Oh! What a Lovely War

Dir: Richard Attenborough

1969

*****

Adapted from Joan Littlewood's theatre production, that was in turn a take on the popular radio show The Long Long Trail by Charles Chilton (and influenced heavily by Alan Clark's controversial historical work The Donkeys 1961), Richard Attenborough's debut is one of the greatest Musical War satires ever made, and quite possibly the only one ever made. It is a relentless satire but given the subject matter it is always in good taste. World War II has almost always been shown for the horrifically pointless war that it was in film and television, to make a musical satire of the event gives the message a little bit more of a sting without being too obvious. Patriotism often gets in the way of fact, Oh! What a Lovely War shows the faults from all sides, highlighting all of the wrong reasons why countries go to war, how the public are manipulated into thinking it is a good thing and ultimately who pays the final price. A very clear and concise message, with music and dancing. It's an absurd film but then that is the point, one absurdity deserves another and so on. It's a shame that this kind of thing still happens and that people have forgotten much of what they are reminded once a year not to but I digress. The memory of those who fought and lost is handled perfectly and it is important to remember that many of those involved would have had close family members involved in the war, with a few being alive during. No blood is shed in the film, instead Attenborough placed a red poppy next to where each character had been to symbolize their passing. It's quite astonishing to think this was his directional debut as it easily gives Federico Fellini a run for his money. The cast is one of the greatest ever assembled and includes Maggie Smith, Dirk Bogarde, John Gielgud, John Mills, Kenneth More, Laurence Olivier, Jack Hawkins, Corin, Michael and Vanessa Redgrave, Ralph Richardson, Ian Holm, Jean-Pierre Cassel, Edward Fox and Susannah York to name just a few. It is clearly an influence on the work of Monty Python and indeed Blackadder, particularly Blackadder Goes Forth and many a musical made since. A good war film is an anti-war film and a good musical (apart from good songs) is good structural narrative. It's the perfect combination of theatre and cinema that is still miles ahead of anything made before or since.

Gandhi
Dir: Richard Attenborough
1982
*****
Richard Attenborough's 1982 epic Biopic begins with the statement; 'No man's life can be encompassed in one telling. There is no way to give each year its allotted weight, to include each event, each person who helped to shape a lifetime. What can be done is to be faithful in spirit to the record and to try to find one's way to the heart of the man'. 
With that in mind, this is absolutely one of the most honest and faithful biopics of one amazing individual. The Richard Attenborough's passion as a story teller is clear, I think many aspects of what was going on in India under British rule at the time was not mentioned due to the fact that this film is more about the man, rather than the world at that time, a time, place and situation can make the man but it can also dilute a story of its purpose. That said, it doesn't shy away from the brutality India suffered or indeed from Gandhi's message, that is still loud and clear for the audience to hear. The world would be doing itself a favour in revisiting the story of Gandhi and thanks to Attenborough's wonderful film and Ben Kingsley's amazing performance, we can at any time. A fitting tribute to a wonderful man.

