a sandy slope to his car, but it is on fire. He tries in vain to
rescue his radio and his other things, but the gas tank blows up.
He heads away from the facility and is soon in open green
country space. He follows a road to a church where a service is in session. He
sits in the back unnoticed and soon passes out.
When he wakes up the church is empty. There are food offerings
all over the altar and he heads up there to get something to eat. Before he can
the Vicar's Wife spots him and tells him he can't have any because it is god's
food. She then says he is only a boy and cradles him in his lap and pulls out
her breast for him to suck on and he does.
Afterwards she leads him out and tells him the path to take
to get back on the main road and has her children lead him. They cross a giant
valley that is thick with grass and sheep and arrive at a gate. There he says
goodbye to the kids and heads toward the road.
He stands by the edge of the road trying to hitch
a ride to London. A black car stops and a male nurse gets out. He asks Mick if
he would like to pick up some cash. Mick asks what he has to do. The nurse tells
him he has to be a part of medical research and will get 100 quid. Mick tells
him 150 and he has a deal. The nurse says he can't authorize that, but he can
talk it over at the facility. Mick agrees and gets in the back with an old lady
who has also agreed to go.
The car pulls up to a building called The Millar Clinic. They
are taken inside and Mick and the woman are given ID tags and put in
wheelchairs. Soon after Professor Miller, the project leader, arrives and
inspects the new arrivals. He checks Mick out and seems pleased. He gives
instruction to take him to room nine and wants a complete analysis on him.
The porters wheel them into the elevator and when they reach
their floor they split up. Mick is taken to the Analysis Room. We
next see him stripped down to only surgical underwear and he is sitting on a
reclining hospital table with a large amount of wires strapped to his head. Two
doctors and a nurse ask him general questions about his health until Professor
Miller enters. He is very happy with the results so far.
In the next stage Mick is tied to a spinning contraption and
the professor has to keep moving around to talk to him. He goes through more
tests and then is taken back to his room.
Mick is sitting up in bed and the professor explains to him
what he hopes to accomplish. Basically he wants to genetically engineer humans
to the point of perfection. He needs Micks' help and will pay him 100 pounds
for the week if he signs. Mick haggles with him until he gets a better deal. The
professor gives him a shot to put him to sleep and leaves.
He doesn't go to sleep though and overhears how they are going to
perform surgery and sterilize him. When the coast is clear he makes his escape.
He puts on his suit and tiptoes down the hall. He hears approaching voices of
the nurse and ducks into another room. He hears the sound of a man whimpering
and turns on the light to comfort him. When the man won't stop he pulls back the
sheet and screams in horror. The man's head has been grafted onto the body of a
giant pig. Mick tears out of the room, slams into a nurse and dives head first
out of a window.
He doesn't die as the next shot shows him furiously peddling
a bike out the main gate. A white van is coming up the road and nearly collides
with him. Mick swerves hard to avoid it and winds up crashing into the bushes.
He is mad and wet from the fall and his bike is ruined. The roadie driver gets
out to see if he is OK and then Alan Price gets out and asks who is suing who. Mick asks him if he is
going to London and he says he was. He asks him for a ride and he agrees.
Inside the van it is pretty cramped. Alan is in the back
with another man watching two other band mates who are playing chess and two men
are up in the front. He tells Mick to sit in the back and be quiet. After a
little bit something moves next to him. It is a girl, Patricia. She instantly
comes on to him and has him remove his wet clothes so she can warm him up. Mick
asks who they are and what they do. Alan tells them they are musicians. Mick
removes most of his clothes and curls up with Patricia in a rug. One thing leads
to another and they soon have sex.
Alan has gone up front and after Mick finishes he joins him.
It is nearly dawn and they are getting close to London.
The next morning Mick wakes up in Patricia's bed, but she is
nowhere to be found. He pulls a sweater out of a closet and puts his gold suit
on over it. He hears Alan singing and heads in that direction. The band is
rehearsing in the main room and Mick asks her where Patricia is. He tells him
she is upstairs. The crew points the way and Mick climbs a ladder that leads to
the roof. She is wearing a long flowing dress that is see through and painting on a chimney, it is like an open air apartment up
there. She greets him
and gets some champagne out of a refrigerator that is up there. He talks
about making it and the opportunity of London. She tells him if he really wants
it to just take it. He asks where all the stuff she has comes from. She tells
him from home and that her father never misses it. Mick wonders about the cost of a
nearby large skyscraper and Patricia tells him. When he asks how she knows she
explains it is because her father owns it. He is very intrigued. She gets in the
mood and starts kissing him, but he is more interested in her father. Alan then
calls up from the street if she is coming with him and she leaves Mick alone.
