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Directed by: Since it simply wasn't possible to compete with Connery's 007 in the super-spy stakes during the '60s, Sidney J.Furie's first adaptation of cook-turned author Len Deighton's Cold War novels goes the other way.While investigating kidnapped scientists, undisciplined surveillance man Harry Palmer doesn't globe-trot, bed-hop or trade verbage with cat-stroking megalomaniac villains; he spends his time on mundane form-filling tasks in drab offices.Despite coming from the Bondian creative team (supremo Harry Saltzman, designer Ken Adams, editor Peter Hunt, scorer John Barry), this labyrinthine thriller provides a credible everyman alternative to Bond while embracing British everydayness. But stardom aside, it adds up to an indictment of the War's immeasurable suffering that's both scathing and deeply moving.Also, of course, the suspects are some of Blighty's finest actors, from Colin Firth to Toby Jones and Ciaran Hinds, while the pawns at stake include Mark Strong, Benedict Cumberbatch and Tom Hardy, so they're not going to be easy to read.With that lot on top form, Alfredson might have been forgiven for just pointing the camera at them and giving up, but in fact he crafts a grimy, distinctly '70s London in muted tones and dim shadows and gives the whole thing a sheen of undoubted quality.Being Sid Sheinberg he was in a position to force through his infamous ' Love Conquers All' edit, unwittingly providing Gilliam's unique sci-fi with the Big Brother figure it didn't boast on screen.Sheinberg had less luck foisting a new title on the film – the director himself combed through numerous ideas, the Orwell-referencing '1984' amongst them, before settling on a sideways reference to a pre-war ditty called ' Aquarela do Brasil' – but he let the film fester so long on the shelf that Gilliam was reduced to begging for its release in trade press ads.
After all, dates that involve aimless walks and visits to the chip shop will ring just a little bit more true-to-life than American cinema's endless parade of proms, beach parties and sporting events.For this amazing balancing act alone, Four Lions deserves a place up there with in the contentious comedy hall of fame.Sure, the somewhat inevitable ending wouldn't be found in most 'how-to-make-a-money-spinning-comedy' handbooks, but in Morris's masterful hands, you're guaranteed hysteric giggle fits as well as some heavier head scratching.The director assembled the cream of '60s acting talent, garbed it in khaki and set it lose on a uniquely British satire. Directed by: Ostensibly a movie about the Manchester music scene between '76-'92, 24 Hour Party People spends more time mocking its lead character and narrator, record label owner Tony Wilson (played by Steve Coogan), than relaying the stories of Joy Division, New Order and Happy Mondays, all of whom passed through his orbit.At times it plays like the most thespian game of I-spy in history. But as you roll on the floor laughing when Tony crashes into a tree while riding a hang glider, or gets caught by his wife in the back of a "nosh van" getting "oral pleasures" from a stranger, you really don't mind how much '90s pop culture gets brought to life – or whether what is shown on screen actually happened in the first place.
Morris pulls off an incredible trick in extracting comedy from catastrophe with the help of a talented cast, Kayvan Novak to the fore as the earnest Waj with Nigel Lindsay as irascible convert Barry.