John Cleese was at his harried best in this little gem of a movie. Certainly one of the most under-rated films in this genre of all time. Intelligent, (maybe too clever and too British for the Americans at the time of release) extremely funny and a film one can watch over and over without it becoming stale. Cleese's timing is superb and as for his wife and daughter.. an absolute pleasure to observe!
73 Reviews
The Master at Work
emguy22 April 2001
I recall a review in the Washington Post when this film was in theater release. It said something like, "If you want to see the master at work, go see this film." I thought that was very fitting. If you like John Cleese's brand of comedy, it's on good display here.
In its way, the movie is a simple comedy of errors. Murphy's Law dogs Cleese everywhere he goes. Yet despite the great John Cleese reactions to the never-ending stream of challenges, his character never loses sight of his goals or his integrity. I think that juxtaposition is part of what makes the movie work. Despite all the humiliations and frustrations, the character never forgets that he's doing it all for the sake of his students and his school.
In its way, the movie is a simple comedy of errors. Murphy's Law dogs Cleese everywhere he goes. Yet despite the great John Cleese reactions to the never-ending stream of challenges, his character never loses sight of his goals or his integrity. I think that juxtaposition is part of what makes the movie work. Despite all the humiliations and frustrations, the character never forgets that he's doing it all for the sake of his students and his school.
Hilarious John Cleese farce
The_Void26 June 2006
Anything featuring the immense talents of John Cleese is automatically worth seeing, and this eighties comedy is certainly no exception. Aside from the great john Cleese, this film benefits from a great number of other positives, including a finely worked script; that manages to stay realistic and down to Earth despite the highly unlikely nature of much of the plot, and the highly farcical nature of many of the events; which bode extremely well with the lead star, as Cleese finds himself in his element in the role of the strict headmaster. Indeed, the major reason why this film works so well is down to the former Monty Python star, as he blunders his way through the film and somehow manages to retain and air of authority while doing so. The comedy styling is one of "it can't get any worse!", and it continually does; as constantly punctual headteacher, Brian Stimpson, finds himself in a world of trouble after missing the train to Norwich, where he is set to make a speech to a meeting of the best headmasters in the country. After acquiring the services of one of his sixth form pupils, he gets back on track to Norwich; but not without a number of problems.
The comedy comes by way of both gags, and the plot itself, which always manages to garner a laugh or two due to its superbly silly nature. Cleese is joined by a number of British stars, who all do well in their respective roles. Sharon Maiden stands out as Cleese's travel companion for much of the film; and somehow manages to look cute despite a truly awful hairstyle. Smaller British stars such as Pete Walker's muse, Sheila Keith, Alison Steadman and Eastenders' John Bardon, who would go on to star as Jim Branning in said soap opera help to liven up the supporting cast. The film does feel typically eighties, but stays away from the more silly side of the decade's cinema and many of the jokes bend more towards the intellectual side. The film is in very good humour throughout, and therefore offers an enjoyable time for its audience. Seeing John Cleese deliver an assembly towards the start will no doubt remind anyone that was schooled in England of that time, and Clockwise does a very good job of presenting it's plot and setting. Overall, this film comes highly recommended to anyone that enjoys fun films.
The comedy comes by way of both gags, and the plot itself, which always manages to garner a laugh or two due to its superbly silly nature. Cleese is joined by a number of British stars, who all do well in their respective roles. Sharon Maiden stands out as Cleese's travel companion for much of the film; and somehow manages to look cute despite a truly awful hairstyle. Smaller British stars such as Pete Walker's muse, Sheila Keith, Alison Steadman and Eastenders' John Bardon, who would go on to star as Jim Branning in said soap opera help to liven up the supporting cast. The film does feel typically eighties, but stays away from the more silly side of the decade's cinema and many of the jokes bend more towards the intellectual side. The film is in very good humour throughout, and therefore offers an enjoyable time for its audience. Seeing John Cleese deliver an assembly towards the start will no doubt remind anyone that was schooled in England of that time, and Clockwise does a very good job of presenting it's plot and setting. Overall, this film comes highly recommended to anyone that enjoys fun films.