He goes back down to find a good suit as his gold one is worn
all over. During the scene we can hear "Poor People" playing in the
background. Mick finds new clothes and Patricia's address book. He calls over to
her father, Sir James, and cons his way into a meeting with him by saying that
his daughter is in trouble.
He arrives at the building, takes the elevator up and enters the lobby and is instructed to wait for Sir James. Professor Stewart is
in Sir James office and is loudly arguing. His not happy and is getting
belligerent. James wants him out and soon his assistant William and the
professor grab each other and start pushing out into the lobby. They wind up knocking Mick out of
his chair and the professor breaks down crying and the secretary gets some liquor
to come him down. William invites Mick into Sir James' office reminding
him how important Sir James is.
Mick sits down and explains that Patricia is in trouble and
how he can help her. No matter what he says though, Sir James doesn't seem
interested. There is a ruckus as the professor comes back in the office all crazy.
Since he can't get his way he is going to jump out the window of the high rise
office. William rushes over to stop him, but the professor has the window open
by now. William grabs him and starts to scuffle, but the men lose their balance
and both go tumbling out the window to their deaths.
Sir James calls all the executives in for a quick memorial,
tells his secretary to get him Vancouver and then gives Mick the job of his
personal assistant and heads out with him. In Sir James Rolls Royce a phone
rings. Mick answers and it is the call Sir James is expecting. He talks of
severance pay as the car pulls up to a mansion.
The mansion belongs to Dr, Munda, a wealthy black leader.
Introductions are made to Munda's people. Munda has brought everyone together to
make a proposal to Sir James. One of the men is introduced as Oswald and we know
know where the ex-coffee salesman has ended up.
They get a film ready and dim the lights. The presentation is
about Zingara, an island nation of which Dr. Munda is president. There is only
one small hotel and Munda's proposal is a giant 500 room hotel complex to
capitalize on tourism. Sir James asks questions and Munda answers. When he can't
answer he defers the questions to one of his experts who comes up to speak. This
continues until Sir James gets to the question of the threats of civil war.
Munda gives Colonel Steiger the floor who is in charge of putting down the
insurrection. He shows them a war reel and explains that Sir James can get a
partnership in the entire deal not by investing money, but by securing an
adequate supply of honey for him to finish the job of squashing the revolt.
Honey is a nickname for napalm.
Sir James is interested, but hides his emotions. He wants to
work over the details with Basil. Madam Paillard, Munda's French companion,
offers Mick a drink and Oswald congratulates him. Sir James offers to send Mick
to finalize the details and Munda tells a story about how Sir James used to
drink with his brother. He then reveals he has had him arrested, but hasn't hung
him yet.
The next day Mick is chauffeured to the National Political Club. He
exits the car in an expensive suit and bowler hat. Basil meets him there and
both men have magazine they place on the table. Basil orders them drinks and each
picks up the others magazine. They pocket the envelopes with the instructions
within each magazine.
Shots of Sir James Rolls going along are shown. The scene
breaks to Alan singing "Look Over Your Shoulder", then back to the
car. Mick is in the back. He lights a cigarette, pours himself a drink and
checks himself out. The car soon pulls up to a RAF base. Mick meets with the
Group Captain who is supervising the loading of honey into a massive transport
plane. Mick gives him the papers and signs for the 12,000 gallons of the honey
and the deal is done.
That night there is a dinner celebration at Sir James' house and Dr.
Munda and his guests are in attendance. There is a bit of small talk and Sir
James sends Mick into his study with a combination to his safe and tells him to
bring back the briefcase inside.
Mick goes down the hall and into the study and finds the wall
safe and opens it, takes the briefcase out and hears voices on the other side of
the room behind a screen. He goes over and is quite surprised to find Patricia
there, completely dressed up and made up with diamond jewelry as well. She
is lying on a sofa and a man is on his knees proposing. Mick startles the man
and he runs off. He wants to know what she is doing there and who that was. She
tells him she lives there and that he is a duke who wants to marry her. Mick is
not happy about that, but she admits she hasn't decided yet. He tells her he is
going to marry her and shows him what a success he has become by revealing the
gold bars in the briefcase. They kiss and he
tells her to wait there and he'll come for her after he is done.
