A towering erection of fabulous acting with a nasty sting at the climax…
As freshly exiled art student, Malcolm Scrawdyke spits venom right from the first scene, it is clear that ‘Little Malcolm’ belongs to the actor who plays him, John Hurt. Fans will be delighted by this grim, black comedy’s re release, where Malcolm’s vitriolic ravings go on to convince his three friends, Wick, (John Mc Enery), Irving (Raymond Platt ) and Nipple, (David Warner), into forming a political party with him, ‘ The Party for Dynamic Erection.’ Standing for the destruction of all mediocrity, bent on revenge against the tutor who expelled him, Malcolm galvanises his party to plot a convoluted theft and, kidnap the tutor, aiming to denigrate and defame him.
But although the plot is wonderfully, amusingly and acerbically rehearsed by the four, the tutor is never seen, and the plan never carried out. However, along the way, ‘Little Malcolm’ showcases the sort of talented acting and witty writing that is very British, very wonderful. It brought to mind another, later, character driven, black comedy about rebellion, ‘Withnail and I’( 1987), and also resonates, but without the dark side, to the TV sitcom series of 1977, ‘Citizen Smith ‘.
However, while ‘Little Malcolm’s’ writing and theme are darker and rougher in tone than both, in story terms, ‘Little Malcolm’ is on the weak side. This is relieved by the sub plot, which also provides the final, shocking denouement. Malcolm is approached by the assertive and attractive Ann, a fellow student, (Rosalind Ayres), whom he has been unsuccessfully trying to pluck up the courage to ask out. In stark contrast to the revolutionary stance and rhetoric Malcolm spits to his friends, with Ann, he is tongue tied and inhibited. The infantile impotency, and weakness of a small man appears, which is the real Malcolm. Stunned at what she has uncovered, Ann makes the mistake of scorning both Malcolm and his friends. This has sinister and violent consequences, and provides a shocking, sharp ending.
However, this is a film, that while brilliantly written and acted , will always be a period piece, due to its political and social context, in this case, after the end of the sixties sexual revolution, but before the cynicism of the late seventies set in. Adapted from an acclaimed play by David Halliwell, ‘Little Malcolm’, was made with, £750,000, put up by ex Beatle, ‘George Harrison’. Set in grim Oldham, with run down and derelict buildings as backdrops, the film is however, beautifully, sensitively and cleanly shot by Oscar winner, John Alcott (‘Barry Lyndon’, 1976). The evocative, subtle score, by BAFTA winner, Stanley Myers, (‘Middlemarch’ 1994) is also a successful contrast to the portrayal of the fascinatingly acid, but ultimately weak Malcolm. However, due to the amazing skill of John Hurt, although there is a desire to dislike Malcolm for his downright nastiness, he also emits pathos and elicits empathy. For who hasn’t felt tempted, at some point on the journey to adulthood, to cover up fear and frailty with bravado?
British low budget at its best.
Jane Foster
janecreates@yahoo.co.uk