w/ Tony Hancock, George Sanders, Paul Massie, Irene Handl, Dennis Price, Nanette Newman, Peter Bull, Oliver Reed. Written by Alan Simpson and Ray Galton. Directed by Robert Day.
Optimum Classic/Studio Canal Region Two DVD. Cert U.
Commentary Track by Paul Merton, Ray Galton and Alan Simpson.
On this excellent Commentary Track comedian Paul Merton proves to be a genial host and amiable scholar of classic British comedy. Merton's previous working relationship with screenwriters Galton and Simpson, and his obvious enthusiasm for their collaboration with comedian Tony Hancock, quickly puts the two older gentlemen at ease, and while their conversation rambles on occasion, there are few dead spots or lapses into straightforward scene description. From time to time, Merton can't stop himself from laughing out loud at some of the on-screen dialogue ("Look what just got back from Ascot") or other bits of business, most notably during the wonderful early scene between hopelessly deluded fine artist 'Anthony Hancock' and his philistine landlady Mrs Crevatte (played by the incomparable Irene Handl.) Merton's enthusiasm for the banter between the two is infectious, so it comes as something of a disappointment to learn from this disc that Hancock refused to work with the actress again - apparently he was not only irritated by her shameless scene-stealing, he also took a deep dislike to the little yapping dog she carried round with her off-set (and who can blame him.)
As Merton points out, THE REBEL represents a unique opportunity to see Tony Hancock in colour, at the absolute peak of his powers, even if he already looks much older than his 34 years. Hancock had previously appeared in the 1954 comedy film ORDERS ARE ORDERS, but THE REBEL was his first star vehicle, a step up even from his phenomenally popular radio and television shows, and he took the project extremely seriously. To Galton and Simpson's chagrin, the comedian insisted on a writing credit, based on some brief early input he had into the story (wherein Hancock's frustrated office drone moves to Paris to pursue his dreams of the art life.)
Nevertheless, throughout the Commentary Track the two writers are unstinting in their praise of Hancock, pointing out that his sublime talent for reading scripts meant he instantly understood every nuance of dialogue and expression. Physical comedy, slapstick, was slightly more of a problem, and the writers remember that the only time that conflict arose between the star and director Robert Day was during the shooting of the film's extended 'action painting' setpiece.
After THE REBEL, Galton and Simpson wrote one more season of the HANCOCK TV show before parting company once and for all from their increasingly conflicted employer, who was apparently concerned that he was perceived as being simply a mouthpiece for the thoughts and words of others. Hancock never again worked with writers of the same calibre. His next film, the dour and very patchy PUNCH AND JUDY MAN (1963), co-written by Hancock and Philip Oakes, is also included on this double disc 'Tony Hancock Collection' set from Optimum Classic, without a Commentary Track or any other bonus features.
Despite the sadness of Hancock's lonely death, Galton and Simpson also insist that he was not, in their company, depressive or aloof - he liked to laugh loudly and frequently, and his ability to satirise his own pretensions and self-deceptions could be said to lie at the heart of his comedy. Although THE REBEL takes some predictably easy pot-shots at Abstract Expressionism and Existentialism (with white-faced beatnik Nanette Newman uttering the immortal and sadly prophetic line "Why kill time when you can kill yourself?"), Hancock's enthusiasm throughout the film for new ideas and experiences seems genuinely heartfelt, even inspiring. Galton and Simpson confide that THE REBEL is apparently Lucien Freud's favourite film, and they also describe in detail the Pataphysical Society's surreal recreation of all the paintings seen in the movie.
As part of the break from the small screen, HANCOCK regulars Sid James, Kenneth Williams, Hattie Jacques and Bill Kerr are notable by their absence, although other favoured members of the TV troupe are present and correct, including John Le Mesurier (here 'outed' as a dedicated fan of jazz pianist Bill Evans), Hugh Lloyd, Liz Fraser and, most memorably, Mario Fabrizi as a coffee bar owner who cannot believe that Hancock wants a cup with "no froth". George Sanders, a suicide like Hancock, is the biggest name in the cast, and was apparently the best paid. Galton and Simpson remember that "the big ponce" had it in his contract that a grand piano would be on set for him at all times, on which he would play Ivor Novello songs during breaks from filming. Equally unlikely is the revelation that Sanders lost his fortune investing in a sausage factory.
Just as THE REBEL's final third represent something of a falling off from the film's first inspired hour, so too does the Commentary Track slightly peter out towards the end. Merton charmingly concludes proceedings with the declaration "Well I think that's lunch." I hope they had froth on their coffees.
APHRODITE AT THE WATERHOLE
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