Not Only But Always

Brilliant study of comic genius Peter Cook and his relationship with Dudley Moore.

Hilarious, disturbing and genuinely moving.

The performance from Rhys Ifans is one of the greatest ever given to celluloid and should clean up at the awards. At times it is difficult to remember that I was watching a drama and not a documentary - so credible is Ifans. I have never seen an actor give as convincing a performance where I actually believed I was watching Peter Cook rather than an actor playing him.

Likewise, Aidan McCardle is also very strong as Dudley Moore.

Terry Johnston's script and direction blends light and shade and is always imaginative.

An absolute gem of a movie.

10 out of 10

This biopic assumes the audience knows the story already, so it doesn't elaborate on certain aspects of the story. If you did not know that, later in his life, Peter Cook was pretending to be Sven, a man who lives in a lighthouse, and was calling a late night radio show, you would not understand the scene early in the movie. Certain things in Peter Cook's life aren't mentioned at all, like his brief success in American television with the show "The Two of Us." Nevertheless, as biopics go, this is one of the best. Great acting! Rhys Ifans captures Peter Cooks mannerisms and that unique look he had in his eyes. Aidan McArdle captures Moore's voice, but he is not doing an impression. He is great in the role. The movie does not, to me, explain any of Cook's motives. If you did not know anything of his life and just saw this, you would think he was just an arrogant twit, in love with himself, who enjoyed nothing more than putting down Dudley. Still I would recommend renting the DVD and watching it twice. The second time you watch it, watch it with the commentary on.

This superbly acted and directed 'biopic' was riveting viewing for any Peter Cook/Dudley Moore fans. Rhys Ifans was particularly convincing as Peter Cook.

The emphasis is (however) firmly on Peter Cook, even though it is primarily about Peter Cook and Dudley Moore's relationship. The lack of focus on Dudley Moore, is my only serious criticism of the piece. You only really experience Dudley through Peter Cook, yet the film is set up to imply that it is balanced between the both of them.

I have know idea how true it is, but like all the best biopics, it is utterly convincing and compelling viewing. Arguably Peter Cook invented 'alternative comedy' and this film supports this view, and all his personality flaws as well as his genius.

I would liked to know better how Dudley and Peter met, and how Dudley entered the 'business', this is very glossed over; in fact the film doesn't really go into Dudley's equally long list of flaws, which would have been fun, instead the film gives us a strange mixture of 'noble Dudley' mixed with extremely 'shallow Dudley'. However, (as a Peter Cook fan) I was still very satisfied with the result.

This film contains extreme language used in quite nasty ways, in quite large quantities. I have no problem with this, but if you do, you won't like it!

Looking extraordinarily like Withnail at his most dissolute, Rhys Ifans gives a pretty good shot at Peter Cook. And the others do their own impressions of the fab four - Miller, Bennett, Moore & Cook - convincingly as well. Miller is very much hand and arm movements, Bennett is a genuine look-alike and the Dudley Moore is remarkable.

Two queries: Why didn't they give him blue contact lenses when one of Cook's most striking features was his very beautiful blue eyes.

Secondly, why didn't they mention the film he made after Bedazzled? It wasn't a popular success which may have contributed to his sense of malaise as Dudley rose to the top.

And a possible goof: Wendy claims she wasn't invited to the funeral (seen off by the fierce wife #3). But there she is in the church. Just a bit of dramatic telescoping or insufficient research?

The problem with biopics, particularly of those in living memory, is that they rely so heavily upon impression (rather than interpretation) that you can end up spending most of your two hours or so asking: "Who's that supposed to be?" No such problem with Rhys Ifans and Aidan McArdle's Peter Cook and Dudley Moore respectively - particularly when playing them on the point of disintegration in the 70s. Ifans has Pete's cold, almost trance-like, stare and fey way with a cigarette to perfection while McArdle (like Moore) grows in stature throughout the proceedings: which is quite a feat given his size.

As a re-imaginer of popular culture and the relationships within it, writer/director Terry Johnson is a past master. His central conceit of having the monochrome Dagenham philosophers Pete 'n' Dud watch a colour film about Cook and Moore's lives is inspired, particularly as Pete points out the post-modern methods being used to his chip-gobbling midget mate.

(By the way, if you think I'm hung up about Dud/McArdle's height, you wait 'til you hear what Pete/Ifans has to say about it.)

All the essential moments, particularly of the 60s, are highlighted here - Beyond The Fringe, David Frost, Eleanor Bron, Not Only But Also, etc. - and checked off. Yet still there's a sense of something missing, and it's not just the fact that the script highlights Cook over Moore.

At heart, rather like the middle of a doughnut, there is nothing of substance here. Certainly nothing that you couldn't have learnt from the brilliant documentary "At A Slight Angle To The Universe". Instead, what you have is Cook as a reptilian philanderer blessed with genius and Moore as a hectoring fishwife (the old "comedy duo as marriage" cliché is well and truly overplayed here) who also happens to be a trouper.

Where is the joie de vivre and charm that Cook and Moore both possessed as well as the self-pity and alcoholism that this film would have us wallow in? Despite some clever lines (and curiously rewritten classic sketches), Johnson seems to be more interested in what tore the two men apart rather than what brought, and kept, them together in the first place.

That said, the church choir singing "Goodbye-ee" will live with me forever.