The Punch and Judy Man

source: The Punch and Judy Man

Having conquered radio and television, cinema proved a tougher challenge for Tony Hancock and The Punch and Judy Man was his last star turn. It's failure at the box office had less to do with the film itself and more to do with the British public's inability to accept Hancock outside of his 'half hour' personality. It's box office failure, couple with poor reviews from an equally unforgiving press, meant this film has been overlooked and underappreciated since its release. In truth, it is a gentle observation of a traditional seaside town in England in the early 1960s with some wonderful performances, particularly from the supporting cast that the star has assembled around him. Hancock turns in a fine performance as the titular character whose wife wishes to climb the social ladder while he is happy with his station in life, happy to go against the grain of what is considered the norm. There are some great little moments in the film, with some tender touches, and definitely worth a viewing.

Hancock wanted to move away from his 'East Cheam' character and ditched his normal team of writers (Galton & Simpson) in favour of a co-writing credit with Philip Oakes. Although the film is nominally a comedy, it can be bleak and grim as it explores the disintegrating relationship between Wally (Hancock) and his wife Delia (a fine performance by Sylvia Syms). There's a fine cast of established British actors on show, plus some faces in the early parts of their careers, and they all do a fine job with no-one stealing the show. I watched this film from DVD last night, the first time I've seen it for many years. Far from being the miserable flop I remembered, it was very entertaining and two scenes stood out for me. The first is the scene with 'the boy' in the ice cream parlour. Wally treats the boy to a top-whack 'Piltdown Glory', chocolate sauce, nuts and wafers, the whole lot, and gets one for himself. What follows is a wonderful 'fight to the finish', as Wally tries to keep up with the kid. The finale, with Wally flipping the cherry into the air and catching it in his mouth with obvious glee, is enough to have me cheering and winding back for another look. Hancock's grinning face as the pair leave the shop speaks volumes. The second one comes at the very end of the film, as Wally and Delia have a renewed understanding of each other's wants, needs and failings. It really is quite tender, and we can almost see their marriage blossoming once again. Then it's straight into the end credits which (behind the titles) shows Wally and Delia being waved off by his friends as they drive along the promenade, heading for pastures new. The triumphant music puts the lid on in style. EDIT: I'd like to add a little to this if I may. In the 'Piltdown Glory' scene, we get a bonus in the shape of Eddie Byrne, an actor who (like Sam Kydd and Michael Ripper) popped up in almost every British film of the period. Byrne plays the ice cream salesman and although he doesn't say much, his performance is almost a scene-stealer. Only Hancock's sparkling happiness at the end of the scene keeps him at bay. The other thing is the 'comedy set pieces' which tended to be overlong and look as if they were inserted because Hancock needed some laughs. They were not particularly hilarious and tended break up the flow. However, if they had been removed the running time would have been about 60 minutes and the film could easily have been presented as a TV play, perhaps with better results. Still an enjoyable film though.

OInly the supporting cast acting made this film watchable - though I struggled to the end, I wouldn't recommend anyone else do

As mentioned by someone else, this film has matured with age. I watched the Punch and Judy man because I was a Hancock fan. Sadly this is not classic Hancock but I don't think the movie was meant to be HANCOCK. The thing with Tony Hancock was that he was always trying to not be Tony Hancock, the trouble was he could never get away from being the Lad From East Cheam and he couldn't understand why. Which in the end led to him taking his own life. The movie itself feels like the Two sides of Hancock. The start is the Hancock he wanted to be, dramatic, and the end the Hancock we all knew and loved. the comic.

I am still trying to decide which one I like the most - this one certainly made me laugh out loud more than once - the scene in the ice-cream parlour is a brilliant example of comic timing at its best, the illuminations going wrong has that bizarre inevitability that all spectators know and love - but, yes, it is a strange and ultimately sad little film. And for that, with its well-observed little cameos and support parts, and its little gems of scenes, it just scores over Tony's other film. If you like The Rebel and the half-hours you'll probably like this cos you're won over already. This one just stands on its own and is all the better for it. It's also an interesting snapshot of a more innocent Britain which has gone for good, and it's very well done.

"The Punch and Judy Man" wasn't a success during its release in 1963. The box office takings were rather disappointing. I would say the reason for this, was due to the fact that this film was a rather a different one for comedian Tony Hancock. This isn't a typical comedy by any means, there are some dark and serious moments too. These result from the films plot about a seaside resort entertainer, who is resisting the attempts of his snotty wife in bettering himself by mixing with the local politicians and aristocracy. Tony Hancock is playing a different character in "The Punch and Judy Man." Unlike his Railway Cuttings persona, he isn't interested in improving his lot in life. He has this attitude because he feels that he should settle for what he's got. The opening scene shows the camera slowly moving along the seafront of Bognor, where the entire film was made. This first scene - accompanied by some slightly melancholic music - sets the tone for the whole film. The actual shooting was riddled with problems from day one. Hancock's marriage was nearing its conclusion and this was highlighted via the blazing arguments that occurred on the set with his wife. The leading lady of the film, Sylvia Sims, described how these confrontations created a tense atmosphere throughout. Hancock's drinking was becoming slightly out of control at this juncture, according to the scriptwriter Philip Oakes. One report stated that the comedian consumed about a crates worth of vodka during filming. "The Punch and Judy Man" proves that Tony Hancock was an actor as well as a comedian. He gives his character of Wally Pinner the seaside entertainer a lot of depth and shading. The dialogue is very good, as is the direction and the supporting cast. My late father and I enjoyed the scene in the Ice Cream parlour, very funny. The film finishes with Wally Pinner and his wife all the wiser after the dust has settled.