Mick places the case on the table. Sir James brings out the papers and they sign them with Mick signing as a
witness. Suddenly the phone rings. The Fraud Squad is at the door and on their
way up. Sir James gives Mick the briefcase and the papers. The inspector checks
him out and everyone denies signing the papers except for Mick and he is
arrested. Sir James says he'll take care of the briefcase and the inspector
takes Mick away. Sir James sits and things resume as before. Before they even
get Mick into the car the police take turns beating him up.
Cut to Alan singing "Justice" at his piano. The
song fades out and the scene changes to a court room.
Mick is standing trial for trying to smuggle 10 million
pounds of gold from his employer. It doesn't matter what he says, he is found
guilty and sentenced to five years in jail. During a break the judge goes in the
back and takes off his robe. He is only wearing read briefs and lays on a table.
The bailiff takes out a whip and whips him across the back.
Mick is shown in his cell on his last day of sentence. Each
day has been counted off on the wall in chalk. He is
a changed man, no longer consumed with greed. He is spending the last time with a
pet dove before he sets it loose through the bars.
The guard is impressed with him and leads him to the warden's
office. The warden also likes him and talks a bit about his future and reads him
an inspirational passage from a book his grandmother gave him. After he finishes he
then gives the book to Mick. He is released with two other men. Both of them
have rides waiting for them and are quickly out of sight. One later comes back
for Mick, but he declines. He says his final goodbye to the warder and departs.
Mick is walking down the road and comes across a Salvation
army gathering. A major is speaking, women are singing and there is a band
playing. One woman comes up to him for donations and he gladly gives two pounds.
The woman is so impressed by his generosity since he has just gotten out of
prison and has almost nothing. She makes a point of telling the major. He halts
the band and proudly announces what Mick has done. Everything is going well
until the major asks him to come up and bear witness for his sins. Mick tells
him he doesn't believe in sin which doesn't make the major happy. Mick tells him
he used to think that way, but now he knows that people are good if you give
them a chance. Two bums eye Mick and take advantage of his naivety and pick
pocket everything he has including his money. When Mick goes to get his book the
Warden gave him he can't find it. One of the bums quickly sticks it in a
different pocket so he won't suspect anything. He reads from the book and only
upsets the major more who replies and then gets the band started up again to
drown Mick out.
Mick heads off again and some men run by and bump into him,
knocking the book from his hands. The men pick up a ladder and are trying to get
up to a second story window. There are people all over the alley and women
shouting from the upper stairwell. The men with the ladder come up short and are
mocked. Mick asks what is going on and is told a woman, Mrs. Richards, is going
to kill herself. Mick is deeply troubled by this and sets out to stop her. The
door to her apartment is locked and he can't get in so he climbs out on a ledge
and over to the window which he is able to open a crack. He can't get in, but
can see the woman with her two children and talk to her. She is cleaning the
floor and he asks why. She says she doesn't want to be accused of leaving a mess
behind. He tries to comfort her with passages from the book the warden gave him.
It doesn't work, she is fed up and has made up her mind. They go back and forth
a bit and then she goes into the next room to finish the job. He scrambles to
climb across to the next ledge to stay with her and grabs onto a drain pipe.
Right away the pipe starts to come loose and he falls into the garbage below,
knocking himself out.
Cut to Alan at his piano singing "My Home Town". When
Mick awakes it is nighttime and a policeman finds him.
Mick has no ID or anything on him and the policeman is not happy to see him. He then finds out
he hadn't been able to stop Mrs. Richards. The policeman finds Mick's bag and
harshly sends him on his way.
He wanders down the street and soon finds a women in a vacant
lot who has set up an impromptu soup kitchen out of the back of her truck. She
is feeding some old bums when Mick comes up to her. She gives him something and
he asks her if she does this every night. She tells him she does it when she
can. He asks her if she gets paid for and and she tells him no. Mick then
happily asks if he can help and she is pleased. She gives him a big soup tureen
and cups and instructs him to feed her regular derelicts around a nearby bonfire
and then leaves him there. He isn't sure what to do, she tells him to be herself
and she'll be back around five.
He hands out cups to a dirty women and some others and gives
them soup. Then he suddenly recognizes with horror that the filthy woman is
Patricia. He asks what happen to the duke? She tells him the sickly man on her
lap is the duke. Just then one of the meths drinkers goes into the bonfire and
Mick drops everything to try and help him from burning to death. Instead of pleasing the bums, this
angers them as the man was trying to commit suicide. Mick can't understand
their anger and tries to comfort them. He preaches about how they are all
brothers and how great the world is. They start attacking him and he runs. The
mob catches up to him and start pelting him with rocks. He loses his footing and
falls into a pit. They then roll a fifty-five gallon drum at him to crush him.
