User Reviews

"How to Murder a Rich Uncle" is a caper comedy that is a biting satire of the British peerage class. The plot unfolds as an almost genteel comedy, even subdued. But, as members of the titled Clitterburn family die off (that is, get bumped off) one after another, those who are left shed nary a tear and show no remorse whatsoever. Life goes on in this grossly exaggerated spoof of life in the blue blood atmosphere of England, with stiff upper lips, dry eyes and carrying on unruffled by life and events.

At least, one hopes this is a gross exaggeration. Regardless, though, prospective viewers should be alerted that this film may not be to the liking of some. Indeed, it straddles a fine line of exaggeration in spoofery, and dark humor.

The plot is very good, and all of the cast give top performances. Nigel Patrick is superb as Henry Clitterburn, the proper, head of the clan in England, with his calculating and egocentric nature. Wendy Hiller is superb and very funny in a delightful way. An early scene when Henry compliments her for her behavior, faithfulness and fastidiousness is a hoot. Never once does he mention love or anything romantic or soft, and she glows at his compliments and it makes her day.

Charles Coburn's role is out of character, where his Uncle George is mostly a straight character. The rest of the characters are very good. The cast includes two great ladies of early British cinema -- Athene Seyler as Grannie (Henry's mother) and Katie Johnson as Aunt Alice. Late 20th century and early 21st century movie goers may have a hard time recognizing Michael Caine. The 18-year-old Caine appears here in just his eighth film or TV role. I had to watch the film twice to see a young Caine in the face of Gilrony. When one knows who the actor is playing Gilrony, his two lines in the film turn out to be the funniest. In answer to questions from a barrister in a police hearing, Gilrony answers, "Oy!" and "Oy!"

Otherwise, the screenplay for this film isn't built around funny or clever dialog. The comedy comes mostly in the scheming and efforts of Henry to do away with Uncle George; and then to have each plan go awry with a wrong person of the family succumbing.

The film has one very funny short scene after Uncle George arrives when the camera scans above the fireplace and we see the family coat of arms. The family slogan reads, "We strive regardless." Indeed, it describes the emotionless carrying on by Henry and his family through a son's death, a mother's death, and so on.

As noted already, this film won't be for everyone. But those who enjoy satire, stories about the upper class of British society, and Anglophiles in general should enjoy it.

And to Katie Johnson, too, that cute old British sweetheart who stole the scenes in that 1955 Ealing comedy out from the hands of Alec Guennis and Peter Sellers. Having died only a month before the British release of this black comedy, Johnson had a lengthy career but had only come into her own thanks to "The Ladykillers", leaving a sad quality to the history of this delightful film.

I must admit when watching this, I had a sudden urge to utilize this in a plot line on "Downton Abbey" as a great family on a great estate discovers that they are destitute and must somehow plot to murder wealthy uncle Charles Coburn who had left England years before to move to America and is only now coming over for a visit. Family patriarch Nigel Patrick has it set up that he will accidentally shoot Coburn as he arrives, but ironically, it is a distant cousin that is killed instead. One by one the family with the exception of Coburn, Johnson and Patrick are all killed off, and that includes Patrick's irritating mother (Atheyne Seyler), unknowing wife (Wendy Hiller) and cousin Kenneth Fortescue who had intended to drowned his uncle yet fell in the water himself, only to die of pneumonia. A sweet bond is started between Coburn and innocent Johnson, another distant cousin who is considered the black sheep of the family simply because she seems so simple. As luck turns out, Coburn is accused of knocking off his family, thanks to the presence of Anthony Newley, boyfriend of one of Patrick and Hiller's daughters, seen taking notes at family functions as certain "hints" are dropped.

Deliciously droll in every way, this remains consistently funny in the way everybody is dispatched, along the lines of "Kind Hearts and Coronets", later musicalized for Broadway as "A Gentleman's Guide to Love and Murder". In spite of how close it seems to the Ealing comedies, it was independently made and released by Columbia, which is perhaps one reason why it is not known as well. This was one of the first major roles for a young Michael Caine, barely recognizable as a town local. Patrick underplays his role of the murderous nephew, a smart choice that would have been much broader had Alec Guennis played the role. In fact, Patrick plays the part without much guilt, as if his family duty called for those killed to be willing victims to the future of the family, and that is what makes this film all the more intelligent. The ghosts of the deceased make curtain call appearances, but there is delightfully sweet close-up of Coburn and Johnson as the film ends. This is a must for those who like intelligent comedy with a bit of naughtiness to it.