"Trial and Error" is a comedy, slight drama and very obvious satire in a type of setting that doesn't appeal to many movie goers. It's done with a split set just as it might be on stage. Indeed, it's based on a play of the same title as it's original UK release, "The Dock Brief," by John Mortimer.
The use of the split set on film was probably to keep the focus on the two lead characters - Peter Sellers and Richard Attenborough. Other movies made with imaginary scenes or flashbacks generally use a fade-out and fade-in for those scenes. But here, the two main characters walk across a small jail cell into a large court room set. And, no other people are on it, but the defendant sits some of the time as the judge, and some of the time as the defendant.
Sellers plays Morgenhall, an attorney of some 40 years who has never had a case. If that doesn't signal most viewers that this is a satire, a few more minutes into the film should be evident. Writers and producers have various ways of signaling or inserting satire in films, besides the spoofery of roles. In this case, Attenborough's character is named Fowle (pronounced as fowl, and foul), whose sole interest in life (and obsession) is with birds. Not pigeons, but song birds. As the story unfolds, his wife, Doris, in time runs afoul of hubby by her constant and excessive laughter. So, he winds up committing a foul deed.
The comedy and satire are so masterfully written and played here, that some people indeed may see this more as a drama. It has a slight touch of that, especially in the pathos of two men having been loners most of their lives; but I think more would have enjoyed the film for the depth of the humor if it had just been billed as comedy and satire.
While there are a couple of short and very good scenes played by Beryl Reid as Doris, and David Lodge as Bateson, this is largely a two-man show. And, what outstanding performances. One expects such comedy ability from Sellers, but except for those who have seen many British films, many movie fans may not be as familiar with Attenborough's knack for comedy as well as drama. He made some very good comedies in the 1950s, for example, "Brothers in Law" of 1957, "I'm All Right Jack" of 1959, and two 1956 films, "The Baby and the Battleship" and "Private's Progress."
Again, while expecting the comedic deliveries and lines from Sellers, one waits for Attenborough's Herbert Fowle to do and say some funny things, but instead he sits, sometimes blandly and others pensively, just as though awaiting his just due. And, as Sellers' Morgenhall tries to engender a sense of defense in Fowle, Attenborough's persona becomes absolutely hilarious. I think his role surpasses that of Sellers for comedic effect. But Morgenhall then traipses off into dreamland trying to concoct different scenarios for his defense of Fowle.
Viewers get a few minutes of the court scene with Morgenhall's fumbling ineptitude, but we are spared most of what must have transpired. At film's end, the final blow of satire is on the reprieve of the prisoner from what in 1962 would still have been hanging when convicted of murder. England (but not all of the UK) abolished the death penalty in 1965, except for such crimes as treason, when even that was ended in 1998. So, having lost his first and only case, an otherwise dejected Morgenhall leaves the jail and walks away, happily with a new found friend in Fowl.
Not all movie goers are likely to enjoy this film. Some people can't sit still to watch movies that are recorded from live stage performances, or that are clearly made on stage sets. And, some folks just don't care for satire. But those who do enjoy satire should really like this movie. These are two masterful performances, just in the two leads being able to keep straight faces during the filming. One wonders if several extra takes weren't necessary at times.
Here are some favorite lines from this film.
Morgenhall, "You THINK you killed your wife." Fowle, "Mmm, it seemed so to me."
Morgenhall, "Fowle, I've worked and I've waited for you. Now, you're the only case I've got... and the most difficult." Fowle, "Mmm, sorry."
Morgenhall, "What is your name?" Fowle, "Herbert Fowle." Morgenhall, "The surprise witness." Fowle, "Oh, you... you mean I'd need a different name?" Morgenhall, "Yes, precisely." Fowle, "Hmm. That's where we're stuck now.."
The use of the split set on film was probably to keep the focus on the two lead characters - Peter Sellers and Richard Attenborough. Other movies made with imaginary scenes or flashbacks generally use a fade-out and fade-in for those scenes. But here, the two main characters walk across a small jail cell into a large court room set. And, no other people are on it, but the defendant sits some of the time as the judge, and some of the time as the defendant.
Sellers plays Morgenhall, an attorney of some 40 years who has never had a case. If that doesn't signal most viewers that this is a satire, a few more minutes into the film should be evident. Writers and producers have various ways of signaling or inserting satire in films, besides the spoofery of roles. In this case, Attenborough's character is named Fowle (pronounced as fowl, and foul), whose sole interest in life (and obsession) is with birds. Not pigeons, but song birds. As the story unfolds, his wife, Doris, in time runs afoul of hubby by her constant and excessive laughter. So, he winds up committing a foul deed.
The comedy and satire are so masterfully written and played here, that some people indeed may see this more as a drama. It has a slight touch of that, especially in the pathos of two men having been loners most of their lives; but I think more would have enjoyed the film for the depth of the humor if it had just been billed as comedy and satire.
While there are a couple of short and very good scenes played by Beryl Reid as Doris, and David Lodge as Bateson, this is largely a two-man show. And, what outstanding performances. One expects such comedy ability from Sellers, but except for those who have seen many British films, many movie fans may not be as familiar with Attenborough's knack for comedy as well as drama. He made some very good comedies in the 1950s, for example, "Brothers in Law" of 1957, "I'm All Right Jack" of 1959, and two 1956 films, "The Baby and the Battleship" and "Private's Progress."
Again, while expecting the comedic deliveries and lines from Sellers, one waits for Attenborough's Herbert Fowle to do and say some funny things, but instead he sits, sometimes blandly and others pensively, just as though awaiting his just due. And, as Sellers' Morgenhall tries to engender a sense of defense in Fowle, Attenborough's persona becomes absolutely hilarious. I think his role surpasses that of Sellers for comedic effect. But Morgenhall then traipses off into dreamland trying to concoct different scenarios for his defense of Fowle.
Viewers get a few minutes of the court scene with Morgenhall's fumbling ineptitude, but we are spared most of what must have transpired. At film's end, the final blow of satire is on the reprieve of the prisoner from what in 1962 would still have been hanging when convicted of murder. England (but not all of the UK) abolished the death penalty in 1965, except for such crimes as treason, when even that was ended in 1998. So, having lost his first and only case, an otherwise dejected Morgenhall leaves the jail and walks away, happily with a new found friend in Fowl.
Not all movie goers are likely to enjoy this film. Some people can't sit still to watch movies that are recorded from live stage performances, or that are clearly made on stage sets. And, some folks just don't care for satire. But those who do enjoy satire should really like this movie. These are two masterful performances, just in the two leads being able to keep straight faces during the filming. One wonders if several extra takes weren't necessary at times.
Here are some favorite lines from this film.
Morgenhall, "You THINK you killed your wife." Fowle, "Mmm, it seemed so to me."
Morgenhall, "Fowle, I've worked and I've waited for you. Now, you're the only case I've got... and the most difficult." Fowle, "Mmm, sorry."
Morgenhall, "What is your name?" Fowle, "Herbert Fowle." Morgenhall, "The surprise witness." Fowle, "Oh, you... you mean I'd need a different name?" Morgenhall, "Yes, precisely." Fowle, "Hmm. That's where we're stuck now.."