This film is a classic. Dates, yes - though it was made in 1958/9, though still relevant re the clash between union demands and the general public's common sense views (see the tube strike, where drivers who start on almost £50k a year are moaning and striking, delaying hardworking Londoners who earn less than half that).
A great cast Terry-Thomas, Peter Sellers, Irene Handl and many more. One of Peter Sellers' very best roles, which he plays to perfection (though he was only 34 at the time but looks 57!)
Some classic lines, with the Soviet Union worshipping union shop steward played by Peter Sellers dreaming of 'all them cornfields, and ballet in the evenings.'
A terrible 'feem toon' - but hey, it was pre-Beatles 1959 and you can't have everything!
Worth a watch to see the way union/management relations really were in the 50s, 60s, 70s. That is why Thatcher was elected.
Lots of non-pc references to race in this film - which I suspect they cut before allowing it on TV< which is a shame. Let it stand as it is! To show how racist the left wing unions could be.
All Jeremy Corbyn fans should watch this too. This film has relevance to modern Britain alright.
In my top 50 movies of all time. Watch side by side with Dr Strangelove.
A classic British comedy and one of the finest social satires that focuses on post-war industrial relations, class politics, family dynamics and casual racism. With the lovely, endearing Ian Carmichael as the hapless and naïve aristocrat who has to get a job as a normal factory worker and who inadvertently sparks off a General Strike. Peter Sellers won a BAFTA for his definitive take on the Union Shop Steward Mr Kite, and a great supporting cast of Terry-Thomas, Dennis Price, Richard Attenborough and a host of British actors who will be familiar to all fans of 50s British comedy especially the Carry On series. This is a really funny film and one that deserves a modern audience. All film lovers should make sure they see this at least once.
I’m All Right Jack starts breezy, a factory-floor farce powered by British comedy royalty. Ian Carmichael is the naïve recruit swept into an industrial dispute; Peter Sellers, as shop-steward Fred Kite, steals scenes with pinched dignity and petty zeal; Terry-Thomas supplies the boardroom smarm.
Early on, the gags pop: kitchen-table Marxism, stopwatch men, and a shop-floor ballet of go-slows and sudden zeal. The film aims for equal-opportunity satire—union brass and management alike—and it lands a few clean stings. But the caricatures are broad, and the jokes circle until the rhythm sags.
By the home stretch it becomes a televised bunfight where everyone shouts and nothing clarifies. The period bite and performances keep it afloat—Sellers especially—but the script feels light for the talent on hand. As social comedy it’s more sprightly than surgical: enjoyable mid-century mischief that stumbles on the final lap, yet still gets over the line.