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O Lucky Man! Directed by Lindsay Anderson, it stars Malcolm Mc. Dowell as Mick Travis, whom Mc.
Dowell had first played as a disaffected public schoolboy in his first film performance in Anderson's film if.. The film was entered into the 1. Cannes Film Festival.
Grainy, black- and- white, and silent, a title . One worker (Mc. Dowell with black hair and moustache) pockets a few beans (. He is next seen before a fat Caucasian magistrate who slobbers as he removes his cigar only to say . The machete rises, falls, and we see Mc.
Dowell draw back in a silent scream. The scene blacks out, the word NOW appears onscreen and expands quickly to fill it. During his journey, Travis learns the lesson, reinforced by numerous songs in the soundtrack by Alan Price, that he must abandon his principles in order to succeed, but unlike the other characters he meets he must retain a detached idealism that will allow him to distance himself from the evils of the world. Travis progresses from coffee salesman (working for Imperial Coffee in the North East of England and Scotland) to a victim of torture in a government installation and a medical research subject, under the supervision of Dr Millar. In parallel with Travis' experiences, the film shows 1. Britain retreating from its imperial past, but managing to retain some influence in the world by means of corrupt dealings with foreign dictators. After finding out his girlfriend is the daughter of Sir James Burgess, an evil industrialist, he is appointed Burgess' personal assistant.
With Dr Munda, the dictator of Zingara, a brutal police state which nevertheless manages to be a playground for wealthy people from the developed world, Burgess sells the regime a chemical called PL4. Honey' for spraying on rebel areas (the effects resemble those of napalm). Burgess connives at having Travis found guilty of fraud, and he is imprisoned for five years. The film then cuts to five years on, when Travis has finished his sentence, become a model prisoner, and converted to Humanism. He is quickly faced with a bewildering series of assaults upon his new- found idealism, culminating in a scene in which he is attacked by down and outs whom he has been trying to help. The final scene of the film shows him becoming involved in a casting call for a film, with Lindsay Anderson himself playing the director of the film. He is given various props to handle, including a stack of schoolbooks and a machine gun.
When asked to smile Mick continually asks why. The director slaps Travis with his script book after he fails to understand what is being asked of him. After a cut to black (a device used throughout the film) a slow look of understanding crosses Mick's face. The scene then cuts to a party with dancing which includes all of the cast celebrating. Many of the actors play several roles. Production. Anderson was unhappy with this treatment, and David Sherwin worked on the script.
Sherwin though was undergoing personal problems at the time, which necessitated Anderson writing a few scenes himself, a skill he did not feel he had. Anderson found working with Czech cinematographer Miroslav Ond. He also doubted his own skills as a director during the film's making, and felt that the film had insufficient preparation. The role of Patricia was recast during production. Originally, Fiona Lewis, best known for appearing in several horror films around this time, played the role. As Sherwin and Mc. Dowell developed the script, Anderson decided Price should write the score and sent him the script, indicating where he would like songs to appear.
Price wrote nearly all the songs before filming started. The song Sell Sell was recorded by Widespread Panic for their twelfth studio album Street Dogs and has been performed by the band on several occasions beginning on 1. February 2. 01. 2 in Aspen, Colorado for the final night of their Wood Tour. Records, in 1. 97.
The result does not match the ambition of the intention. The wit is too small, too perfunctory, for the grand plan of the film and the quality of the production itself. Even both British VHS releases delete at least one scene present in the BBC broadcast of the film (Travis testing his status in the home of his industrialist patron) in the early eighties. The Swedish cut of the film runs only 1. A 2- disc special edition Region 1. DVD was released 3.
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