Minor Classic
a_gulliver7 July 2003
The most surprising things about this minor classic from the mid 80's are that it was director Christopher Morahan's first film since 1969, and Cleese's character is based on a real-life headmaster! John Cleese based the character on the head of his daughter's school, and I can tell you the real life head is just as delightfully nutty as Stimpson.
Time obsessed Mr Stimpton, head of an ordinary British state school finds himself chairman of the Headmasters Conference and has to get to Norwich to address their meeting. Everything goes wrong on the way, despite Stimpson's meticulous planning, and due to his obsessive nature he gets more and more frayed at the edges as things go wrong.
There are some great observations on human nature in a film which moves quick enough to keep you laughing but not so quick that you miss anything.
Not perhaps Cleese's very best work, but a minor classic nevertheless. Generally under-rated as most have already said. Chris Morahan went onto continue his film directors career with the excellent thriller "Paper Tiger" in 1990, among others.
Time obsessed Mr Stimpton, head of an ordinary British state school finds himself chairman of the Headmasters Conference and has to get to Norwich to address their meeting. Everything goes wrong on the way, despite Stimpson's meticulous planning, and due to his obsessive nature he gets more and more frayed at the edges as things go wrong.
There are some great observations on human nature in a film which moves quick enough to keep you laughing but not so quick that you miss anything.
Not perhaps Cleese's very best work, but a minor classic nevertheless. Generally under-rated as most have already said. Chris Morahan went onto continue his film directors career with the excellent thriller "Paper Tiger" in 1990, among others.
The secret to knowing who you are is WHERE you are, and WHEN you are
hugh197122 February 2006
Warning: Spoilers
I first saw this film on its cinema release and thought it a gentle, slightly dated but amusing English comedy. Watching it again last night (it was given out free on DVD with a Sunday newspaper) I realised what a greatly underrated, highly intelligent film it is. In fact I suspect it is a little TOO intelligent for mainstream audiences, which perhaps is why it has never been a blockbuster.
What impressed me was the highly philosophical nature of the plot which deals with the artificial nature of timekeeping in modern society.
Stimpson suffers from the modern disease of believing that all the problems of life can be solved by the imposition of obsessive man made order and regulation (something our present Government appears to suffer from also) in particular with regards to timekeeping. His whole identity is based on timekeeping and he is unable to relate to anything outside his own worldview. Stimpson is the classic tragic overreacher who doesn't realise that his attempts at control are actually having the opposite effect.
The sense of dislocated identity is a recurrent motif in the film. The senile old ladies are not merely there for comic relief - they act as a mirror to Stimpson's own disintegrating sense of self. One of the ladies (the late great Joan Hickson) is stuck in a 'loop' of consciousness relating to sherry glasses, and the other is convinced that she is in the place she has already left, but the third lady, 'aren't we lucky people!' represents the childlike happiness of those who are literally outside time - her polite bewilderment and contented singing at the end of the film as Stimpson is led away underscore this neatly.
Other motifs of dislocated identity and location abound. Stimpson drives a car which does not belong to him, and which does not belong to the girl he takes it from, who is also not licensed to use it. It is then driven in a completely random, directionless way across fields ('we don't need the track!')until it has to be rescued by a tractor which Stimpson refuses to see even though he's standing right next to it. (This particular sequence, with the Morris 1100 driving over the fields, has an almost lyrical quality to it, especially to someone who spent most of his childhood holidays in a similar car).
Stimpson then spends some time in a monastery, where the characters, like the senile ladies, are outside of time in the conventional sense - almost stuck in the middle ages - again the innocent happiness of those outside time is shown by the monk cheering on Cleese in his chase after the car.
Finally Stimpson makes his last ditch attempt to reach the conference in a car stolen from someone who again, does not own it himself, and in a stolen suit which does not fit him which, in a hilarious counterpoint to his own crumbling identity, falls to pieces while he is wearing it.
