3.0 for the experience of watching. 5.0 for its sheer ambition, ideological rigour and coruscating soured humanism. The blackface is a grotesque embarrassment, but otherwise it is all relentlessly on-point and brutally disheartening when you realise that Britain of 2018 is in many ways still the Britain of 1973. The Masonic Northern working-man's club is a peculiar vision of Hell. I <3 McDowell's demonic-angelic face
O Lucky Man!, follows the surreal misadventures of a naive coffee salesman and his pursuit towards success through chance. A social commentary on the ups and downs of capitalism in a bizarre depiction of post-modern Britain. Part of it comes from McDowell's own experience as a young coffee salesman growing up as well as Lindsay Anderson's way of trying to strip away and reveal the greed and falsehood of society.
What a wonderfully weird cinematic journey this is! With Malcolm McDowell as a "Candide"-esque young man, swept along from one outrageous event to the next while gradually losing his youthful naïveté, the whole movie is an unpredictable, satirical and satisfying musical epic that could only have been made during that great artistically rebellious "late '60s to mid '70s" period of filmmaking.
Picaresque fable charting the further progress of ‘Mike Travis’ as he travels up-and-down capitalist society. Somewhat hit and miss, but mainly scoreing on account of bright playing, some perceptive digs and Alan Price’s splendid toe-tapping Greek chorus. Anderson is starting to show signs of the heavy handed satire that would mar Britannia Hospital, but largely puts his pet obsessions to good use here.
The best film I have seen in a while! While watching this film I felt that I was in complete cinematic safety. Generous in all its themes, and good storytelling. You are always surprised at what comes around the corner. Extremely fun and thought provoking. This is the kind of film that makes you want to watch every single film the director has made.