John LeMesurier later recalled this as both the happiest and the saddest film he ever made. Happy because filming in Bognor was such a pleasure; sad because of the untimely deaths soon afterwards of several of the cast, LeMesurier citing Mario Fabrizi, Walter Hudd and, of course, Tony Hancock himself. (Although Sylvia Syms happily is still with us; her stock as an actress having risen considerably in recent years.) While it's glossier, brasher predecessor 'The Rebel' had been the boxoffice hit - and more than half a century after Hancock's death remains the better-known of his two big screen vehicles - Hancock himself had dismissed it as "a fake thing". Despite 'The Punch and Judy Man's dismal boxoffice performance and mauling by the critics (which makes it still more melancholy to contemplate), Hancock felt a special affection for it and it's stature is assured for those that care. Beautifully photographed by veteran cameraman Gilbert Taylor for Hancock's own company MacConkey productions. It's obvious everybody involved cared about the film; perhaps a bit too much, since the straining after effects is a bit too obvious. But you haven't lived till you've dropped into The Igloo for a Piltdown Delight.

Following the success of 'The Rebel' ( 1961 ), Tony Hancock and writers Ray Galton and Alan Simpson kicked around ideas for a follow-up ( such as having Hancock go on a round-the-world cruise, or him playing a double role ), and scripts were written, but none pleased the star. Eventually, he fired them, teaming up with poet and novelist Philip Oakes. Directed by Jeremy Summers, 'The Punch & Judy Man' is no average British comedy film, in fact it is an astonishingly bitter piece, with plenty to say on the subjects of small-town snobbery ( which still goes on alas ) and class divisions. It cast Hancock not as his familiar East Cheam character but 'Wally Pinner', a dour, middle-aged Punch and Judy man in the English seaside town of Piltdown, a place he despises. His marriage to the lovely but aloof Delia ( Sylvia Syms ) is on the brink of collapse, and he is looked down on by the pompous dignitaries who run the town, such as the Mayor ( Ronald Fraser ). Pinner's only friend is the Sandman ( John Le Mesurier in one of his best film roles ), a local eccentric who makes historical sculptures out of sand, and gives lectures to tourists. Pinner is persuaded by Delia to give a show at a forthcoming dinner to commemorate 60 years of Piltdown, at which a member of the aristocracy - Lady Jane Caterham ( Barbara Murray ) will be present. It gets out of hand, degenerating into a bun-throwing fight. The humour flows naturally, and even when not particularly amusing it still manages to engage, such as Wally's conversation over tea with the Sandman. Only the bun fight at the end looks as though it were written in at the last minute, but it is a minor criticism. Hancock gives a superb performance as the cynical 'Pinner'. Several of the cast, including Hugh Lloyd, Mario Fabrizi, had appeared previously in 'The Rebel'. Hattie Jacques is seen fleetingly as a fortune teller. Public apathy ensured that Hancock and Oakes did not collaborate again. A great shame. Be warned, however, the D.V.D. is missing a scene where Pinner works off his rage in his wife's gift shop by inserting a bunch of flowers into a ceramic pig's rectum. Presumably it was deleted to enable the D.V.D. to get a 'U' certificate. Funniest moment - Pinner's ice cream eating contest with the little boy played by Nicholas Webb ( Syms' nephew ), while the ice cream man ( Eddie Byrnes ) looks on in disgust. As good as anything Chaplin ever did.

My cd came with "The Rebel" which I have commented on elsewhere on the Imdb.Many of Tony's old friends from his "Half-Hour" tv series were in this film, Hattie Jacques, Mario Fabrizi, Hugh Lloyd and of course John le Mesurier.The broader canvas of cinema allowed Tony to develop his humour around a story set in a typical early sixties English seaside resort run by a myopic town council led by Ron Fraser.It is refreshing to see Sylivia Sims playing comedy as his wife who has social pretensions of meeting the pompous lady who will open the town's illuminations.I don't believe Hancock is "married" in any of his other films or tv comedy and this gives him a chance to interact with her in the domestic scenes together, certainly a novelty.His friend John le Mesurier does beach sand sculptures with commentaries and with Mario Fabrizi, the beach photographer and his assistant in the Punch and Judy stall, Hugh Lloyd, they adjourn to the pub to annoy the local worthies. This film has a gentle humour and Hancock gets away from the pseudo intellectual persona he so often played in his tv comedy shows and in "The Rebel".Highly acclaimed is the mime sequence in the ice cream parlour run by Eddie Byrne with the little boy fan.Do we assume this is the son he never had in the film?I believe viewers today are giving more generous ratings to this film than when it was first released in 1963.I rated it 6.