The only thing the film lacks is perhaps a little more background on what changed Stimpson from being a hopeless timekeeper to an obsessive one, and what happened to him after he was caught.
What impressed me was the highly philosophical nature of the plot which deals with the artificial nature of timekeeping in modern society.
Stimpson suffers from the modern disease of believing that all the problems of life can be solved by the imposition of obsessive man made order and regulation (something our present Government appears to suffer from also) in particular with regards to timekeeping. His whole identity is based on timekeeping and he is unable to relate to anything outside his own worldview. Stimpson is the classic tragic overreacher who doesn't realise that his attempts at control are actually having the opposite effect.
The sense of dislocated identity is a recurrent motif in the film. The senile old ladies are not merely there for comic relief - they act as a mirror to Stimpson's own disintegrating sense of self. One of the ladies (the late great Joan Hickson) is stuck in a 'loop' of consciousness relating to sherry glasses, and the other is convinced that she is in the place she has already left, but the third lady, 'aren't we lucky people!' represents the childlike happiness of those who are literally outside time - her polite bewilderment and contented singing at the end of the film as Stimpson is led away underscore this neatly.
Other motifs of dislocated identity and location abound. Stimpson drives a car which does not belong to him, and which does not belong to the girl he takes it from, who is also not licensed to use it. It is then driven in a completely random, directionless way across fields ('we don't need the track!')until it has to be rescued by a tractor which Stimpson refuses to see even though he's standing right next to it. (This particular sequence, with the Morris 1100 driving over the fields, has an almost lyrical quality to it, especially to someone who spent most of his childhood holidays in a similar car).
Stimpson then spends some time in a monastery, where the characters, like the senile ladies, are outside of time in the conventional sense - almost stuck in the middle ages - again the innocent happiness of those outside time is shown by the monk cheering on Cleese in his chase after the car.
Finally Stimpson makes his last ditch attempt to reach the conference in a car stolen from someone who again, does not own it himself, and in a stolen suit which does not fit him which, in a hilarious counterpoint to his own crumbling identity, falls to pieces while he is wearing it.
The only thing the film lacks is perhaps a little more background on what changed Stimpson from being a hopeless timekeeper to an obsessive one, and what happened to him after he was caught.
Minor Classic Indeed
Mallocky18 February 2006
Glad to see this film is building up a fan-base. Any references I've come across in film guides have been pretty dismissive, and it seems to have been rubbished on its release. I think "minor classic" is the perfect description for it: it's so pleasantly low-key, restrained and, well, English. It respects the tradition of farce and, despite the frenetic pace and the subject matter, retains a kind of gentle, even staid appeal. The race to get to the conference might be nail-biting but the sleepy English countryside, the apple-eating farmer, the scene of John Cleese soaking in a bath-tub, evoke a world of endearing laziness. A film for bank holidays, and perhaps more suited to TV than the cinema. A Fish Called Wanda has funnier moments but, on the whole, I think I prefer this.
Interesting that so many people have said they can watch it again and again. I've seen it four or five times and I'm planning on buying it on my way home from work today, then watching it over dinner. Don't know what made me think of it and look it up. Actually I saw it being given away free with a newspaper last week, that must be it. I wasn't going to add to a tabloid's circulation, though.
Interesting that so many people have said they can watch it again and again. I've seen it four or five times and I'm planning on buying it on my way home from work today, then watching it over dinner. Don't know what made me think of it and look it up. Actually I saw it being given away free with a newspaper last week, that must be it. I wasn't going to add to a tabloid's circulation, though.
I Can Take the Despair. It's the Hope I Can't Stand.
JamesHitchcock7 March 2006
In "Clockwise" John Cleese plays a character who has much in common with Basil Fawlty from the television series "Fawlty Towers". Like the manic Torquay hotelier, Brian Stimpson is a control-freak who finds his own life going out of control. The headmaster of a small-town comprehensive school, he is a stickler for discipline, with a particular obsession with punctuality. He is the sort of man who knows the school timetable off by heart; upon seeing a pupil idling about the school he can instantly tell that pupil exactly what lesson he or she should be attending at that precise moment. (The school is, in an in-joke, named after the famous English clockmaker Thomas Tompion).
