THE MAGIC CHRISTIAN (1969)
After their
fractious relationship during the making of CASINO ROYALE (1967), Peter Sellers
and director Joseph McGrath teamed up again with another friend of Sellers,
writer Terry Southern, to bring to the screen an adaption of Southern’s novel
THE MAGIC CHRISTIAN – with additional dialogue by John Cleese and Graham
Chapman whose appearing scenes were all that was left of their own draft . It’s
a mad, slightly psychedelic curio with some amusing cameos, albeit essentially
a string of episodic sketches.
Grand’s
schemes are wheezes and practical jokes rather than lectures. On board a train,
he shows Youngman some fun at the expense of a man he claims profits ‘from man’s inhumanity to man’ by
staging a hugely elaborate prank involving a fellow Japanese compartment
traveller being repeatedly substituted via a revolving wall. As the intended
victim grows more confused, he is dragged back through a sliding wall into the
hallucinogenic experience of being photographed by Sellers as a cackling nun
complete with wimple. This leaves the man a gibbering mind-altered wreck.
Not all the
japes succeed as harmless fun though. One Grand stunt involving a news report
of a jungle cat being passed off as a ‘Congo Black Dog’ at the Crufts show
starts out as madcap tasteless fun but then McGrath suddenly jump-cuts to the
infamous real ‘snuff’ footage of the South Vietnamese General shooting a
suspected communist through the head in the Vietnam war. Using this moment of
grisly reality is a terrible error of judgement in a comedy film, inexcusable
whether or not he was aiming for some kind of Bunuel-style shock juxtaposition.
It takes a while to recover from that ruinous tonal shift. Later, there is a
strangely fizzled-out pay-off to a promising sequence where Grand, the
celebrated gourmet, is strapped into a harness in his favourite restaurant, “une chaise gastronomique” almost
pre-figuring Python’s Mr Creosote, but after comically smearing his face with
sturgeon, the scene seems abruptly curtailed without a big finish
There are
more amusing vignettes perpetrated by Grand and his son as THE MAGIC CHRISTIAN
goes on. We witness a gloriously lunatic duck hunt where tank barrages are
brought into play to wage full-scale air battle upon the flying ducks – simply
because they can. A much-anticipated title fight in the boxing ring turns into
a snog-fest between the two pugilists. Sellers’ old friend Spike Milligan makes
a welcome cameo as an irascible traffic warden, clearly ‘corpsing’ at the
start, who is bribed with £500 to eat his issued parking ticket. He does so, and
here is one of the few plot points where Grand actually states a purpose to his
mischief-making: “I just wanted to see if
you had your price. Most of us do”. This stunt like one or two others in
the movie at least offers the type of vicarious wish-fulfillment that money
could buy if you had enough of it.
One of the
best scenes is where the Grands attend an art exhibition to cause mayhem
(surely a deserving target) and get the better of a snob expert, John Cleese,
who instead of being driven to his trademark wonderful apoplexy is
shell-shocked into a pleasing against-type submission by the offer of £30,000 from
Grand for an unauthorised Rembrandt. “Shit…”
he meekly swallows. Sellers thus takes out a pair of scissors and to Cleese’s
shock, cuts out a nose from the canvas as this is all he wants from the work.
He then attends the bidding with Youngman, for me the funniest sequence in the
film, as he tries to distract the auctioneer with increasingly frantic props
such as an Aldis lamp, semaphore flags, a parping klaxon horn and an Inspector
Gadget-style extendable hand.
Cleese’s
comedy writing partner and fellow Python Graham Chapman also appears in a short
scene spoofing the Oxford/Cambridge Boat Race, where Grand bribes the Oxford
crew (managed by Richard Attenborough, no less) into ramming their opponents’
vessel. Chapman is amused by the offer, and it’s nice to see him under-playing
in a straight part as Cleese does.
Eventually,
we understand the title of the film when the Grands board the luxury cruise
liner that the movie title is taken from. Here, the action descends into
incomprehensible but amusing nonsense – how could it do otherwise with Wilfred
Hyde-White as the ship’s Captain? Raquel Welch makes a fetching scantily-clad
Priestess of the Whip in charge of rowing galley slaves. Fans of Christopher
Lee’s Dracula sequels, still going strong at the time of filming, get a bonus
one essentially as he morphs from a chilling waiter frightening an imperious
passenger into the full splendid flowering of fangs and cape – for no reason.
Roman Polanski is serenaded by an oddly familiar, masculine ‘lady’ who I
suddenly guessed as Yul Brynner just before he de-wigs. (For a laugh, show this
bit to a friend and see how long it takes them to recognise him). A gorilla runs amok and the journey
concludes.
Towards the
end, Grand hammers home the point about greed over-riding all other motives by
creating a pool filled with human filth and bank-notes and advertising it as
free money. Sure enough, bowler-hatted city gents are only too happy to wade in
at the chance of free lucre – a metaphorical foreshadowing of today’s distaste
at such avarice still going on?
In an
epilogue, Grand and son take to the park where the father met his adopted son.
Grand suggests this may be a more direct way to influence the people. He ends
the movie proving this once more by bribing the park-keeper with a bundle of
cash to leave them alone.
THE MAGIC
CHRISTIAN only works sporadically for a few of its comic scenes, which are
worth the wait. It does suffer though from an incoherent self-indulgent through-line,
a manifesto that’s never clearly sustained and, I might add, a waste of Ringo
Starr. Whilst Sellers seems to enjoy wafting through in a cut-glass accent as a
twinkly Lord of Misrule, Starr never develops as a character, which is a missed
opportunity. He has a natural offbeat charm on-screen, which is cannily why the
Beatles always gave him central roles in their films, but here he merely agrees
with his dad, existentially echoing or commenting as they go along.
This film
isn’t magic, but check your brain at the door and enjoy the illusions that
work…
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