Penny Points to Paradise

An odd mixture: cheap and quickly made, a strange mixture of clichés piled on top of each other, old (and stolen) jokes and improvisations. Harry Secombe has won £100,000 on the football pools, but still goes to Brighton with his pal, played by Spike Milligan, for his usual holiday at at their usual nightmarish guest-house. Two girls already there set up as gold-diggers, a confidence trickster sets out to get his money from him and a pair of counterfeiters (one- Alfred Marks- doing a W.C. Fields impersonation) follow them for the same purpose. The plot is just a thread to hang a set of gags on. The only trouble is, the gags aren't very original or very good. There are one or two moments when they are on the edge of the surreal comedy that they achieved in The Goon Show or they might fly off into farce, but it nearly always fails. A short scene when Secombe, hypnotised to think he is a soprano, and one of the girls, thinking she is a bass, sing a duet is genuinely funny as are moments when all of them and a pair of comic policemen run round a waxworks museum, but on the whole they don't seem to have had the knowledge of film, the confidence or the time to work out something good, though so often they seem just on the edge of it.

British actors peter sellers and spike milligan. The first 25 minutes, it's mostly a bunch of silly vaudeville bits, some of them even silent movie type gags, where the piano plays as the physical slapstick humor is shown. Now, we finally see a plot begin to unfurl. Harry (secombe) has won the sweepstakes, and a flim flam artist (sellers, playing two different roles) is out to find the stash of money. Then more vaudeville bits under the guise of a hypnotist. There are about 40 minutes of actual story, and another 40 of filler and silliness. The first feature film directed by tony young. It's all ridiculous and amateur hour. Can't really recommend this one, although it is early sellers and milligan, so their fans should see it, for historical reasons.

This film is an odd mixture of about fifty/fifty success and failure, but manages to remain quite enjoyable withal: Monty Python, however, it ain't.

It's a somewhat odd experience for those, such as myself, with only a passing acquaintance with the Goons, to see them in person rather than just as radio voices. I had no idea that Harry Secombe was so short, for instance, or Spike Milligan could be so unexpectedly good-looking. And they take advantage of the new medium to experiment with some purely visual comedy, for example Secombe's mimed surgical operation. The hit rate for this, though, is about the same as for the verbal humour: about half of it worked for me and the other half didn't.

The most consistently impressive performer is Alfred Marks, who appears to be channelling Alistair Sim in his role as a smooth criminal mastermind; his derogatory relationship with the sidekick he calls 'Laddie' is almost invariably hilarious. The statuesque Paddy O'Neill's impression of Bette Davis is also wickedly apt, while she and Vicki Page as Sheila have a good double-act going. The Goons have a tendency towards being manic just for the sake of it (epitomised in the speeded-up sequences, a form of Keystone Kops comedy that just doesn't work for me at all) but come up with some nice sequences.

The history of the print we saw was chequered, the picture having been cut for re-issue under the title "Penny Points" with some of the footage surviving only in 16mm format (and apparently extra footage of Peter Sellers interspersed to take advantage of his increased fame!) The differing quality of certain scenes did, however, provide the opportunity to see just what had been cut; largely plot-development and dialogue scenes between the set-piece gags, by the look of it, and certainly the restoration gives the impression of being an improvement.

By and large I found this film about as funny as the average Goon Show episode (which were always a bit haphazard), although not as funny as the best of them... but then I'd been told to expect the worst by two separate people before the screening started, and was consequently quite pleasantly surprised! Provided you don't expect too much this film is quite enjoyable, and manages to avoid being tedious or annoying throughout.

You probably wonder what i mean about "An Artist is Borne... and the Birth was not Very Good", the artist is Peter Sellers, and the birth is this movie 'Penny Points to Paradise', so simple is that.

The Goons first movie together is slightly better than there's second attempt at making one (Down Among the Z Men), and the characters is also slightly funnier, and the whole thing is just more lively in a way, but not perfect by a mile, most of the jokes fall flat, and sometimes it's just boring to look at. I frequently ask myself why Milligan and Secombe didn't gave the leading role to Sellers, it's obviously him that rule at being fun, it's hard to understand but there must have been a reason... and yes the story is pretty thin.

Sellers himself didn't like the movie at all, actually this was what he said about it... "It really was a terrifyingly bad film!' As you will see when you watch it" (sentence remembered by Vic Pratt, one of Sellers friends), I wouldn't use the same words as Sellers, I would rather say it's 60% bad and 40% good, because it's not utterly bad, but also it isn't so good that you want to buy it, it's more like a movie you rent, and just watch because it's Peter Sellers first feature film... if your a fan of him or The Goons, it's a (MUST-SEE)

"Penny Points to Paradise" is the first feature film to star the three members of the popular "The Goon Show" that aired on British radio from 1951 to 1960. But this is a comedy with a very thin plot that bounces all over the place, from parodies of silent films and vaudeville, to slapstick and antics. That latter was the style of Red Skelton, Laurel and Hardy, and the Marx Brothers. It may yet have appealed to some in 1951, but by the mid-20th century most of these types of comedy were fast becoming a thing of the past. And, aside from an interesting cast, this film has very little going for it in the 21st century.

The leads here all had talent, and all audiences will know Peter Sellers who went on to worldwide fame with a considerable number of great comedy films. The plot for this film is very skimpy and the screenplay is even worse. The movie starts off as a parody of silent films, with bouncy piano playing included. But that soon becomes annoying, and it repeats for two more scenarios in the film. Those include car scenes and chases reminiscent of the Keystone Kops.

No doubt Harry Secombe was very good as a comedian in his day, but most of his varied antics and changes in persona don't go over well many decades later. He very closely resembles Red Skelton at times. Sellers has two roles, but neither of those have any good comedy. Marks is somewhat funny just for his persona as the big guy shyster who's full of himself, but his accomplice, Digger, can do little more than spew what are supposed to be comical complaints.

While Harry Secombe and Peter Sellers had been in a few films before, this was the first film of Spike Milligan. Only four other members of this film cast had or would have much of a career in cinema. Alfred Marks is the shyster Edward Haynes; Bill Kerr is his accomplice, Digger Graves; Vicky Page is Sheila Gilroy; and Sam Kydd is the cross-eyed porter. Most of the rest of this cast have no other films to their credit, including hazel Jennings who plays the Landlady with a considerable part. Marks and Paddie O'Neill, who plays Christine Russell, would marry the next year, for life, and have two children. O'Neill likely gave up the cinema to be a homemaker, but she clearly shows the talent to have had an entertainment career.

The only thing that keeps this film from a complete bore is the scenario toward the end when most of the cast wind up fleeing and chasing in a wax museum. The frequent posing and costume changing to fit into various wax displays is amusing. Here are a couple of lines - the best of the humorous dialog in the script.

Landlady, "There's a lovely view of the sea from the window if you stand on a chair and lean well out"

Spike Donnelly, "Listen, big guy, you're a terrific man. You're a financial lizard." Edward Haynes, "Wizard, laddie, wizard."