I’m All Right Jack is a film delicately poised between two very different cultural moments. The opening scene looks back to the war, the heyday of collective endeavour and national solidarity, but the song — both in content and style — seems to look forward to a new era of aggressive hedonism and unashamed self-interest.
At the time, though, what attracted most attention was Peter Sellers’s hilarious performance as the obstreperous trade unionist Fred Kite (“We do not and cannot accept the principle that incompetence justifies dismissal”), which delighted many cinemagoers and won him a BAFTA. Not surprisingly, it went down very badly with union leaders and left-wing reviewers, but the Boultings were unrepentant. In an article for the Daily Express, they explained their reasoning:
As individuals we believe in Britain because Britain has always stood for the individual.
Nowadays there seem to be two sacred cows — Big Business and Organized Labour. Both are deep in a conspiracy against the individual — to force us to accept certain things for what in fact they are not. Both are busy feathering their nests most of the time. And to hell with the rest of us…
AFter all, who is King in the Welfare State? That humourless, faceless monster — the official, the bureaucrat, the combine executive.
Certainly a great deal has changed since we used to be Angry Men before the war … But at the end of this huge revolution we are not so sure that the losses have not been as great as the gains.
For example, the tendency to think of people not as human beings but as part of a group, a bloc, a class.
The Boultings knew, of course, that this would annoy some poeple. But the great strength of the “average Briton”, they insisted, lay in “laughing at his leaders and institutions. We believe our films reflect the popular attitude and mood. Their success seems to prove our point.”
Since I’m All Right Jack is in black and white, it is easy to forget how bracingly modern it must have seemed, not just to the Queen and Harold Macmillan, but to the large audiences who flocked to see it in the autumn of 1959. It was released only ten years after Passport to Pimlico, but the difference in mood and tone can hardly be exaggerated. It is not just a question of colletivism versus individualism, but the social context that those two ideas reflected. The Ealing film was made against a background of austerity; the Boultings’ film is drenched in consumerism. In the early scenes of Passport to Pimlico, we find ourselves in a world of rationing and restrictions, bomb damage and dereliction. What kicks off the action, in fact, is the accidental detonation of an unexploded German bomb. But I’m All Right Jack is set in the late 1950s, a world awash with appliances and advertising, in which wartime austerity is merely a fading memory. The narrator tells us that at long last “industry, spurred by the march of science in all directions, was working at high pressure to supply those viatl needs for which the people had hungered for so long”. But when Ian Carmichael’s blundering hero gets a job in industrial management, he soon finds out what these “vital needs” are: Num-Yum chocolate bars and Detto washing powder, each with its own irritatingly catchy jingle.
Dominic Sandbrook, The Great British Dream Factory: The Strange History of our National Imagination, 2015.
October 16, 2018
QotD: I’m All Right Jack
Comments Off on QotD: I’m All Right Jack
No Comments
No comments yet.
RSS feed for comments on this post.
Sorry, the comment form is closed at this time.
