Tag Archives: Richard E. Grant

215. HOW TO GET AHEAD IN ADVERTISING (1989)

BAGLEY: Everything I do is rational.

JULIA: Why have you put chickens down the lavatory?

BAGLEY: To thaw them before dismemberment.

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DIRECTED BY:

FEATURING: , Rachel Ward, Richard Wilson, Bruce Robinson (voice)

PLOT: Dennis Dimbleby Bagley is an unscrupulous advertising executive, but he finds himself blocked while trying to come up with a campaign to sell pimple cream. The stress leads him to combination epiphany and mental breakdown, and he decides to renounce hypocrisy and manipulation and retire from marketing. The internal strife, however, has caused a boil to form on his neck; and that pustule then forms a face, and a voice, and a personality that’s even nastier than the old Bagley…

Still from How to Get Ahead in Advertising (1989)

BACKGROUND:

  • Director Bruce Robinson began his career as a struggling actor, but found greater success when he turned to screenwriting and directing. His first script, The Killing Fields, was nominated for an Oscar in 1984. His first film as director, 1987’s Withnail & I, was a semi-autobiographical story of two poor, hard-drinking actors, also starring Richard E. Grant; it became a cult hit. How to Get Ahead in Advertising was his second feature film, but did not replicate the success of Withnail.
  • Robinson (uncredited) provides the voice of the boil.
  • Advertising was produced by George Harrison’s Handmade Films, who also produced Monty Python films and the Certified Weird Time Bandits.
  • The London Sunday-Times gave away free copies of the DVD as a promotion in 2006.

INDELIBLE IMAGE: Obviously, the fetuslike boil-with-a-face peering out from Bagley’s executive neck.

THREE WEIRD THINGS: Disney birds; chatty chancre; notice his cardboard box?

WHAT MAKES IT WEIRD: How to Get Ahead in Advertising grows organically from that greatest fertilizer of weird films: obsession. Writer/director Bruce Robinson has Something to Say, and he is not going to let taste, subtlety, or realism get in the way of him saying it. The movie is completely committed to its bizarre two-headed premise, and star Grant gladly goes over the top for his director, literally baring his buttocks while wearing an apron and stuffing frozen chickens in his toilet.


Original trailer for How to Get Ahead in Advertising

COMMENTS: Ad exec Dennis Bagley develops the mother of all zits Continue reading 215. HOW TO GET AHEAD IN ADVERTISING (1989)

CAPSULE: FRANZ KAFKA’S IT’S A WONDERFUL LIFE (1993)

Must See

DIRECTED BY:

FEATURING:

PLOT: A tormented Franz Kafka struggles to complete the first line of his story “The Metamorphosis,” and the constant interruptions by wandering vendors and loud neighbors don’t help.

Still from Franz Kafka's It's a Wonderful Life (1995)

WHY IT MIGHT MAKE THE LIST: It is, as promised, a legitimately Kafkaesque story, but with a cheesy Frank Capra twist at the end that is horrifying because of its complete tonal incompatibility. This beautifully written, acted and shot comic nightmare would be a shoo-in for a list of the greatest short weird films of all time. It’s perfect at a compact 22-minutes: could Peter Capaldi carry off this grimly hilarious mood through feature length, or would it become repetitive and oppressive? On the other hand, at one-fourth the length of an average Certified Weird movie, shouldn’t it be required to be four times as weird to qualify for the List?

COMMENTS: Writers find writer’s block to be the most horrific condition they can conceive of (see also Barton Fink), and although readers may not be able to directly identify with the existential dread emanating off a blank page, writers attack the notion with such fervor that they convince the viewer of the existential torment of white space. Franz Kafka’s It’s a Wonderful Life succeeds at conveying the clammy pallor of the nervous artist’s soul through bitter comedy, both subtle and obvious. In the “obvious” bin goes Kafka’s rejected imaginary scenarios about what gigantic forms his fictional protagonist, Gregor Samsa, might be transformed into (e.g., a kangaroo). At other times, however, the atmosphere of anxiety Kafka finds himself breathing is so thick and melodramatic, with shadowy blue lighting and an ominous orchestra and strangers with intense stares and precise enunciation, that the paranoia plays as a parody. And even as we giggle uneasily, we wonder if the danger to Kafka is serious and real: a creepy door-to-door vendor fencing knives and scissors keeps hanging around his door, looking for his “little friend” who has disappeared…  The final Capra-esque coda, coming after Kafka’s complete emotional breakdown and the very real threat of physical mutilation, is a cruel, ironic slap in the face to pie-in-the-sky optimism. The unreality of the happy ending makes the unreality of the preceding nightmare seem authentic by comparison. Richard E. Grant, always a treat when playing a theatrically unhinged lunatic, makes for a perfectly twitchy Franz Kafka. Although better known as an actor, Peter Capaldi’s writing and direction

