I Like Money Blu-ray Review

Film Movement’s Blu-ray presentation of "I Like Money" features an AVC encoded 1080p transfer in the original 2.35:1 aspect ratio, derived from a 2K restoration. The BFI National Archive undertook the restoration of one of the few remaining 35mm theatrical prints. Due to the film's age and the condition of the source material, the transfer exhibits significant cyan and yellow layer fading, resulting in an unavoidable magenta bias and a somewhat desaturated palette. Despite these efforts, the color issues persist throughout much of the presentation, at times rendering the best moments almost monochrome with selective hues standing out.

The condition of the source print also means dirt, scratches, and other signs of wear are present, albeit minimized through restoration. Grain is consistently resolved naturally, allowing for decent texture and appreciable detail for an HD transfer. However, given the multi-generational nature of the film stock, fine details lack sharpness. The Cinemascope production's visual vibrancy is notably compromised, with its color spectrum appearing washed out and lacking depth, paralleling a colorized black and white film where primary colors flatten into pasty pastels. This magenta push significantly affects contrast and black levels as well.

In conclusion, while the transfer's technical limitations stemming from the original print's condition are evident, the efforts made by the BFI National Archive are commendable. The presentation maintains a level of high-definition quality consistent with the available resources, offering a nostalgic but compromised glimpse into this classic film.

The audio presentation of "I Like Money" on Blu-Ray features an LPCM 2.0 Mono track that stands out for its fidelity and dialogue clarity. Georges Van Parys’ jaunty score is well-supported, with occasional ambient environmental effects during outdoor scenes adding depth. Throughout, the dialogue is rendered cleanly and clearly without significant signs of age-related wear and tear, ensuring a satisfying aural experience.

However, it is worth noting that some static and popping do appear throughout the track, detracting slightly from the overall audio quality. While the low frequencies in the score maintain a surprisingly smooth texture, the high frequencies suffer from a lack of clarity. Despite these minor flaws—including some skipping—the track manages to uphold an acceptable level of fidelity, with dialogue overcoming the persistent crackling to remain fully audible. Optional English subtitles are available to support viewing.

The Blu-ray extras for "I Like Money" offer a rich array of content that complements the film significantly. The highlights begin with "Abigail McKern Remembers Her Father, Leo McKern," a touching feature with masterful editing and seamless audio flow. The scholarly facet is provided by Kat Ellinger's video essay, "The Poetry of Realism," which delves into Marcel Pagnol's work against a backdrop of film stills. In a lighter vein, "Let's Go Crazy" showcases Peter Sellers in multiple comedic roles, including a memorable turn as Groucho Marx. Additionally, the disc includes the "Mr. Topaze" Trailer and various trailers for other Film Movement releases. The package is further enhanced by a detailed booklet with essays by Vic Pratt and Roger Lewis.

Extras included in this disc:

• Abigail McKern Remembers Her Father, Leo McKern: A heartfelt reminiscence expertly edited.
• The Poetry of Realism: Kat Ellinger's video essay on Marcel Pagnol.
• Let's Go Crazy: A playful 1951 short with Peter Sellers.
• Mr. Topaze Trailer: A preview of the Film Movement release.
• Other Trailers: Additional trailers for Film Movement Blu-ray releases.
• About Film Movement: Information and trailer about the distribution company.

Peter Sellers' directorial effort, "Mr. Topaze," presents a rare and captivating character study with shades of sly whimsy rather than outright comedy. Sellers shines in his portrayal of an upright, honest French schoolmaster, who finds his ethics challenged when entangled in a corruption scheme concocted by Suzy Courtois (Nadia Gray) and her lover, Castel Benac (Herbert Lom). The film meticulously unfolds Topaze's journey from an honorable teacher to a morally compromised individual. This transformation, underscored by Sellers' nuanced direction, highlights not only the character's internal conflict but also serves as a poignant social critique.

Drawing from Marcel Pagnol's play, "Mr. Topaze" delves into themes of integrity, disillusionment, and societal failure where men like Topaze are outmaneuvered by a corrupt system. The film intertwines elements reminiscent of "Goodbye, Mr. Chips" with the darker tones of Great Depression-era Britain, emphasizing the tragic loss of moral values in a society driven by greed. Interestingly, the narrative shift toward Topaze's eventual cunning maneuvering offers fertile ground for potential potent comedy, yet Sellers' choice to maintain a more somber tone emphasizes the tragedy of his character's downfall. This balance between character humor and social commentary enriches the film's layered storytelling.

"Mr. Topaze" is further dignified by its historical significance, particularly within the echelons of Peter Sellers' career and filmography. Originally met with general disapproval, its resurfacing offers cinephiles a glimpse into Sellers' limited yet impactful directorial prowess. The inclusion of George Martin’s musical contributions and Herbert Kretzmer's lyrics in the title song "I Like Money" adds another layer of intrigue, noting the film’s meta connections to broader cultural icons like The Beatles. Overall, "Mr. Topaze" remains a compelling piece that resonates with its poignant themes and historical curiosities, reflecting the harsh realities of societal dynamics through its engaging narrative and strong performances.

In "I Like Money," Peter Sellers delivers an intriguing blend of comedy and drama, portraying the titular character, Mr. Topaze, with warmth and subtle complexity. His directorial touch, while not groundbreaking, demonstrates a disciplined approach that keeps the narrative engaging. Fans expecting Sellers' more farcical ventures with Blake Edwards might be surprised by the relatively restrained tone, yet it's this subtlety that lends charm and depth to the film.

The Blu-ray transfer presents a mixed bag in terms of visual quality. While the film's cinematography is elegantly captured, there are inherent issues in the source material that are noticeable in some scenes. Nonetheless, the audio presentation is commendable, providing clear dialogue and a pleasing soundtrack. The supplementary package is robust, featuring insightful commentaries and several behind-the-scenes featurettes that enrich the viewing experience.

If you don't expect Mr. Topaze to be a shtick-laden farce a la some of Sellers' collaborations with Blake Edwards, you may well find quite a bit to enjoy here. The film is very handsomely mounted, and Sellers, while certainly not an adventurous director by any stretch, frames things smartly and keeps the story moving along fairly briskly. Some of the performances are a bit uneven, which may be due at least in part to Sellers' approach, and as such the comedy, such as it is, can occasionally feel forced. The video presentation here has some inherent issues which are documented above and which can be seen in the screenshots accompanying this review, but audio is fine, and the supplementary package very enjoyable. With caveats noted, and for Sellers fans in particular, Mr. Topaze comes Recommended.