Very Important Person (1961)

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Exactly the movie you think it is, but not the movie you want it to be.

Copyright 1961 by Independent Artists. Not copyrighted in the U.S.A. New York opening at the Plaza: 30 July 1962. U.S. release through Union Film Distributors: 30 July 1962. U.K. release through Rank Film Distributors: 21 May 1961. Australian release through British Empire Films: November 1961. 8,820. 98 minutes. (Available on an incorrectly framed Network DVD). U.S. release title: A COMING-OUT PARTY.SYNOPSIS: In 1942, aeronautical scientist Sir Ernest Pease is flown over enemy Germany to observe at first-hand the results of one of his radar experiments. When his plane is hit by anti-aircraft fire and he is forced to parachute to earth, he is captured and sent to a P.O.W. camp. Because of his aloof and taciturn nature, his fellow prisoners suspect him of being a spy. However, when word arrives from the War Office that he is a very important person, all hands join in arranging an escape. Following several unsuccessful attempts, Pease decides to take over. VIEWER'S GUIDE: Borderline (lots of bombast, anti-German sentiments, implied cruelty).COMMENT: Who else is better qualified to enact a "Very Important Person" than James Robertson Justice? Even the name sounds important. Mr. Justice is a master of the cutting remark, the caustic put-down. Acidic bombast issues as smoothly from his lips as invective from the most well-versed sergeant-major. And fortunately for us, Leslie Phillips and company are just the sort of scallop- brained officer talents to try the great man's patience.Of course no amount of bombast, no matter how entertainingly well- honed, will serve as adequate entertainment in a feature film if the surrounding story and characters are not likewise sharply drawn and delineated. Fortunately that is not only the case here, but an extra jester has been added to the pot. Two extra jesters in fact – both in the person of that superb mimic, Stanley Baxter. What is more, Baxter is not merely a bonus on the sidelines, but an integral part of the movie's cleverly plotted escape. As for the actual support characters, they are as entertaining a medley of reliable British types, led by Eric Sykes and Richard Wattis, as any Empire could boast. Annakin's direction is surprisingly skillful and assured. And as the film has been realized on a fair-sized budget, other credits are likewise first-class.OTHER VIEWS: It's not only Justice's film. The principal acting credit for its success must be equally shared with Stanley Baxter. As for the script credit, it does no disservice to the long, noble tradition of British POW movies, mostly because it re-uses so many of the standard ruses, devices, props and even characters.Fortunately there's still more than a bit of life left in the old genre. Spirited playing certainly helps. — J.H.R. in Photoplayer.

A sterling cast is largely wasted on this flimsy attempt at satire. Heavyweight JRJ's typically confident and purposeful performance is about the only thing making it watchable, although brief glimpses of comic genius Eric Sykes and twin roles from dour Scot Stanley Baxter do help lift this above the merely mundane.The plot is strong enough but is weakened because of the light-hearted treatment, and there is little attempt at creating tension or even realism. What passed for gentle entertainment 50 years ago would mystify most modern audiences who are raised on a diet of high-octane, high-speed thrills and laughs.As a piece of social history illustrating the British attitude to the war just 15 years after it ended, it has merit. Sadly as a piece of cinematic entertainment it does not.

Avoid the book of the same name clumsily written by John Foley if you ever see it, based on the film's screenplay by Jack Davies. The main thing here is that the film was a showcase for the mammoth personality of James Robertson Justice, it would be virtually nothing with someone else in his role of frosty crusty portly professor. The book is nothing without him; get the DVD.In WW2 acidic high-up professor (JRJ) has to get into Nazi-occupied Europe to try out some scientific experiment but gets captured and sent to a POW camp in Germany to his disgust. Then he has to get out again with the help of his room-mates who eventually discover just how important he is – to Winnie in London at least. A lot of old British actors were paraded here, but particularly manic Stanley Baxter (x2), lascivious Leslie Phillips and poncey Jeremy Lloyd, all making for a comfortable familiar ride. JRJ surpassed himself, evincing stoical but disdainful contempt for everyone British or German and his surroundings, barking orders to all lesser mortals and generally displaying an organisational brainpower not usually found this side of Mount Olympus. Favourite bits: Phillips immortal impatient leg-crossed line when JRJ as a Red Cross Inspector is imperturbably wasting time in front of the German guards; and almost everything JRJ uttered during the film.All in all, a typical British comedy from the time but turned into something special by a tour-de-force performance, and one I've seen umpteen times since the late '60's. What an original the man was – to me indeed, a Very Important Person.

James Robertson-Justice plays (Sir Ernest Pease.) an important scientist sent on a bombing mission to see how a raid goes. As we can all guess, the plane is attacked and he parachutes to safety only to be sent to a pow camp,where he takes on the alias of Lt Farrow. When the senior British officer learns who he is, Farrow is helped to escape.The film is held together by Robertson-Justice, whose performance lifts the film out of the ordinary.