The final Capra-esque coda, coming after Kafka’s complete emotional breakdown and the very real threat of physical mutilation, is a cruel, ironic slap in the face to pie-in-the-sky optimism. The unreality of the happy ending makes the unreality of the preceding nightmare seem authentic by comparison. Richard E. Grant, always a treat when playing a theatrically unhinged lunatic, makes for a perfectly twitchy Franz Kafka. Although better known as an actor, Peter Capaldi’s writing and direction are so confident and forceful that it makes you queasy to think of the many wonderful films he never directed. There’s a deliberately slanted Cabinet of Dr. Caligari quality to Kafka’s apartment block, and shots and scenes naturally evoke The Trial. Although the short could have been structured as nothing more than a series of insane gags, the script makes it flow from one incident to the next, with characters weaving in and out of the short tale and everything connecting by the end. This mini-masterpiece of alienation carefully walks that same line between fantasy and reality, dream and nightmare, that its namesake trod, but with an added dash of dry British wit.

Franz Kafka’s It’s a Wonderful Life tied for the 1995 Best Live Action Short Film Oscar with Peggy Rajski’s Trevor—the Academy just couldn’t let a weird film have the spotlight to itself. It’s available on a Vanguard DVD entitled Franz Kafka’s It’s a Wonderful Life… and Other Strange Tales together with three other comic shorts. None of the others are exceptionally strange. Seven Gates features two squabbling brothers returning to their elderly parents home for Christmas, while Mr. McAllister’s Cigarette Holder is a Southern Gothic period piece (shot in sepia) about a field hand and his albino girlfriend. The best of the rest is The Deal, written by standup comic Lewis Black, which satirizes the macho posturing of capitalism’s movers and shakers, who begin by plotting world domination but end up admiring each others’ designer testicles.

WHAT THE CRITICS SAY:

“…has all the dreamlike menace of Kafka’s writing, while the story-line sends it up shamelessly… [a] midget gem of post-modern cinema.”–Alison Dalzell, Edinburgh University Film Society

(This movie was nominated for review by Irene, who called it “a wonderful short Kafkian movie.” Suggest a weird movie of your own here.)

LIST CANDIDATE: HOW TO GET AHEAD IN ADVERTISING (1989)

How to Get Ahead in Advertising has been promoted onto the List of the 366 Weirdest Movies Ever Made. Please visit the official Certified Weird entry. Comments are closed on this post.

Recommended

DIRECTED BY:

FEATURING: , Rachel Ward, Richard Wilson

PLOT: A young hotshot ad exec begins to crack from stress when he has difficulty coming up with a campaign for pimple cream; compounding his problems, he grows a boil on his neck that gradually develops a face, and a nasty personality.

Still from How to Get Ahead in Advertising (1989)

WHY IT MIGHT MAKE THE LIST:  The talking boil, the cracked Bagley tossing thawed chickens into the toilet wearing only an apron, and a few other weird surprises.  What works against Advertising‘s weirdness is that the film’s bizarro bits are all part of a perfectly clear and rational satirical plan.

COMMENTS:  Ad exec Dennis Bagley develops the mother of all zits in this blackheaded black comedy: does he need a dermatologist, or a psychologist?  He’s up against a deadline to design an ad campaign for a pimple cream account, and he’s obstructed.  “I can’t get a handle on boils,” he explains.  “Compared to this, piles were a birthday present… so was dandruff!”  Brilliantly portrayed by an acerbic and unhinged Richard E. Grant, Bagley is a man on the edge from the moment we meet him. He delivers an authoritative, amoral address to junior execs delighting in the dieting-reward-guilt dynamic that keeps women buying unwholesome food and stressing the importance of marketing to “she who fills her basket;” but in private, his advertiser’s block is driving him to knock back highballs in his office and nearly break down into quivering mass at lunch with his beautiful wife Julia (Ward).  On a fateful train ride home for a weekend of fretting over the acne campaign, frazzled Bagley has an epiphany about the pervasiveness of the advertising/propaganda mentality while listening to strangers discuss a sensational newspaper account of a drug orgy, and launches into the first of many entertainingly deranged rants.  By the next morning Bagley has gone completely off his rocker: he’s running around the house nude except for an apron, thawing frozen chickens in the bathtub and trying to rid the homestead of everything connected to advertising.  But, to his distress, he’s also developed a rather nasty and surprisingly painful pimple on his neck, one Continue reading LIST CANDIDATE: HOW TO GET AHEAD IN ADVERTISING (1989)