The screen goes black and then once again we see Alan in his
rehearsal room. Now he is singing "Changes."
We then cut to Mick walking on busy street corner looking for
food and money. He picks up a cigarette butt and stops a man asking for change.
He then comes upon a young man wearing his old gold suit with a large sandwich
board which reads "Want to be a star?". He hands Mick a flyer telling
him to try his luck.
Mick enters the cattle call audition hall. Tons of hopeful
men are there and a woman that looks like Patricia, but doesn't acknowledge him.
She takes his info and he takes a seat. Lindsay Anderson
is on stage casting his film if.... and a few men have their pictures taken.
Lindsay notices Mick in the crowd and instructs his casting agent to go get
him.
They put him in front of a screen and take his picture
holding books and then a gun. Lindsay tells him to be aggressive, then he tells
him to smile. Mick has lost his smile and tells him he can't smile without a
reason. Lindsay tells him to just do it, but he can't and argues about it until
Lindsay smacks him across the face. Suddenly, he starts to smile.
There is a blackout and then Alan is in a tuxedo up on stage in the
audition hall singing "O Lucky Man."
Mick is then in the middle of the crowd in his gold suit and Lindsay
comes over to congratulate him. Then other actors from the film come up to him. The music is
still playing and all the actors wearing in costume are
dancing together for the wrap party. Then balloons drop from the ceiling and
people are reaching for them Mick jumps up and hits one and the scenes fades on
him reaching for the balloons. The End
At first glimpse the film seems very British, but the
essence of the story is universal. Granted the entire cast, crew
and setting is British, but it really is an epic everyman story. Who of us
hasn't just been going along as we always do when something totally unexpected
comes along and changes everything? Whether it is an accident or a chance
meeting that develops into a lifelong romance. From then on we are completely changed and this is what I
get
from the film. One day Mick is training to sell coffee and the next day he
running the largest area the company has, then Scotland and then he is arrested
as a spy. If he hadn't been trying to escape from
the hospital on his bike he never would've almost gotten hit by Alan's bus and
never would met Patricia. Then he works for her father and goes to jail. Every
new event leads into another path.
Even after nearly 30 years this remains Malcolm's longest
film and will probably always hold that title. Other films came along like
Voyage of the Damned and Firestarter that were quite long, but they were far
from Malcolm vehicles. In OLM! Malcolm is in every scene for the entire three
hours. It is also the first time he plays multiple roles as he plays the
nameless thief in the intro.
Even though it is billed as a sequel to if..., it is not a
sequel in the sense you expect when the first film ends and the second film
takes it from there. Malcolm's character could've been named anything at all,
but by keeping his character's name the same as in if.... it makes it
continuous.
Even though a dozen actors appeared in both films, only Mick and Biles are the
same characters from the first film. Hugh Thomas who played Denson is the only
other student from if...., but he plays other characters. Like the switching
from black and white to color in if... the fact that every main actor plays
multiple roles and was another groundbreaking aspect of the film. Arthur Lowe appears as he did in all of Lindsay's films, so it is a
Lindsay tradition to include his "cinematic" family. In fact the actor
who played the headmaster from if.... is once again
Mick's boss in the coffee factory. There is only one little throwaway line
to link the films when Mick is asked "if the headmaster was right to expel
him from school." The line is funny for those familiar from if.... because
to think the only that happened to Mick for machine gun killing a bunch of people at the
school was just an expulsion. Otherwise there is no explanation. He didn't go to
prison and isn't even bitter at this point.
Unfortunately if you haven't seen OLM! in the theater, then
you really haven't seen it. The new print is better than any new film, it is
that stunning and until there is a DVD release it is the only way to see it.
Until I saw this new 35mm print I didn't even think a film could be this perfect
in the theater. It is like a DVD projection on the big screen.
Like if.... I see this film as a bunch of short stories woven
together. I think even more so in OLM! because so many actors appear later in
different roles, so it doesn't even matter that they appeared before - they have
no relation to the previous characters and with the exception of Patricia, never
appear again. Even at the end Helen is playing the casting director, and we are
left to wonder if it is Patricia, but they do not acknowledge each other.
