Piccadilly Jim

Actors tend to place their trust in directors, even old stalwarts such as Mr Palmer, Ms Blethyn and Mr Wilkinson. Once the point has been missed by the producers/director, although in this case I don't think the point was ever sighted, the production must run its collision course with disaster, and not even such fine actors as were employed to give it life, could save Piccadilly Jim .

PG Wodehouse was a successful writer who knew the value of the suspension of disbelief, and was able to deliver the theatrical creation of a world which, although highly unlikely, with a cleverly constructed set of plausibilities, would, and did, pass as the truth.

Theatre has many natural enemies. Because it is not the truth, but the appearance of truth, theatre has many tricks and falsehoods in its infrastructure, and these are all susceptible to betrayal in drama, but in comedy they are especially vulnerable. The absolute death sentence on comedy, is to "mug" (pull faces) to attempt to be funny, or to overstate a quirk or characteristic.

In Piccadilly Jim, the director breaks all the rules of good comedy by allowing, not only "mugging," and (keep it in) play funny work, but a whole swatch of clashes to occur. Modern dress, modern language, caricature rather than character, a mysterious failure at irregular intervals to use film language, and the erratic use of tempo, which often stifles its own dialogue.

Many a great opera singer has come unstuck via the technicalities of a so called simple folk song. Perhaps this film came likewise unstuck, by its creators missing the hidden vortex within the supposed simplicity of the original story.

This is the fourth filmed version of P. G. Wodehouse's comic novel of the same name. It was filmed in 1919 (directed by Wesley Ruggles, younger brother of the actor Charlie Ruggles) and in 1936 (directed by Robert Z. Leonard and starring Robert Montgomery), both times under its correct title. It was next filmed under the title THE GIRL ON THE BOAT (1961), directed by Henry Kaplan, and featuring the famous comedian Norman Wisdom as well as Millicent Martin, Richard Briers, and others of note. And then for this production of 2005, they went back to the original title again. 'Piccadilly Jim' is a wild young man who is the main character, and should be played by somebody truly extraordinary. Unfortunately, here he is played by a somewhat colourless actor who is about as interesting as a crushed toadstool, Sam Rockwell. However, the other performers do their best to 'act around him' and cover up the vacuum of his performance with their own energetic, and often hysterical performances. Tom Wilkinson is a steadying factor, good dependable Tom who can never let anyone down, including his son in this film, played by the nonentity aforementioned. The script by Julian Fellowes, the approach, the director, the design, all conspire in unison to leave the true Edwardian Age behind and enter into an overt fantasy-Edwardian Age for younger audiences who never knew any real Edwardians and might not realize just how hilarious every word that Wodehouse ever wrote really was. For those of us who knew genuine Edwardians (not to mention not a few surviving ancient Victorians as well), the fun of Wodehouse is the way he mocks, taunts, and teases the authentic types of the period by depicting them as the most outrageous caricatures imaginable. And as everyone knows, a good caricature only works if it closely resembles its subject. This film does not closely resemble anything that ever really existed, and was not planned to do so. I personally prefer the Wodehouse adaptations which affectionately and outrageously distort the truth, as opposed to this approach, which is to forget satire altogether and invent a wholly new truth where it is comedy rather than satire that is really the aim. For authentic vintage Wodehouse, one should see the three successive TV series called WODEHOUSE PLAYHOUSE, starring the amazing John Alderton, from the 1970s. Here it must be said that the design, the costumes, the look, are all simply dazzling. Taken in its own right, and forgetting its origins, this film is a tour de force of over-the-top but certainly scintillating fantasy. It takes the word 'camp' and raises it to a higher power. It is also great fun. But it is strictly for non-Purists only. I suppose that makes me impure.

I really had fun watching this movie. More like a play put in a film 9few location, great dialogs, situation and imbroglio comedy) but wait what a beautiful set design, the cast is great, the plot is vaudeville's but hey what do you aspect of a movie called: Picadily Jim! You will laugh, maybe not all the time, but the movie is construct on a good tempo and should entertain you. I really like those independent movies, not trying to create a new world but just trying to give us good time without taking us for granted.

Enjoy for what it is: a great moment of laugh, smiles and intelligence.

Thank you for the film

I have seen this twice, but I had not realised that it was a PG Wodehouse story, which would perhaps have made it bizarre. However, in my ignorance, I loved the clashing of modern music and wicked thievery of modern images into the 1930s. Loved the cast - I had not seen either of the two romantic leads before, but the supporting cast was a sea of faces well-known and well-loved. Perhaps it went on a teensy bit, but I thought it was well done, a thoroughly enjoyable whizz of a movie. It is entertainment you know, not a contender for a Nobel Peace Prize. Wodehouse was always meant to be fun, and this certainly fits the bill. Bouquets to the household staff for their instant sterilisation of the mansion in the opening scenes. Wonderful, wonderful Geoffrey Palmer, Brenda Blethyn and Tom Wilkinson .. indeed a good couple of hours all told.

The mix of contemporary references and modern scenery, in what was ostensibly a period piece, just makes this film annoying. On top of this, the movie proves that Frances O'Connor cannot act, and that surrounding her with good actors and actresses will only increase the pain she causes audiences. Sadly, I really wanted to like this movie, but could not do so -- I love P.G. Woodehouse's work, and it is all eminently adaptable to film. Yet, somehow, the makers if this fiasco failed in what should have been a simple and enjoyable endeavor. This could either have been a period piece, or a modern adaptation, yet it is neither -- instead it is a mish-mash of references best suited for some sort of high school dramatic review. Do not pay money to see this!