Customer Reviews

I'll Never Forget What's 'Isname [VHS]

5 star:		(6)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Considering this movie was made over 30 years ago, it is surprising how fresh it still feels. Orson Welles' character, the diabolical ad agency owner, is compelling and witty. He brings amazing dimension to the story, with laceratingly sharp observations about Western social values.

Oliver Reed is captivating as Andrew Quint, the disenchanted ad agency executive. He exudes sexual and physical power in a way that is nearly unequalled in films on either side of the pond. I need to say something about a barely constrained raw power that Oliver Reed's Quint brings to screen -- it frequently erupts in surprisingly believable acts of violence and fistfights. I tend to think of fistfights and car chases as hokey Hollywood stuff (seriously, how many fist fights have you witnessed in real life?). But, it works, for the most part, in this movie.

Quint resigns from his high-powered position in a spectacular act of rebellion. He seeks to return to a truer calling in life - working as an editor for a declining literary magazine. After whole-heartedly chucking his job, he then goes half-heartedly through the motions of breaking off relations with his assorted blonds. But, not really. In fact, he acquires another blond or two along the way. The break-ups, both professional and personal, are all on the surface. It may be just a European thing or a sixties thing, but movie's characters are strangely bland and accepting about sexual infidelity.

The female characters, a wife and a bevy of girl friends, alas, are nearly interchangeable - stamped from a cookie cutter. Maybe that was intentional; because, it seems, Quint never comes to grips with his angst. He fails to recover that sense of integrity he sought in his attempts to shed the trappings of ad agency success. There is a faint question in the air at the end: does he to come to peace with himself, finally?

The movie provides a terrific glimpse into the social culture of the Sixties, when Britain was in its ascendancy as the celebrated crown jewel of pop culture. But, as I said, it doesn't seem that dated - even the clothes still look fairly okay (the hairstyles and makeup, though, NOT!). Ahead of its time in many ways, the movie has comments on the environment and society that are still valid and compelling today. Orson Welles' character delivers a very insightful speech on the extraordinary generation of waste - both literally in how landfills are swallowing up the country and in the quality of society's intellectual output. The movie is cagey in its revelation that even the hallowed halls of the academic elite harbor decay and moral corruption.

I enjoyed the commentary provided by Michael Winner on the DVD edition. It's chatty - gossipy, in fact, with rare details about the actors' personal lives. As for the title, I still don't get it; and Winner's comments about it are obtuse. Frankly, the title sounds like a slap-dash comedy, which this is not.

As with their collaborations on "The Girl Getters" and "The Jokers", the efforts of director Michael Winner and actor Oliver Reed are effective in this fast-paced, quick-witted work. Like the ultimate relationship comedy "Annie Hall", this film revolves around the same subject matter a decade earlier. This time, viewers see Andrew Quint, who becomes as disenchanted with his successful advertising career as he is with his team of mistresses. At 32, he is ready to begin again. But as he changes jobs and women, he also encounters a few life changes he had not planned on. Set in London's swinging sixties, this movie captures the setting with style and marks one of Reed's very finest performances. A must-see!

From the opening shot, you know this film is not just another movie from the 60's.

Many films from this era showcase the "angry young man" character rebelling against some unfocused facet of society that they feel oppresses them. "The Girl Getters", also starring Oliver Reed, and "Saturday Night and Sunday Morning" are two such samplings from Britain that are quite memorable (also of note is the even rarer portrayal of the "angry young woman" in "The Girl With Green Eyes").

Oliver Reed is marvelous as the angry young man in this slice of life film set in Swinging London. Reed's disillusioned character has reached a point where the swinging lifestyle has become empty and unsatisfying, and he wonders if there is something more to life than just having fun.

Of course, Welles is on hand, and although his part is relatively small, it it pivotal nonetheless. As Lute, the millionaire advertising executive, Welles exudes the frightening presence of a man who is not to be denied anything he wants. Lute is pragmatic, cynical, and amused at Reed's faniciful idea of working for a cause instead of working for cash.

Even though Reed owns the film, one standout in the cast to be mentioned is the milquetoast character who asks Reed to join his failing literary magazine. Burdened by a harping wife who is unhappy with the poor life of a scholar and wants "things" likes sportscars and washing mashines.

Of course, Carol White is the foxy and quintessential London swinger, and would easily give Felicity Shagwell a run for her money.

These type of films are all too rare. Although there are a few American films that touch on the same issues with the same styling ("The Sweet Smell of Success" and "Love With the Proper Stanger" both spring to mind), the British just had a knack for making solid "class struggle" films. They also had the actors that would make the films work and the characters believable. Reed and his fellow cast members excel in this one, and Welles is wonderful. Don't pass it up!

This film works wonderfully as a timepiece. What I like so much about Winner's films of the '60's is how much he wizzes around the city. We are treated to location after location...so we really get a look at time and place like very few films of the period. Lots of cars and mini-skirted dolly birds with exaggerated hairdo's and eye make-up.

The story is rather lame. '60's London is the star of this show. It's such a time tunnel that you'll feel quite dazed when it's over...but I think you'll be entertained.

Carol White was always nice eye candy. She plays Oliver Reed's girlfriend. She stumbles and staggers through her lines (in one scene she almost falls over, in another she 'reacts' to the people in the room before she even has entered it,) but you forgive her because she had a sort of innocent charm, like this film.

Reed is at his cool best. He was also at his handsomest in 1967. He handles his part with great ease.

Orson Wells camps it up, maybe a little too much. Marianne Faithfull says the 'f' word...but little else.