Unlike if... Mick is the central character throughout while
during if.... we aren't even sure who the main character is as it shifts
perspective. Because of this it is up to Malcolm to carry the entire film which he does
without a doubt. Sadly, because of the length the film didn't get the rollout it
deserved upon first release in 1973 and was not widely seen. It is also one of the first long films that wasn't
a historic epic. In the 50s and early 60s the only epic films were things like
Ben Hur, Spartacus and Cleopatra. I think OLM! broke boundaries by saying a film
doesn't have to be set thousands of years ago to be epic. If it had been a
"hit" the world would've been able to see Malcolm as a leading man
instead of just Alex.
The amazing thing which is really a tribute to the great man,
Lindsay Anderson, is that even though the film is 30 years old, it hasn't dated at all.
In fact it has become even more relevant today with medical experimentation on
humans and cloning that was going on in the film. Malcolm said in NY, "The
only thing that dates the film in the cars." For those of us who haven't
grown up in England it is easy to look past the cars and locales since they
aren't familiar to us anyway. In many cases those locales have stayed the same anyway.
When Mick enters the busy streets at the end an LED ticker goes by that reads
"Troops and terrorists clash". This really hits home as it could say
the same thing today. In this case
I feel the film is even more important today than it was when it was made. A
long time ago Malcolm said Lindsay wouldn't truly be appreciated until after he
was gone and sadly I think he was right.
Another original concept was to include clips of Alan Price
actually playing the songs live instead of just playing them in the background
which is always the way it is done now. This really puts them in your face and
they can't be ignored. The songs aren't just background fodder, but lead into
the next scene. I think the most effective song is "Sell, Sell" which
plays as Mick is shown on his first day going from place to place going through
the routine. There is no dialog at all as the song plays like a music video. In
that way it was also groundbreaking.
There is also a weird religious scene in the film that takes
you by surprise. In if.... it is the chaplain in the drawer in the headmasters
office. In OLM! it is when the Vicar's wife breast feeds Mick near the altar.
Both scenes are over the top and unexpected. It seems that from these scenes
Lindsay was against religion saying it is something you can pull out of a drawer
when you need it and is fed to you like a child.
The other exciting part about seeing the film in the theater was this showing was the first time
the film had ever been played in the US with the missing reel. The scene is when
Mick tries to stop Mrs. Richards from killing herself. The deed isn't shown, so
we don't know how it happened, just that it did happen which makes it more
poignant. It was such a great scene and a very special treat to see it for the
first time - like finding a lost treasure.
I can't recommend the film enough. Now you can only watch and
old VHS release or if you are fortunate enough and willing to spend some bucks -
get the laserdisc. This is OK, but it just won't give you the full effect. With
no official DVD release yet, I wish
everyone could experience it in the theater the way it was meant to be seen.
This film is a benchmark in Malcolm's career as it was the basically the last film he
had to completely carry and that it marked his longest time away from acting. Because it
was disappointing at the box office, Malcolm took over a year off from filming.
Something he hasn't done since.
Rating: 9.75/10
1975 - Malcolm and Helen Mirren were in The Collection.
1976 - Malcolm and Philip Stone were in Voyage of the Damned.
1979 - Malcolm and Helen Mirren were in Caligula.
1980 - Malcolm and Lindsay did the play Look Back in Anger at the Roundabout in NY.
1982 - Malcolm, Graham Crowden, Patricia Healey, Peter Jeffrey, Arthur Lowe, Mary MacLeod,
Dandy Nichols, Vivian Pickles, Brian Pettifer were in Britannia Hospital.
1985 - Malcolm, Warren Clarke and Brian Pettifer were in Gulag.
1987 - Malcolm and Lindsay did the play Holiday at the Old Vic.
1997 - Philip Stone and Warren Clarke were in Dalziel and Pascoe: Deadheads.
1963 - Lindsay and Arthur Lowe worked on This Sporting
Life.
1966 - Lindsay and Arthur Lowe worked on The
White Bus.
1966 - Malcolm and Helen Mirren were both in the Royal
Shakespeare Company
1968 - Malcolm, Ben Aris, Geoffrey Chater, Graham Crowden, Peter Jeffrey, Arthur Lowe, Mary MacLeod,
Anthony Nicholls, Christine Noonan, Brian Pettifer, Hugh Thomas and Mona Washbourne were in if....
4/6/70 - Lindsay and Philip Stone did the play 'The Contractor' at the Fortune Theatre London.
11/9/71 - Lindsay and Warren Clarke did the play 'The Changing Room' at the Royal Court.
1971 - Malcolm, Philip Stone and Warren Clarke were in A Clockwork Orange.
This page © 1997-07 Alex D. Thrawn for www.MalcolmMcDowell.net