This is the kind of film that should be seen by hap­pen­stance. A delib­er­ate view­ing can’t match the deli­cious plea­sure of stum­bling upon it by chance. I real­ly shouldn’t even be telling you about it.

In 1947, the British nov­el­ist Eve­lyn Waugh was approached by Hol­ly­wood for a pos­si­ble film­ing of his nov­el Brideshead Revis­it­ed. The book’s two essen­tial com­po­nents were a heavy dose of the mys­ti­cal upper-class Catholi­sism which exists only in Eng­land and bears no resem­blance to Catholi­cism any­where else, and a steamy homo­sex­u­al yearn­ing that man­ages to nev­er men­tion homo­sex­u­al­i­ty. The idea that this would have been made into a film even vague­ly resem­bling the orig­i­nal was ludi­crous, but Waugh was hap­py to let Hol­ly­wood give him an all-expense-paid trip to Los Ange­les to hag­gle. Waugh had no inten­tion of going through with the deal. Waugh was a snob — he was revolt­ed that “low­er-class” ser­vice peo­ple spoke to him as an equal, detest­ed Amer­i­can infor­mal­i­ty, and com­plained about every­thing. But snobs often write the best satire (think Thack­er­ay), as they have no com­punc­tions about hurt­ing people’s feel­ings. Hol­ly­wood is a bizarre, arti­fi­cial, and goofy place even for Amer­i­cans, and Waugh found plen­ty of mate­r­i­al for his next satir­i­cal nov­el, The Loved One, which appeared in 1948. He was par­tic­u­lar­ly fas­ci­nat­ed by Amer­i­cans’ pecu­liar atti­tudes towards death and (to a Brit) weird funer­al cus­toms. The plot is sim­ple: A young Eng­lish­man with a posh edu­ca­tion but no par­tic­u­lar ambi­tion wins a trip to Hol­ly­wood, and stays with an Uncle who is a stal­wart in the expat British com­mu­ni­ty in the film stu­dios. His host com­mits sui­cide, leav­ing him to fend for him­self on this alien plan­et. Attend­ing to his uncle’s funer­al, he becomes involved with Aimée Thanatogenos, an embalmer work­ing at Whis­per­ing Glades Ceme­tery, a spec­tac­u­lar­ly vul­gar Dis­ney­land of Death cre­at­ed by the mega­lo­ma­ni­ac Blessed Rev­erend Glen­wor­thy. He encoun­ters an assort­ment of lunatics, all of them dis­play­ing extreme ver­sions of Amer­i­can cul­ture that Waugh found offen­sive and laugh­able. As in many of Waugh’s books, and many of the same ilk, the “hero” dis­plays no notice­able virtues oth­er than not being one of the loonies. 

Tony Richard­son, a British direc­tor who had scored big with crit­i­cal­ly acclaimed and finan­cial­ly suc­cess­ful films (Look Back in Anger; The Enter­tain­er; A Taste of Hon­ey; The Lone­li­ness of the Long Dis­tance Run­ner; Tom Jones) filmed the book in 1965. The script was writ­ten by the wild­ly unlike­ly com­bi­na­tion of Ter­ry South­ern and Christo­pher Ish­er­wood. South­ern is not much read now, but in 1965 he was in lit­er­ary vogue, and usu­al­ly paired with Kurt Von­negut as a satirist. Ish­er­wood was a gay play­wright and nov­el­ist who had chron­i­cled the sex­u­al under­ground of Weimar Ger­many, and would lat­er reach a wide audi­ence with Cabaret. Waugh had vicious­ly car­i­ca­tured Ish­er­wood in one of his nov­els, but in that cat­ty lit­er­ary crowd such things appar­ent­ly did not mat­ter much. The film script sticks fair­ly close to the book, but adds a some scenes that make it fit in bet­ter with 1965. These addi­tions would, I sus­pect, have been fine with Waugh. Visu­al­ly, the film is a feast. Every shot fills the eye with details just as fun­ny as the sit­u­a­tions and the dia­log. Every cut serves a satir­ic pur­pose. But the real bonan­za is the cast­ing. Aimée Thanatogenos is played to per­fec­tion by Anjanette Cormer, whose remark­able tal­ent was nev­er well-used by Hol­ly­wood. The Eng­lish hero is played by Robert Morse, one of the few Amer­i­can actors at the time who could con­vinc­ing­ly play an Eng­lish­man — while the vul­gar Amer­i­can film mogul is played by Rod­dy Mac­Dowall, then still best known as a for­mer Eng­lish child star. Lib­er­ace turns in a hilar­i­ous per­for­mance as a funer­al direc­tor — he real­ly missed a chance to be a great com­ic film actor. Jonathan Win­ters plays both the Rev­erend Glen­wor­thy and his incom­pe­tent twin broth­er, mak­ing each char­ac­ter a gem. Rod Steiger chews the scenery with the moth­er-obsessed and near­ly psy­chot­ic Mr. Joy­boy. Paul Williams is a child rock­et sci­en­tist. The actu­al Hol­ly­wood Eng­lish Con­tin­gent (reg­u­lar­ly cast as “Lords and but­lers”) essen­tial­ly play them­selves: John Giel­gud, Robert Mor­ley, Alan Napi­er. Mil­ton Berle, James Coburn, Mar­garet Leighton, Bar­bara Nichols, Lionel Stander, and Bernie Kopell do well-craft­ed bits. There are numer­ous Hol­ly­wood in-jokes that the audi­ence could hard­ly have been expect­ed to catch. For exam­ple, the cow­boy film star who is being absurd­ly voice-coached by the stu­dio to play an Eng­lish Lord is played by Robert Eas­t­on. Eas­t­on was him­self a voice coach, and one of the worlds great­est author­i­ties on Eng­lish dialects. Many in the cast were clos­et­ed gays. Tab Hunter plays a tour guide! 

It’s extra­or­di­nary that this satir­i­cal film, made 54 years ago, based on a book writ­ten 71 years ago, remains rel­e­vant and bit­ing­ly fun­ny.