TILL DEATH US DO PART (1968, UK, 100m, 12) ***
Comedy
dist. British Lion Film Corporation (UK), Sherpix (USA); pr co. Associated London Films / British Lion Film Corporation; d. Norman Cohen; w. Johnny Speight; pr. Jon Penington; ph. Harry Waxman (Eastmancolor | 1.66:1); m. Wilfred Burns; ed. Tony Lenny; pd. Terry Knight.
cast: Warren Mitchell (Alf Garnett), Dandy Nichols (Else Garnett), Anthony Booth (Mike Rawlins), Una Stubbs (Rita Garnett), Liam Redmond (Mike’s Father), Bill Maynard (Bert), Brian Blessed (Sergeant), Sam Kydd (Fred), Frank Thornton (Valuation Officer), Ann Lancaster (Woman at Block of Flats), Michael Robbins (Pub Landlord (Fred)), Pat Coombs (Neighbour), Kate Williams (Sergeant’s Girlfriend), Shelagh Fraser (Mike’s Mother), John D. Collins (RAF Officer at Tube Station), Geoffrey Hughes (Mike’s Brother), Sulky Gowers (Man), Jack Jordan (Pianist), Cleo Sylvestre (Girl at Wedding Party), Michael Wolf (German in World Cup crowd).
A fragmented and episodic adaptation of the hit TV series. The film documents the lives of Alf Garnett (Mitchell), a conservative dockworker, and his long-suffering wife, Else (Nichols) in their terraced house in Wapping, London. The film is split into two halves – the first exploring the WWII years as they adjust to life during the London Blitz. The second moves into the 1960s as their daughter Rita (Stubbs), gets married to Mike (Booth), a Labour Party supporter whose politics and lifestyle conflict with Alf’s. Eventually, Alf and his son-in-law make peace long enough to attend the 1966 World Cup together, but developers move in to demolish their home. The resulting hodgepodge of social commentary, patriotism and bigotry occasionally hits home, but too often suffers from broadening the comedy. The production design of the wartime years is excellent and lends the production a level of authenticity. The contemporary setting matches that of its TV series inspiration. Here the film plays out like a half-dozen mini-episodes and throws in the developer plot a little late for any irony or social comment to be effectively delivered. Mitchell’s Alf, with his bigoted and conservative opinions delivered with vitriol, becomes a little wearing after close to two hours of exposure, but Nichols’ understated performance wonderfully offsets his bombastic nature. Stubbs and Booth also repeat their TV roles effectively and act as the deliverance of a counterargument to Alf. US title: ALF N’ FAMILY. Followed by THE ALF GARNETT SAGA (1972).
