I Like Money

Greetings again from the darkness. This is the only feature film to have Peter Sellers credited as a director, and it was released in 1961. Retitled "I Like Money" for its United States release, it seems that regardless of the title or continent, the film can only be labeled a box office flop and disappointment to viewers and critics alike. Considered "long lost" and unseen for decades, the only surviving 35mm print has been restored by the British Film Institute, so that new generations can be disappointed ... or perhaps appreciate it from a 'history of cinema' perspective (which I certainly do).

Peter Sellers directs himself, as he stars as Albert Topaze, a provincial schoolteacher of the highest integrity. We get a good feel for Topaze in the scenes playing under the opening credits. He's a dedicated teacher, but not one the students respect. Topaze has a crush on fellow teacher Ernestine (played beautifully by Billie Whitelaw, whom you'll recall as the nanny in THE OMEN, 1976). The obstacle here is that Ernestine is the daughter of the bellowing Headmaster Muche (Leo McKern, A MAN FOR ALL SEASONS, 1966), Topaze's demanding boss. Topaze's loyal friend and landlord is Tamise (Michael Gough, BATMAN, 1989), another fellow teacher.

Topaze is a timid fellow, though of the highest moral principles. When the Baroness (fiery Martita Hunt) flashes what today we would call entitlement by demanding Topaze change her grandson's grade or be fired, Topaze finds himself out of work. It's here where scheming Suzy (Nadia Gray, forever a part of cinematic lore thanks to her unforgettable cameo in LA DOLCE VITA, 1960) and Castel Benac (Herbert Lom, Sellers' memorable co-star in the "Pink Panther" franchise and THE LADYKILLERS, 1955), entice Topaze into their shady business ... hoping to fend off legal inquiries given the reputation for honesty Topaze brings to the enterprise.

Can money corrupt even the most upstanding character? The story comes from renowned French writer Marcel Pagnol and his 1933 play with Raymond Massey in the lead. Pagnol also wrote the novels "Jean De Florette" and "Manon of the Spring", the sources of two excellent films from director Claude Berri. There have been at least three other film versions of 'Topaze', two 1933 projects including one starring John Barrymore and directed by Harry d'Abbadie d'Arrast, and a 1951 version directed by Pagnol himself with Fernandel in the lead.

Mr. Sellers is in fine form here, and in the first half he displays some of the physical comedic traits that defined his Inspector Jacques Couseau in the 'Pink Panther' series a couple of years later, and this film was released three years prior to the all-time classic DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB. It seems the real issue with the movie, and why it was so poorly received, is that Sellers plays such a challenging character. Initially Topaze is a sympathetic, likable man and he transitions to one we have little interest in - one to whom viewers simply can't relate.

Still, despite the obstacles within the story, it's fascinating to go back almost 60 years and discover a previously unseen Sellers project that features not just the stellar cast listed above, but also John Neville (THE ADVENTURES OF BARON MUNCHAUSEN or for fans of "The X-Files", he known as "the well-manicured man"), British film veteran John Le Mesurier as a blackmailer, and the only film acting gig for Michael Sellers, the son of Peter (he plays young Gaston).

Nadia Gray sizzles in singing "I Like Money", a song written by Herbert Kretzmer, and Herbert Lom gets an instant classic line, "He's an idiot. I like him." Is this a comedy? Certainly the first 20 minutes bring laughs, but by the end, those laughs seem quite distant. Watching a man lose his soul and his friends is painful. Can money buy happiness? Topaze has his answer, but as viewers we aren't so sure he's correct.

This obscure Peter Sellers film directed by himself begins poorly. We are introduced to the self righteous small town schoolteacher, played by Sellers, and it seems to go on and on without being amusing, or if occasionally vaguely amusing, certainly not funny. An amazingly young Billie Whitelaw doesn't help, seeming unable to rid herself of her theatrical bent. And here perhaps lies the basic problem in that this was a stage play and much of the activity would have probably been acceptable on the stage whereas it probably needed someone with greater experience than Sellers to shake this up and give it more life. As it happens things are never as bad as at the start and gradually things get less bad. By the very end we have a gloriously presented Sellers in complete cynic mode ready to go and it ends. Masses of extras n the Blu-ray and the prospect of seeing it again without fear of it sinking into the mire make me look back just a little more favourably and feel a bit sorry for Sellers who apparently felt so bad at the films reception that he thought he had bought up all copies and destroyed them. Clearly the BFI had a copy stashed away.

It's maybe not a masterpiece, but it surely is an enjoyable watch.

Marcel Pagnol wrote many wonderful stories and his films of the 1930s are among my favorite movies. In this case, "Mr. Topaze" ("I Like Money") is a remake of one of these terrific films...a film originally made in the US and France back in 1933. I loved these films....and also enjoyed this remake by actor/director Peter Sellers.

Surprisingly, this wonderful film was a box office bomb back in 1961...which is why the movie was renamed to "I Like Money" and released in the USA...where it also apparently bombed. In fact, Sellers apparently tried to buy up all the prints...probably because he was embarrassed by this failure. But, fortunately, the British Film Institute found a copy....and it's been released to the Criterion Channel and on DVD.

When the story begins, Mr. Topaze is a poor but immensely honest school teacher. He is the epitome of decency and ultimately it brings him nothing but poverty and he finds himself fired because he refuses to set aside his strong moral compass.

Later, Topaze is approached by a well respected businessman and is offered a job. Topaze is so guileless that he doesn't realize that he is actually being hired as a front. Mr. Benac (Herbert Lom) is a well respected crook...and wants to use Topaze's good name to do his dirty business. What's next...especially after Topaze eventually realizes the ruse?

While I think I prefer the earlier versions of this story, Sellers' version is most respectable and enjoyable. It really is sad that the film did poorly, as it deserved much better. Well acted and clever....and most enjoyable.

This is the fourth film version of Marcel Pagnol's play, the third of which was directed by Pagnol himself and here Peter Sellers as the title character is following in the footsteps of luminaries Louis Jouvet, John Barrymore and Fernandel. This would be a daunting enough task for the best of actors but Mr. Sellers alas does not fall into that category. He has furthermore made a rod for his own back by attempting to direct the piece. A handful of actor/directors have managed to pull off the double but he is certainly not one of them.

He has to his credit cast the film well, notably Herbert Lom, Nadia Gray and John Neville and the film perks up a little when they appear. Georges van Parys' idiomatic score is a delight whilst the excellent art direction is by Peter Murton, best known for his work on the Bond films.

The film is weakened however by the confounded Cinemascope format, plodding direction, dire pacing and one would have to say, Seller's performance. We are again witnessing brilliant mimicry with utter emptiness behind it although those who consider Sellers a great actor will no doubt consider this view to be heretical.

One critic has suggested that Sellers' sole directorial effort is in need of reappraisal.... No sir, it is not!