'O Lucky man'

reviewed by Redmer Yska

I read about 'O Lucky Man' sometime last year and the actor/director relationship of Lindsay Anderson (This Sporting Life etc) and his discovery Malcolm McDowell established some years ago in the revolutionary call-to-arms "If..."; pointed to a new collaboration which could be for the seventies (after 'Clockwork Orange') what "If...", "Blow-up" and even Morgan were for the sixties.

Thus "O Lucky Man" bore impeccable references. McDowell's roles from "If..." to Loseys "Figures in a Landscape" and "Clockwork Orange" had represented a hazy yet tangible progression. "O Lucky Man" is quite obviously the 'current fantasy' for Anderson in his portrayal of the picurcsque, Dick Whittington-like coffee salesman has mixed all the ingredients of the contemporary scene: the pygmailions of the sisters stumbling through drugged years to arrive at reality through such 'de trop' concepts as ambition and even ego. McDowell's character has the sapphire eyes of David Bowie, he affects a glitter suit while he flaunts truth and exposes his basic innocence (ignorance?)

Alan Price who wrote all the music appears throughout the film almost literally as a musical (greek) chorus sings "smile while yo're takin it, even though you're fakin' it no bod'ys gonna know" and this fragment of the song coupled with the optimistic title of the film portrays the benign direction of the protagonists fortunes.

Much is explored: the police, the military, the politicians all are satirised as Travis (McDowell) wanders through misadventure after misadventure. Travis is no longer the school-boy of "If...." and he appears to feel he is older. Yet he struggles and pulls through despite the "realities" of adult-hood which the film makes synonymous with corruption and utter loss of innocence.

Throughout the film we are made aware of McDowell's earlier films. The firm manager who gives Travis the job of firm representative in the North West is the headmaster out of "If...." The soaked and battered protagonist shielding under a rock after his car has exploded recalls the young prisoner hiding from the dreaded helicopter in "Figures in a Landscape". The old men who chase and nearly kill McDowell are the toothless, old creatures of a "Clockwork Orange". The list could go on as the director moves to regain more and more time in an almost mythic way.

The last scene is particularly striking in terms of this idea. Out on his luck Travis takes a chance and attends a talent quest where prospective "stars" are assembled on pews to be photographed and considered for the big-time.

Lindsay Anderson the director appears in the film here as the head scout and he soon singles out McDowell to pose. In a sequence that must be rarely possible in cinema he has his "star" pose holdings sheaf of school books and then, of course a bren-gun. The revolutionary star of "If...." is born. Born again? He has certainly attained full circle. Anderson says "smile". McDowell tries but claims he cannot as he has nothing to smile about. Anderson then strikes him echoing every blow from every movie McDowell has borne. A cheesy grin breaks through The cycle is complete. Christ, where can McDowell go now?