Stimpson is disliked by his pupils and staff, who see him as authoritarian and patronising, but he is evidently held in high regard by the wider teaching profession, because he has been elected Chairman of the prestigious Headmasters' Conference. The film tells the story of what occurs on the day on which Stimpson is due to address the annual meeting of the Conference in Norwich. Things start to go wrong when, due to his misunderstanding what he is told by a ticket-collector at the station, he finds himself on the wrong train and ends up missing the train he should have caught. Told that there will not be another train to Norwich for several hours, he decides to make the journey by road and returns home, only to find that his wife has taken the car. He meets Laura, one of his sixth-form pupils, and in desperation persuades her to drive him on the 163-mile journey to Norwich. A further chain of misunderstandings leads to them being pursued across the English countryside by the police, by Laura's parents (who suspect that their daughter is having an affair with her headmaster) and by his wife (who suspects the same thing). On the way they kidnap a former girlfriend of Stimpson's whom they meet by accident, drive the car into a field and get stuck, find themselves in a monastery and, in their desperation to get to Norwich on time, end up holding up a passing motorist in order to steal his clothes, his money and his car.
The film's central joke is that a man who is so obsessed with punctuality should find himself running very late in his attempts to get to the most important meeting of his life. Although Stimpson is the sort of man that most people would automatically dislike if we were to meet him in real life, Cleese manages to arouse a certain sympathy for his character, whose sense of panic arises from a sense that he is the victim of circumstances, that the entire universe is united in a vast conspiracy to prevent him from fulfilling what should have been a relatively simple task. His desperation is increased by the remote possibility that he might just be able to get to Norwich on time. ("It's not the despair, Laura. I can take the despair. It's the hope I can't stand). There can be few of us who have not had, at some time or other, a similar feeling.
Although the film is sometimes described as a farce, that word should not be taken as implying that it is a purely mechanical comedy; character also plays an important part. Fortunately, Cleese is not only a very good technical comedian- his timing in this film is superb- but also a very good character actor. (A gift shared by another ex-Python, Michael Palin). Cleese also receives good support from the rest of the cast, particularly from Alison Steadman as his long-suffering wife Gwenda and Sharon Maiden as the wild and headstrong Laura, for whom driving her headmaster cross-country is a much more interesting way of spending her day than a few hours of boring lessons.
The film is not quite in the same class as Palin's two great post-Python comedies, "The Missionary" and "A Private Function". For most of the time it is very funny indeed; for most of the first hour and a bit I was laughing out loud. (Remarkably, my wife was too- normally she loathes the Pythons and all their works). Unfortunately, the scriptwriter Michael Frayn was unable to maintain this sense of comic invention to the end. The story needed some dazzling twist to finish on, but instead it fizzles out rather tamely and the last quarter of an hour or so, after Stimpson finally arrives at the Conference, is rather disappointing after what has gone before. Nevertheless, this is still one of the better British comedies of the eighties; I certainly prefer it to the overrated "A Fish Called Wanda". 7/10
Stimpson is disliked by his pupils and staff, who see him as authoritarian and patronising, but he is evidently held in high regard by the wider teaching profession, because he has been elected Chairman of the prestigious Headmasters' Conference. The film tells the story of what occurs on the day on which Stimpson is due to address the annual meeting of the Conference in Norwich. Things start to go wrong when, due to his misunderstanding what he is told by a ticket-collector at the station, he finds himself on the wrong train and ends up missing the train he should have caught. Told that there will not be another train to Norwich for several hours, he decides to make the journey by road and returns home, only to find that his wife has taken the car. He meets Laura, one of his sixth-form pupils, and in desperation persuades her to drive him on the 163-mile journey to Norwich. A further chain of misunderstandings leads to them being pursued across the English countryside by the police, by Laura's parents (who suspect that their daughter is having an affair with her headmaster) and by his wife (who suspects the same thing). On the way they kidnap a former girlfriend of Stimpson's whom they meet by accident, drive the car into a field and get stuck, find themselves in a monastery and, in their desperation to get to Norwich on time, end up holding up a passing motorist in order to steal his clothes, his money and his car.