Magic

Dir: Richard Attenborough 

1978

*****

Magic is one of those terrifying films that seems to always get overlooked when people discuss both horrors and thrillers, even though it is one of the finest examples of both. After the success of 1977’s A Bridge Too Far Joseph E. Levine wanted to work with William Goldman and Richard Attenborough again, and bought the rights to Goldman's book for $1 million with the intention of having Attenborough direct it. However, for whatever reason, the first draft was written with director Norman Jewison in mind. Jewison wanted Jack Nicholson to star but Nicholson turned it down, after finding out he’d have to wear a hairpiece for the part. Steven Spielberg expressed interest in directing the film and considered casting Robert De Niro for Corky but it never went any further than that. Attenborough accepted the assignment because he could use it to finance Gandhi, a dream project that he had wanted to make for some time. Goldman and Attenborough originally wanted Gene Wilder to play the main role but Levine told them that he didn’t want any comics in the film. Anthony Hopkins, who Attenborough had worked with before, became the obvious choice. Ann-Margret was hired soon after in a supporting role and Laurence Olivier was originally offered the role of Ben Greene the agent but was unable to do it due to illness so Burgess Meredith was cast instead. Meredith got the role after walking into studio 21 one night when Levine was there and Levine cast him on the spot. Meredith modelled his performance on the agent Swifty Lazar, even shaving his head to look like Lazar. "I tried to get his cool, understated manner, his sharp clothes and, most of all, his way of speaking softly so that you've got to lean over to hear what he's saying," said Meredith. Goldman later wrote about the film that "Burgess Meredith was perfect and Tony Hopkins... was so wonderful here. But running stride for stride with him was Miss Olsson (Ann-Margret’s character in The Swinger). I think Ann-Margret is the least appreciated emotional actress anywhere.” After Charles "Corky" Withers fails in his first attempt at professional magic, his mentor "Merlin" (E. J. André) says that he needs to have a better show business gimmick. A year later, Corky comes back as a combination magician and ventriloquist with a foul-mouthed dummy named Fats, becoming a huge success. Corky's powerful agent, Ben Greene, is on the verge of signing him for his own television show, but Corky bails out for the Catskills, where he grew up, claiming to be "afraid of success." In truth, Corky does not want to take the TV network's required medical examination because doctors might find out that he suffers from severe mental issues, and that even off-stage he cannot control Fats (a manifestation of Corky's split personality). In the Catskills, Corky reunites with his high-school crush, Peggy Ann Snow, who is stuck in a passionless marriage with Corky's friend from high school, Duke. A magic trick with a deck of cards charms Peggy into thinking they are soulmates, leading to them having sex. This sparks the jealousy not only of Duke but also the dummy Fats. In the midst of an argument "between" Corky and Fats, Greene arrives unexpectedly and confronts Corky, discovering the truth about Corky's state of mind. Corky pleads that nothing is wrong with him and that he is just rehearsing, so Greene puts him to the test, saying "Make Fats shut up for five minutes." Corky puts aside Fats, but is unable to last five minutes without delivering a rapid stream of speech through Fats. Greene demands that Corky get help, and leaves to make some calls to doctors, but Fats convinces Corky to kill his agent. Corky chases after Greene in the woods and bludgeons him with Fats' hard, wooden head, and then attempts to drag the body into a lake. However, a still-living Greene suddenly lunges at him, causing Corky to drown him. The next morning, Fats becomes even more possessive and jealous when Corky says that he plans to elope with Peggy and leave the dummy behind. Duke returns from his trip earlier than expected. Suspecting his wife has cheated on him, he wants to have a talk with Corky by the lake. Rather than confront him, Duke awkwardly confides to Corky that he loves Peggy and is worried about losing her. Duke suddenly spots Greene's body on the edge of the lake. Duke, believing Greene could still be alive, sends Corky to get help. Curious, he decides to search Corky's cabin, where Fats stabs him with "help" from Corky. An increasingly deranged Corky manages to pull himself together and persuade Peggy to run away with him. But she insists on waiting to tell Duke face to face. She thinks everything is fine until Fats "comes alive" and reveals that Corky's card trick is only a ruse he uses to seduce women, and that Peggy is only the latest of his conquests. Repulsed, she rejects Corky and locks herself in her bedroom. Fats says that, from this point on, he will make the decisions in Corky's life, immediately asserting this new authority by ordering Corky to kill Peggy. Corky, turning on the charm and using Fats' voice, apologizes to Peggy through her locked door, and leaves her a wooden heart that he carved. A short while later, Corky returns with a bloodstained knife. Fats seems pleased - until it is revealed that the blood on the knife is Corky's, who has fatally stabbed himself so that he won't kill anyone else. As a result, Fats also feels faint. They wonder which of them will die first. Moments later, Peggy returns to their cabin, happily calling out that she has changed her mind and has decided to run away with Corky after all. As she speaks, her voice changes into a caricature that sounds like a female Fats.William Goldman is a brilliant writer. Combine that with the directing talent of Richard Attenborough and the acting talent of Anthony Hopkins, Ann-Margret and the wonderful and still sorely missed Burgess Meredith and you have the recipe for a near perfect film. It is by far my favourite horror film based on Schizophrenia. Corky/Fats is more frightening than Hannibal Lecter and Chucky put together in my opinion. I’ve always found psychological horrors to be more effective than the usual slashers and ghost stories and when in the right hands, as it was here, something truly stunning can happened. It’s about as creepy as it gets.

A Bridge too Far
Dir: Richard Attenborough
1977
*****
Behind this all-star-cast, big budget War film is very important message. Wars are won by Bravery, by sacrifice, by good planning and sometimes by luck but when someone decides to play war, people die. It's the boldest anti-war war film of all time. It show the mistakes made by the deluded Generals who would sooner let many die then to loose face, the pointlessness of war and the exploitation of those who end up suffering the most. It's also a bloody good war film that correctly depicts the brave solders who fought for us. Richard Attenborough tells the story as it should be told with the greatest of respect and well done to him for that.