For anyone interested in Peter Sellers life and work, this film is certainly worth watching, if for nothing more than the incredible re-creations of scenes from Sellers' films. Geoffrey Rush is transformed into a nearly dead-ringer for Sellers, through the magic of make up and prosthetics. But as talented as he may be, no one can recreate the subtleties of the master, especially the use of his eyes
Sellers' eyes were by far the funniest aspect of his physicality: narrowing, widening, always moving, punctuating his actions and illuminating the emotions within, even as part of the most farcical of performances.
Such a rich and varied life would lend itself to a miniseries but of course it would be a copout to suggest that at least a glimmer into the life of a man couldn't be done successfully within two hours. What this movie drove home for me was how terribly short the human lifespan really is, and how little time we have to truly discover ourselves and come to terms with our own frailties. I felt that the basis of Sellers unhappiness, which manifested itself in inexcusable cruelty to his family, friends and co-workers, was a direct result of his childhood, which was never really addressed in this film. It was, in his own words to Michael Parkinson, not a very happy time in his life. Growing up in the theater circuit, being in the company of boozy and abusive 'theatricals', and being raised by a domineering mother and what I gather was a rather passive and emotionally unavailable father set the stage for a man who obviously felt deprived of the things that give us self-esteem and confidence. No one in his adult life could give him the things he should've received from his parents as a child, and he took out that frustration on those closest to him.
Also interesting were the glimpses of his fellow Goons (Spike Milligan and Harry Secombe) at various chapters in his life-in the church at his mother's funeral, in the crowd at the premiere of 'The Pink Panther'. They represented what he considered the happiest time of his life and they were a constant presence, flitting in an out of his life at key moments in the film, like the ghosts of Christmas Past.
Interesting also in how one decision, in this case his delusional infatuation with Sophia Loren, set in motion a series of dovetailing mistakes in his life, which took him further and further away from a relatively healthy existence. He had twenty years more to live and it turned out to be not enough time to turn things around.
Such a rich and varied life would lend itself to a miniseries but of course it would be a copout to suggest that at least a glimmer into the life of a man couldn't be done successfully within two hours. What this movie drove home for me was how terribly short the human lifespan really is, and how little time we have to truly discover ourselves and come to terms with our own frailties. I felt that the basis of Sellers unhappiness, which manifested itself in inexcusable cruelty to his family, friends and co-workers, was a direct result of his childhood, which was never really addressed in this film. It was, in his own words to Michael Parkinson, not a very happy time in his life. Growing up in the theater circuit, being in the company of boozy and abusive 'theatricals', and being raised by a domineering mother and what I gather was a rather passive and emotionally unavailable father set the stage for a man who obviously felt deprived of the things that give us self-esteem and confidence. No one in his adult life could give him the things he should've received from his parents as a child, and he took out that frustration on those closest to him.
Also interesting were the glimpses of his fellow Goons (Spike Milligan and Harry Secombe) at various chapters in his life-in the church at his mother's funeral, in the crowd at the premiere of 'The Pink Panther'. They represented what he considered the happiest time of his life and they were a constant presence, flitting in an out of his life at key moments in the film, like the ghosts of Christmas Past.
Interesting also in how one decision, in this case his delusional infatuation with Sophia Loren, set in motion a series of dovetailing mistakes in his life, which took him further and further away from a relatively healthy existence. He had twenty years more to live and it turned out to be not enough time to turn things around.