I’ll Never Forget Whatsisname (1967) ****

Director Michael Winner’s proudest moment – from a critical perspective. Rave reviews all round and hailed as a rising star of British cinema. Such adulation didn’t last long, of course, Hannibal Brooks (1968) and The Games (1970) elicited little critical reposnse and whatever kudos he achieved from a couple of westerns was soon blown away once he went down the Death Wish (1974) brutal revenge route. So this fits into the anomaly department in his canon and, although pretentious in spots, it does show a fine intelligence at work and a singular prophetic quality that should have contemporary reverberation.

For a start, he highlights the creativity of the advertising world that became the training ground for such British directorial talents as Ridley Scott (Alien, 1979), his brother Tony (Top Gun, 1986), Alan Parker (Midnight Express, 1978) and Adrian Lyne (Fatal Attraction, 1987) as well as producers in the vein of David Puttnam (Chariots of Fire, 1981). Perhaps more interesting are the ecological aspects, predicting the importance of waste both as an issue and a financial opportunity.

And although If… (1969) was viewed as the pre-eminent depiction of public school immorality, this provided a much shorter introduction to the prevalence of public school attitudes in society. You might also suggest, should you be so bold, that Winner envisioned the boom in reality televison, when the camera is not used to create illusion but to pick at the scabs of society. And we might also fast forward to Jaws (1975) whose meanest character shares the same surname as our hero here, whose personality defects are what drives the picture.

Within all this there’s a fair chunk of satire. And it’s rare for this director to so obviously poke fun at his heroes.

The narrative follows disillusioned advertising ace Quint (Oliver Reed) as he tries to extricate himself from various romantic entanglements in order to concentrate on first playing a more meaningful role via literary creativity and then, when that option is pulled out from under him, exposing the hypocrisy from which he has made his fortune.

The movie opens with a stunning image. Quint wielding an axe. Despite this being in the  middle of London, he scarcely receives a second glance – as if this might be construed as typical English eccentricity – as he marches towards his posh headquarters, proceeds to smash his office and hand in his notice to boss Lute (Orson Welles). He finds work in a literary magazine with old school chum Nicholas (Norman Rodway) where, unfortunately given he already has a wife and several mistresses, he falls for virgin secretary Georgina (Carol White).

But despite his success he is tormented by his schooldays, which instead of toughening him up made him more vulnerable to abuse from a teacher and to bullying from fellow pupils led by entitled thug Maccabee (Harvey Hall). The nightmarish glimpses of school are sharply brought into focus when he encounters Maccabee again and witnesses the savage hounding of another innocent man.

Meanwhile, Lute keeps popping up, either to try and seduce Quint back to his job or to sabotage his existing one. When a fight breaks out at one of Lute’s parties he wants it stopped before another of his precious artworks is broken rather than before a participant ends up in hospital. Lute takes English eccentricity to the extreme, enjoying a massage while playing Scalextrix, the epitome of avuncular decency except that he’s twisting the rules.

Even with his diabolical childhood, it’s hard to sympathize with Quint. He’s little more than a charming lout, but I suspect his is a more universal condition, those who have so much easy wealth inclined to poke at the foundations of success, and seek a more worthwhile profession. The ending is contrived, but, then, the fun has to stop somewhere.

That said, Oliver Reed (The Assassination Bureau, 1969) presents a more rounded character than in many of his later films. From the confidence of his delivery you get the impression that Orson Welles (House of Cards, 1968)  – top-billed ahead of Reed – improvised many of his lines. He’s certainly having some fun with his role, but then that is the seductive part of his character. Carol White (Daddy’s Gone A-Hunting, 1969) is the big surprise, bringing a genuine freshness to her role, before she conformed to the Hollywood dictat. And you won’t forget the malicious Harvey Hall (The Games, 1970).

The quite amazing cast includes Edward Fox (Day of the Jackal, 1973),  Michael Hordern (Where Eagles Dare, 1968) as a demented headmaster, Marianne Faithfull  (The Girl on a Motorcycle, 1968), Harry Andrews (The Long Duel, 1967) as a writer with a creepy hobby, Wendy Craig (TV series Not in Front of the Children, 1967-1973), Ann Lynn (Baby Love, 1969) and Frank Finlay (The Shoes of the Fisherman, 1968).

It’s entirely possible that it was pure coincidence that Winner covered so many topics relevant to today but I’m giving him the beenfit of the doubt. Written by Peter Draper (The System / The Girl-Getters, 1964).

Great – and meaningful – fun.