Following last year’s centenary releases of Two Way Stretch and Heavens Above!, StudioCanal UK have continued their Peter Sellers celebrations with two further British Lion productions: Carlton-Browne of the F.O. and Only Two Can Play. Neither of these ranks among the strongest of the centenary titles, nor do they represent the best films Sellers made in this period – these would be I’m All Right Jack and, arguably, The Wrong Arm of the Law. Taken together, however, they offer an instructive snapshot of a performer on the cusp of international stardom.
Carlton-Browne of the F.O. is the earlier and more old-fashioned of the two. It seems that StudioCanal are really scraping the barrel of what they can plausibly describe as “A Peter Sellers Film.” Sellers receives second billing, but his role is clearly a supporting one and not even the most memorable supporting turn in the film. The decision speaks less to the film itself than to British Lion’s eagerness to capitalise on Sellers’ rapidly rising profile in the wake of his incredible performance in I’m All Right Jack, which marked him as one to watch, even when the role in this film scarcely justifies the billing.
Really, this is a vehicle for Terry-Thomas, a comedy icon in his own right. Having made a career out of playing various cads and bounders in the likes of School For Scoundrels, Too Many Crooks and I’m All Right Jack (“he’s an absolute shower, a positive shower”) here he plays against type as a feckless but well-meaning Foreign Office official dispatched to resolve a diplomatic crisis involving the fictional country of Gaillardia, a forgotten former British territory. Unsurprisingly, he finds himself completely out of his depth. Thomas is a lot of fun as the eternally beleaguered, under-appreciated civil servant, clearly enjoying a rare opportunity to take the lead, although it has to be said he’s a lot more effective when playing his usual assortment of rotters than the well-meaning ineptitude he displays here.
As noted in the special features on this release, trying to explain the details of the convoluted plot is a bit of a fool’s errand. Succession disputes, revolution, and rival diplomatic missions swirl around Gaillardia, while British officials struggle to remember why the country matters at all. The opening half is definitely the most interesting – the characters are all introduced neatly and economically, and there’s an Ealing-esque feel to some bits of business, especially the bureaucratic nightmare that arises when Gaillardia is first discovered, as various officials desperately search on maps and in old cabinets for any record of the obscure country. The detail of the British ambassador who has been completely forgotten about (beautifully played by Miles Malleson) wouldn’t look out of place in an episode of Yes Minister. Certain aspects feel outdated, especially the casually xenophobic attitudes toward foreign cultures and traditions. However the majority of the gags still land, from bits of physical comedy like the two diplomatic parties missing each other thanks to all the cannon smoke, to moments of sharp satire that still ring true today – the superficial roving reporter interviewing a housewife (Irene Handl) for her “valued” opinions, is especially funny (Her answers consist entirely of “Well, I couldn’t say” and “I hadn’t really thought about it”).
Sellers gives an unapologetically broad performance as the cheerfully corrupt Prime Minister of Gaillardia, sporting an outrageous accent and butting heads with every halfway decent character in the film. Unlike the other films in this collection, where Sellers gives nuanced, sometimes genuinely impressive performances, here he is an utter caricature of decadence and sleaze – very funny, but lacking any real depth. There’s a real sense of tonal whiplash when watching this alongside the likes of Only Two Can Play and I’m All Right Jack, despite this being filmed first. Sellers was still performing on The Goon Show at this time, and his character could easily have fit alongside his gallery of voices, but by the time the film was released, this felt like a bit of a step backwards in terms of his film career.
The supporting cast is stacked with reliable British comedy actors, such as John LeMesurier, Miles Malleson, Kenneth Griffith, and even Nicholas Parsons! The standout performer is Thorley Walters, who nearly steals the film as Browne’s long-suffering military escort, delivering the best gag during an interminable national anthem with perfectly judged impatience. During a lull, Browne begins to move, but Walters mutters “Wait a bit… Though so!” as the anthem lurches back to life. Ian Bannen is a curious choice for the romantic lead, but he’s a lot of fun, even if you might have trouble reconciling his performance here with his grizzled later roles in the likes of Tinker Tailor Soldier Spy and The Flight Of The Phoenix. Still, he acquits himself well as a straight man in the midst of some seasoned comic performers. Luciana Palluzzi, by contrast, feels a bit wasted. She doesn’t get much to do here beyond look beautiful, which is a little disappointing, especially given how excellent she was as the femme fatale villain in Thunderball – her character here can’t help but look a little wet by comparison. The supposed reveal of her identity is a twist so predictable that the film itself seems reluctant to treat it as such.
As with many British Lion comedies of the era, Carlton-Browne of the F.O. loses momentum in its final act. The already loose plot frays further, motivations become muddled, and the romantic subplot is so completely removed from the shenanigans of Terry Thomas and Sellers that it feels like two completely separate films. It may not be as sharp or as relatable as the other films that have been released as part of this collection, but it’s never anything less than fun. Watching today, it’s a neat satire of Britain’s post-imperial anxieties and the country’s increasingly dwindling influence on the world stage, although it’s more interesting as a stepping stone for Sellers’ meteoric rise than as a forgotten classic.
Special Features
As with the other titles released by StudioCanal, there isn’t a huge amount of extra material here, but what there is is incisive and telling. The Diplomacy & Drollery featurette contains contributions from regular interviewees Peter Lydon and Vic Pratt, and there’s a decent featurette on the Peter Sellers with contributions from Roy Boulting, Bryan Forbes and Beryl Reid.
★★★
Carlton Browne Of The F.O. is released on 26th January from Studiocanal / Terry-Thomas, Peter Sellers, Ian Bannen, Luciana Palluzzi / Dir: Roy Boulting / British Lion / PG
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