Life at the Top (film)
1965 British film by Ted Kotcheff From Wikipedia, the free encyclopedia
1965 British film by Ted Kotcheff From Wikipedia, the free encyclopedia
Life at the Top is a 1965 British drama film, a production of Romulus Films released by Columbia Pictures. The screenplay was by Mordecai Richler, based on the 1962 novel Life at the Top by John Braine, and is a sequel to the film Room at the Top (1959). It was directed by Ted Kotcheff and produced by James Woolf, with William Kirby as associate producer.[1] The music score was by Richard Addinsell and the cinematography by Oswald Morris. The film's art director, Edward Marshall, received a 1966 BAFTA Award nomination.[2]
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| Life at the Top | |
|---|---|
Original film poster | |
| Directed by | Ted Kotcheff |
| Screenplay by | Mordecai Richler |
| Based on | Life at the Top 1962 novel by John Braine |
| Produced by | James Woolf |
| Starring | Laurence Harvey Jean Simmons Honor Blackman Michael Craig Donald Wolfit |
| Cinematography | Oswald Morris |
| Edited by | Derek York |
| Music by | Richard Addinsell |
| Distributed by | Columbia Pictures |
Release date |
|
Running time | 117 min |
| Country | United Kingdom |
| Language | English |
The film stars Laurence Harvey, once again playing Joe Lampton, with Jean Simmons, Honor Blackman and Michael Craig. Four actors reprised their roles from Room at the Top: Harvey, Donald Wolfit, Ambrosine Phillpotts and Allan Cuthbertson.
In Room at the Top, Joe Lampton's escape from his working-class background through his seduction of, and marriage to, the daughter of a wealthy mill owner had been portrayed.
Ten years on, Joe is living the dream of the successful young executive, complete with luxurious suburban house, white S-type Jaguar, and two young children. However, Joe's life is not the dream it appears to be.
Joe's father-in-law, Abe Brown, is the mayor of the town, and mill owner (Illingworths, Thornton Rd, Bradford). To Joe's disapproval, Abe insists on sending Joe's children to a private boarding school. Joe's son is also unhappy about this and when Joe invites the paper-boy in for a cup of tea, his son looks jealously on.
Joe goes to a sherry party with his wife, but would rather be in the pub. The party is in the huge house of his father-in-law. There he meets Norah.
Joe says goodbye to his son at the railway station. Later that night his in-laws, rather than himself, choose which carpet will be in Joe's house.
Joe no longer makes love to his wife and she is having an affair with Joe's married friend.
Joe goes to the Savoy Hotel in London with his friend for lunch with Tiffield. After Tiffield leaves they go to a strip show and the friend discusses dodgy business deals.
Joe meets George Aisgill and they discuss how Joe caused the death of his wife, but he has a new love - Norah.
Joe goes home wearing a Huckleberry Hound mask and finds signs of another man being in the house. He hears the other man in the bedroom with his wife but does not enter. He is sitting downstairs when they come down for a drink.
The Monthly Film Bulletin wrote: "Another thoroughly mean-spirited film of a kind which has been taking root in the British cinema over the past few years. ... This is social criticism run down and gone to seed. ... Dramatically speaking, the film is concocted out of updated versions of the oldest clichés of melodrama. ... The film is even further – and centrally – flawed by its ambiguous attitude to Joe himself. His vague stirrings of conscience and self-awareness are quickly drowned as soon as his own interests are at stake; but the film can't resist trying to have its cake and eat it, so that for the first half, his budding awareness of the hollowness of his way of life is allowed to assume almost heroic proportions, as though he really were crusading against the corruption and pretensions of his milieu. Ted Kotcheff, starting off inauspiciously with a couple of ugly dramatic zooms as Abe Brown presides over his boardroom, directs with heavy reliance on TV-style close shots, and the brusque editing style looks like a desperate attempt to give the film some sort of momentum. Laurence Harvey and Jean Simmons do their best with thankless roles, Donald Wolfit overacts enthusiastically, and the rest of the cast are inconspicuous, except for a marvellously languid Margaret Johnston, who relishes one wonderfully bitchy scene in which, aware that Susan has been sleeping with her husband, she tears the poor girl to pieces over the cocktail glasses."[3]
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