The film's central joke is that a man who is so obsessed with punctuality should find himself running very late in his attempts to get to the most important meeting of his life. Although Stimpson is the sort of man that most people would automatically dislike if we were to meet him in real life, Cleese manages to arouse a certain sympathy for his character, whose sense of panic arises from a sense that he is the victim of circumstances, that the entire universe is united in a vast conspiracy to prevent him from fulfilling what should have been a relatively simple task. His desperation is increased by the remote possibility that he might just be able to get to Norwich on time. ("It's not the despair, Laura. I can take the despair. It's the hope I can't stand). There can be few of us who have not had, at some time or other, a similar feeling.
Although the film is sometimes described as a farce, that word should not be taken as implying that it is a purely mechanical comedy; character also plays an important part. Fortunately, Cleese is not only a very good technical comedian- his timing in this film is superb- but also a very good character actor. (A gift shared by another ex-Python, Michael Palin). Cleese also receives good support from the rest of the cast, particularly from Alison Steadman as his long-suffering wife Gwenda and Sharon Maiden as the wild and headstrong Laura, for whom driving her headmaster cross-country is a much more interesting way of spending her day than a few hours of boring lessons.
The film is not quite in the same class as Palin's two great post-Python comedies, "The Missionary" and "A Private Function". For most of the time it is very funny indeed; for most of the first hour and a bit I was laughing out loud. (Remarkably, my wife was too- normally she loathes the Pythons and all their works). Unfortunately, the scriptwriter Michael Frayn was unable to maintain this sense of comic invention to the end. The story needed some dazzling twist to finish on, but instead it fizzles out rather tamely and the last quarter of an hour or so, after Stimpson finally arrives at the Conference, is rather disappointing after what has gone before. Nevertheless, this is still one of the better British comedies of the eighties; I certainly prefer it to the overrated "A Fish Called Wanda". 7/10
Amiable fun.
HenryHextonEsq24 March 2001
Clockwise is no classic comedy; make no mistake there. But it is a very watchable one, largely thanks to a fair plot and script often greatly elevated by the marvellous John Cleese. It never really loses as much steam as I thought it might, and contains a fine scene where Cleese attempts to deliver his speech - "Expatiate over weighty balls of matter!" Apart from that speech, nothing raised a huge guffaw; but much was gently amusing. Certainly worth watching, if lacking in real wit. There are just too many hapless onlookers' reactions shown to generate laughs, that is a mark of a less-than-inspired comedy, but Cleese gives a fine, Fawlty-esque performance, that will impress all. Rating:- *** 1/2 (out of *****)
Right! Left? Right! No, left!
R_O_U_S16 February 2004
A scrupulously punctual headmaster in an English comprehensive school sets off for the Headmaster's Conference to deliver a keynote speech. One little slip sees him boarding the wrong train, which leads to a chain of consequences conspiring to keep him from his goal. This is one of the finest farces I've ever seen brought to the screen, written naturally enough by theatre farce-meister Michael Frayn. The frenetic energy of John Cleese in his prime really lifts this above the norm, as he hitches a ride with a student, bumps into and kidnaps an ex-girlfriend and winds up naked in a monastery. The climactic scenes at the HMC amount to perhaps the finest pay-off seen in farce. This is, indeed, a historic moment.
Solid and very funny farce
TheLittleSongbird7 February 2010
A very fun film, despite the flaws, that is great fun to watch on multiple viewings. While I did find the film's structure occasionally episodic, the pacing sometimes a little too fast and the direction a tad on the leisurely side, it is a hugely enjoyable farce. The chief element that makes it so is the performance of John Cleese, his comic timing assures yet another really funny performance. He has been better but he is still the John Cleese I know and love. Sharon Maiden assists him well too, she really stands out among the cast who all do more than acceptably. The script is inspired and the sight gags are even better, the soundtrack is good and the camera work is fine. The film is typically 1980s, and that is not a bad thing, quite the contrary. While flawed, it is solid and very funny as a farce. 7/10 Bethany Cox
Even Cleese can't make this movie a memorable one.