If you like and/or are interested in '60's London...don't hesitate buying this. Otherwise I'd be reluctant to recommend it.

P.S. Almost forgot, the photography is excellent. So sharp and clear and so very London, 1967.

While this black comedy is a wonderful window into Swinging London, one that lives & breathes & crackles with the energy of that time, the issues at hand are just as relevant today. If anything, the corruption, waste, and hypocrisy depicted in Andrew Quint's half-hearted struggle to break free of a comfortable but unsatisfying life are even stronger now. In the 1960s, it was still possible to escape the rat race for a time -- if you really wanted to, that is. And that's Quint's real dilemma: does he want to escape badly enough?

As previous reviewers have noted, Oliver Reed brings real presence & swaggering menace to the film. Yet for all of Quint's ferocity, he can't quite cut the cord entirely. The seductions of power & wealth are both subtle & blatant, sneaking into his soul even as he strives to overcome them. Orson Welles is perfectly cast as the smooth, affably cynical tempter ... but isn't he simply offering what everyone wants anyway? Easy to blame others, blame the Establishment! But in the end, the individual makes the decisive choice. Or not.

What gives the film real bite is its unwillingness to favor anyone. Quint may want to do honest creative work for a low-paying literary magazine, but its owner is only too eager to sell out & buy into the sweet & cozy life himself. Perhaps only Georgina, beautifully played by Carol White, approaches a degree of authenticity as a human being. With her lost, lonely eyes & sullen beauty, she seems an aching ghost already when we first meet her. And her fate is cruel & unsparing, taking Quint's last illusions of escape with her.

Of course, you can simply enjoy it as a glittering look at a specific time & place. It really does capture the giddy, kinetic atmosphere of the 1960s ... and who can't love that opening scene of a hip, nattily dressed, slyly smiling Olvier Reed walking into work with an axe slung casually over his shoulder & demolishing his desk? But there's a lot more going on here, and the surface is often peeled back to reveal the utter depravity of so many people -- for example, the alumni party that shockingly turns into a replay of "The Most Dangerous Game."

Director Michael Winner gives us an excellent commentary, offering juicy anecdotes & a thoughtful perspective on the times long after the fact. Like so many films from that period, it's drenched in color & filled with stylistic editing tics. But it's the story & its questions that will remain with you after the final credits roll. Highly recommended!

I saw this film on Sky Movies in 2008, thought it was astonishing and upon seeing it again still love it. Yes, it is very dated but that element works. Why not step back in time to super sexy ad man Oliver Reed's era where erotic delights are thwarted by the realities of emotion, commerce and ego? Many great montage sequences of post war 60's Britain including some postcard shots of Cambridge complete with Emily Choir style "oooo woooo" singers and an astonishing "ad" that Ollie's ego maniacal character Quint creates to give the middle finger to the advertising establishment at a swank London awards show. Carol White (rest in peace) is brilliant as the secretary who squanders her self worth on Quint. Along with Hannibal Brooks and The Jokers, this is the must se Winner/Reed production.

Awesome Brit expose of life in 'Swinging London'......INCREDIBLE opening titles as Ollie marches down Wardour Street; dressed to the tees, cradling a gleaming axe; while Big Beat Music plays .....as he goes up to his corporate office and destroys it.....He's fed up; There's no Meaning to life in the corporate zone.....The film follows Ollie as he searches for some kind of Inner Meaning to it all; meanwhile showcasing Swinging 60's London at it's Zenith.....This was the Third part of British Director Michael Winner's Trilogy about disaffected British Youth; following after 'The Girl Getters' /aka 'The System'; and 'The Jokers'; both starring the aforementioned and Legendary Oliver Reed....the One and Only Ollie....The DVD also features a Rare Michael Winner COMMENTARY TRACK; which is very witty and loaded with great stories and anecdotes....I wish Winner would do commentary tracks more often!!....As usual, this release by Anchor Bay is crisp and sharp; the film looks like it was shot last week!!....Sadly, this DVD is now out of print and is getting much harder (and pricier)to acquire; Hopefully it will get a reissue (Blue Underground, are you listening?) and maybe one day we will even be able to get the whole classic Michael Winner/Oliver Reed Trilogy in a nice boxed set!!

One useful trivia fact: this is reportedly the first movie, where the F-word is pronounced. The perpetrator of this great villany is Miss Faithfull.

There are 60's movies and then there's "I'll Never Forget What's 'is Name". This is as crazy a 60's film can get. This is a movie in which Andrew (Oliver Reed) smashes up his desk just to quit his job, a boss from America that he hates (Orson Welles), two mistresses (which includes Marrianne Faithful-who says the first ever F-word near the end) that he picks up, a wife (Wendy Craig) that he doesn't trust, hangs with old college friends, breaks stuff, and then he meets Georgina (Carol White) for which he likes. And oh yes, there's the cou de gra (Spoiler report for those who haven't seen it): While riding with one of Andrew's friends, Georgina gets smashed in the windshield and the car explodes and she's burned to death. Now there is a word: BURNED. Because that is what happens to Andrew for the rest of the movie to the point where he goes back to his wife. To be fair I didn't think that was necessary because it made me feel sad considering that this would become the pattern for Carol White's life (she would die at 52 to drug abuse). But the film has some funny moments. My favorite scene is when Andrew is filming a commerical with Jonathan (Welles) and Georgina (White) is in the pool wearing only a swimcap and as the cameras roll, she begins to tell about Andrew's misfortunes. Andrew is so upset he jumps into the pool and tries to choke her! In conclusion, INFWIN is a strange movie with strange getups.