The Big Money

Norman Wisdom. His place is taken by Ian Carmichael. I can partly see why he might have been cast - the character here is, although a thief, a hapless and rather naive one - a frequent Ian Carmichael character who struggled to get the girl. But after a promising start, the hokum into which the film descends at the end is much more Normam Wisdom. He always played a hapless clumsy character who often pursued - and ended receiving the attention and love of an impossibly beautiful dream girl (here played by Belinda Lee.

The film would been better with Norman Wisdom providing not just haplessness but also his renowned comedy skills which always uplifted hokum.

Robert Helpman is rather good as the gang leader/fake clergyman Apart from this the colour is excellent (Technicolor) and it does provide a glimpse of 1956 hotel extreme luxury - at least the room decor and bathroom, as well as a vision of an up-market night club. An excellent cast of familiar character actors many of whom had starred in other films, it at least held the interest throughout and was agreeable to watch.

In the 1950s Rank,along with other film producers,were trying to find ways to attract audiences back to the cinema.Having fallen out with Fox over Cinemascope,Rank turned to the short lived Vistavision,to add to Technicolour to attract customers.The fact that this could not disguise the poverty of the script didn't escape them and the film was shelved for 2 years.The best scenes are those at the beginning featuring Carmichael,Harrison and Hayter.After that the film is on a downward spiral.Nearly every actor with a major part is miscast.Carmichael is clearly unsuited to the part.For some reason his hair is made up with a teddyboys quiff.The part would more suit someone like Brian Rix.Diana Dors would certainly have made more of the part than Belinda Lee.Alas Robert Helpmann is just awful as the chief of the gang and would have been better played by Sid James.The climax in the hotel is about as unfunny as you can get.No wonder Carmichael didn't want to discuss it.At a time when he was a rising star of cinema this film could have put him back years.

The Ealing comedies from England traveled well and built an enduring love overseas for British humor on screen, as did many an Ian Carmichael comedy into the '60s. But this big-deal production from Pinewood Studios laid an egg: a parochial sort of humor that missed the target. It's ironic that a film with this title (and script) aimed for the big money, with wide-screen filming in Technicolor! Ian's stammer and slapstick fall flat, the story is weak, and other than staring at beautiful leading lady Belinda Lee the movie is hard to watch. I did appreciate briefly seeing the great Jill Ireland in an early role.

Enough has been said by previous reviewers about this film, but all I have to add is that this is one of the earliest film appearances I have seen of the lovely Jill Ireland, and she was one of a few actresses who were extremely pretty in their younger days who became more beautiful the older they got. It was so sad that she passed away so young at 54.

The actors appear to be having fun in this British comedy and this viewer did as well.

Ian Carmichael is the black sheep of a family of thieves (father James Hayter, mother Kathleen Harrison, sister Jill Ireland). One day he heists a briefcase from a dodgy clergyman (Robert Helpmann) which is full of pound notes. Unfortunately they all have the same serial number! Carmichael is seduced by "the big money" and starts passing the counterfits, one bill at a time. Much of his need for money is to impress a pretty barmaid (Belinda Lee) at his local pub. She dreams of the millionaire who will come and give her the good life. This keeps the plot going as Carmichael has to find new ways to pass more and more counterfits, one at a time, and impressing his girl at a fancy nightclub and the Ascot races. Along the way two con-men (George Coulouris and Michael Brennan) try to con Carmichael. Unfortunately Carmichael can't pass the counterfits fast enough to keep up with Lee's aspirations, we're now up to a mink coat, so she helps herself to some of the counterfits. I'm afraid to say that giving the fur shop four hundred notes with the same serial number does attract the attention of the police. Obviously the clergyman and his henchman have also been seeking whoever has stolen his briefcase.

Almost without exception the actors seem to be having fun. Hayter and Harrison relish their parts as straight laced thieves (although the young Ireland has nothing to do but look lovely). Helpmann, more noted in ballet than films, is an incisive villain with a dash of the devil. Coulouris and Brennan, trying to get Carmichael's attention to their scam while he would rather moon over Lee, are delightful. Lee herself, amply displaying why she was a pin-up of the 50's, handles the transition from good girl, to temporarily seduced by wealth back to good girl with charm. Carmichael easily handles many physical bits of comedy with his usual success. Although it did take me a while to accept his performance because I'm so used to seeing him as an upper class twit rather than lower class thief.

The film is well paced by the director (John Paddy Carstairs) and technical credits, including color photography, are fine.

I'm surprised that I had not seen this film before and suspect that ownership or other commercial factors may have prevented it from being included in the movie packages being sold to television in North America. That would be the only reason why this undiscovered film is not more fully appreciated. Certainly the actors and film makers have given us every reason to appreciate this film.