Review of Entertainer, The

Introduction

Olivier was quite rightly nominated for an Oscar for his incredible portrayal of a down at heel, music hall star struggling into the decade of decadence, the permissive 1960`s. If it was possible to award an Oscar retrospectively than this release from MGM should provide all the evidence necessary to secure one for what is one of the finest character performances ever committed to celluloid.
Olivier`s Archie Rice is a down at heel vaudevillian, his in-suppressible ego, relentless greed, and insatiable lust driving him to struggle ever onward with his old fashioned mix of music hall humour and song. Bankrupt, with two decades of income tax evasion behind him, he continually cheats on his long-suffering wife Phoebe, (Brenda De Banzie), who he treats disgracefully. His daughter, played by a young Joan Plowright (who would marry Olivier shortly after this production) acts as a perfect Foyle for his occasional dreamy monologues, and a young Alan Bates plays the shy but devoted son against whom Archie Rice`s larger than life personality can really shine. Another son, Mick (Albert Finney in his debut role) is taken prisoner in Egypt during the Suez conflict, and though we understand that this is cutting Archie apart internally, he remains selfishly focused on his failing act. Roger Livesey plays a convincing turn as Archie`s own Father, a more successful vaudeville comedian in his day.Olivier is simply electrifying as the Max Miller-esque Archie Rice, a self-absorbed performer of the old school, down on his luck but in a constant state of nervous and theatrical denial. The real magic of his performance rests in the fleeting moments (often nano-seconds) of insecurity that we see flicker across his eyes before another routine or song is conjured up from nowhere to escape the oppressive reality of his life. Despite few, if any, redeeming qualities it`s difficult to remain steadfastly unsympathetic as we see this tragic tale unfold. Like watching Ricky Gervais in The Office, it`s almost unbearable to see Archie struggling on with jokes that fall flat and songs that leave his shrinking audience unimpressed in this new age of television and sophisticated political comedy. In many respects, stylistically this has many of the hallmarks of British movies of the day, and the glimpses of everyday life, in the seedy run-down seaside backwaters where Archie appears, are a real treat. As the plot unfolds, the damage that Archie`s ruthless ambition mitigates on all around him is almost unbearably painful. But the final tragedy is the pain that he ultimately brings to himself and is no longer able to deny.

Video

This is a first class transfer from MGM, not necessarily renowned for their care with marketing older movies on DVD. Whatever the case, this must have come off a great print - or someone in `the lab` just couldn`t let this one through without some loving care and attention. And rightly so!

Audio

Like so many British movies of this period, there was little or no post-audio dubbing for external scenes (off the sound stages and onto the streets...)and as a consequence the dialogue to background ratio is often poor. Generally though, the interior sound is good.

Features

Apparently there should have been a trailer, but this review copy arrived without it. There are a subtitle options - a scene index menu, and that`s the lot!

Conclusion

The portrayal of down at heel vaudevillian, Archie Rice, must surely rank as one of Lawrence Olivier`s finest on-screen performances. It`s a complex, excruciating role that is utterly compelling and this release is a chance to visit his world. There is nothing remotely lovable about this self-absorbed, dishonest and unlikely philanderer - but somehow the unfolding tragedy brings no satisfaction.
As Archie himself puts it: "Look at my eyes. I`m dead behind these eyes. I`m dead. Just like the whole damn shoddy lot out there". It`s uncomfortable viewing, but finer character acting and a more compelling movie will be difficult to find. Highly recommended!