The Rebel

By the time this fabulously over the top satire from 1961 was made, it was true to say Tony Hancock was at the very top of his game and would have been considered by many to have been Britain's favourite comic.

His pedigree prior to this, his first full length feature with the lad himself in the leading role, reads like a who’s who of comedy. Despite failing an early ENSA-audition he went on to perform in various shows before finally getting his own radio series, titled 'Hancock's Half-hour’ in 1954. His two radio broadcasts 'The Blood Donor' and 'The Radio Ham' were released as singles and became best sellers. So, it was inevitable that a feature film simply was waiting in the wings. Here we have Hancock completely in his element as the rebel in question. This was clearly a vehicle to display his unique talent, with a script written by himself and in collaboration with top screen and TV-writers Ray Galton and Alan Simpson.

In THE REBEL, Hancock’s character is even called Anthony Hancock. To begin at the beginning, Anthony is an unbelievably frustrated office clerk stuck for fourteen dull years in a boring city office whilst dreaming of being a great artist. Drudgery even ensues before he enters the office, namely on the platform of his local train station and in the carriage itself, with countless office ‘clones’ (suit, bowler hat, brolly etc) attempting to secure a seat. By the way, Anthony’s method is a rather unique way of getting a seat on a train, as you will see at the film's beginning - a hint as to his character's impishness and unorthodox way of thinking. Despite Anthony’s complete lack of artistic talent, he is not lacking in confidence and is never backward in coming forward. The scene in the city office is bordering on a truly Kafkaesque scenario and even now (or even more so with the advent of computer technology) many will equate it with his dilemma. He is caught by the understanding manager (the unflappable John Le Mesurier - Hancock's true life best friend) drawing a caricature of a fellow worker. In fact, he spends most of his working time doing this. After a hilarious scene in the manager's office, surprisingly he doesn't get the sack; but is advised to take the morning off. Instead, Anthony decides to chuck it all in and embark on a new career... that of a proper artist!

His digs in suburbia, run by landlady Mrs. Cravat (Irene Handl), sport two large rooms, with one room being used as his studio. The walls are covered with his truly abysmal paintings (these really do look like they were painted by a 5-year-old… if that isn't an insult to a 5-year-old) and amid this truly dreadful display stands, in the middle of the room, a hideous stone sculpture he refers to as 'Aphrodite at the Waterhole’, which is work in progress.. Poor Mrs. Cravat finally complains about the noise and nearly has a heart attack when she sees this monstrosity. Rightfully she disclaims his work as rubbish, uttering her famous line “Get it outta my house”. Pointing to what is supposed to be a painting of a woman, the landlady asks “What's that?” to which Anthony replies: “It's a woman. As I see them”.  Unimpressed, Mrs. Cravat orders her tenant to either stop working on the sculpture or pack his belongings and get out of the boarding house, before walking out of his room and slamming the door. Was it the slamming of the door or was it a case of fate intervening? Because shortly after her departure, ‘Aphrodite’ crashes through the floorboards.

Clearly taking it as a cue, our hero packs his meagre belongings and (with Aphrodite in tow) is off to Paris - a city where true art has always been appreciated. Shame the sculpture gets first damaged and then lost en route. No sooner does he arrive in the city of lights than he finds himself eavesdropping on a group of young Paris-based artists drinking wine and discussing art in a brasserie (watch out for a very young Oliver Reed). Anthony is fascinated by their conversation, despite not really comprehending the existentialist lingo used. He befriends one of the artists - a rather charming and enormously talented young man called Paul (Paul Massie) who invites Anthony to share his artist studio and asks him of his opinion regarding his work. In truth, big pretender Anthony hasn't the foggiest notion what to say - but as mentioned earlier, he's never backward in coming forward. Unlike the self-deluded Anthony, Paul is filled with self-doubt. Paul and, for some reason, very soon the majority of the Parisian art world, are taken in by Anthony's ‘radical’ new approach to art and soon, our lad is hailed as some kind of genius. Surely his work, as appalling as it is, cannot fool these people forever? Admittedly, a number of his new fans are pretentious poseurs. In many respects some might see this a hilarious expose of the art world and just who is Dennis Price's artist 'Jim Smith' based on? Paul is so blinded in his admiration for Anthony’s 'great talent and originality’, he doesn’t even notice that many of Anthony’s aphorisms are his own.. and decides to give up art and return to London, in an ironic twist taking a job as an office clerk (as we find out later). Departing for London, Paul leaves all of his paintings to his best pal. Talk about unfortunate timing!

Because no sooner is Paul on his way to Old Blighty when Sir Charles Broward (George Sanders), the famous artist's agent/ talent scout, suddenly appears in Paris wanting to find out more about Anthony Hancock - the man all the Parisian art world is talking about. Paying an impromptu visit to Anthony's studio, he is immediately taken by Paul's artwork… “Genius”, he utters. Anthony tries in vain to clarify the misunderstanding and attempts to show Sir Charles his own work. “Rubbish”, is Sir Charles' reply. Let’s just say that this misunderstanding sets off a whole chain of hilarious mishaps, culminating in a commission by a Greek shipping magnate (Gregoire Aslan), who wants Anthony to sculpt his beautiful and oversexed wife (Margit Saad). Now it can only be a matter of time before Anthony’s spectacular lack of talent comes to light… A true comedy classic in every sense of the word!

Extras on this Blu-ray release include:
New! An Irrepressible Streak: Paul Merton on The Rebel / A Definitive Comedian: Diane Morgan on Tony Hancock / Commentary with comedian Paul Merton and screenwriters Ray Galton and Alan Simpson / Behind the Scenes Stills Gallery / Theatrical trailer