Boba_Fett11382 September 2005
"Clockwise" is a very forgettable movie with only one plus and that one plus is comical genius John Cleese. Even though Cleese makes this movie definitely a watchable one, he can't help to make this movie to be a memorable one. This is not Cleese's fault but the fault of director Christopher Morahan, who obviously isn't the director with the most talent in the business.
The movie is very simply made and relies too much on the presence of Cleese. The rest of the characters, who definitely had some comical potential are ignored at too many points in the movie and therefore become completely unnecessary, distracting and perhaps even annoying, especially the three old ladies.
Also the technical aspects of the movie are disappointing. The camera work is awfully simple and the camera positions are just plain bad at times.
The story really isn't that bad and had quite some potential, however director Christopher Morahan didn't used the nice comical script to the maximum. The end result is a still watchable but certainly not memorable or recommendable comedy-movie. The movie has some laughs and it does has it moments but still it is a somewhat disappointing movie. Perhaps only true Cleese fans will find some joy in watching this movie but I'm sure that even they will be disappointed with this movie. As a Cleese fan you are of course way better of watching "Fawlty Towers" or the movie "A Fish Called Wanda".
You are better of watching another comical movie, still the movie is a watchable one for on a rainy afternoon.
5/10
http://bobafett1138.blogspot.com/
The movie is very simply made and relies too much on the presence of Cleese. The rest of the characters, who definitely had some comical potential are ignored at too many points in the movie and therefore become completely unnecessary, distracting and perhaps even annoying, especially the three old ladies.
Also the technical aspects of the movie are disappointing. The camera work is awfully simple and the camera positions are just plain bad at times.
The story really isn't that bad and had quite some potential, however director Christopher Morahan didn't used the nice comical script to the maximum. The end result is a still watchable but certainly not memorable or recommendable comedy-movie. The movie has some laughs and it does has it moments but still it is a somewhat disappointing movie. Perhaps only true Cleese fans will find some joy in watching this movie but I'm sure that even they will be disappointed with this movie. As a Cleese fan you are of course way better of watching "Fawlty Towers" or the movie "A Fish Called Wanda".
You are better of watching another comical movie, still the movie is a watchable one for on a rainy afternoon.
5/10
http://bobafett1138.blogspot.com/
Impeccably executed British Comedy classic. Timeless.
knightout3 April 2002
There are a great many films which are painful in their bland mainstreaminess.
And a very few which manage to pull it off, and remain funny to virtually everyone, over a period of several years.
This John Cleese vehicle from the mid 1980s manages to fit into the latter category - it is simply such a very well crafted traditional comedy, that it is impossible not to be touched.
Here we see Cleese very much in Basil Fawlty mode, as an aspiring head-teacher for whom things just don't run smooth when it really matters.
The other classic elements of British Farce are there - major misunderstandings, people getting undresses, well-intentioned old ladies who say the wrong things at the wrong times, and of course Geoffrey Palmer as a straight man.
And just a touch of poignant surrealism in the way the final minute leading into the credits is played out, to offset the traditional production values.
It's straightforward, and unchallenging, and probably the best film about lateness ever made. High praise indeed, for something so mainstream.
And a very few which manage to pull it off, and remain funny to virtually everyone, over a period of several years.
This John Cleese vehicle from the mid 1980s manages to fit into the latter category - it is simply such a very well crafted traditional comedy, that it is impossible not to be touched.
Here we see Cleese very much in Basil Fawlty mode, as an aspiring head-teacher for whom things just don't run smooth when it really matters.
The other classic elements of British Farce are there - major misunderstandings, people getting undresses, well-intentioned old ladies who say the wrong things at the wrong times, and of course Geoffrey Palmer as a straight man.
And just a touch of poignant surrealism in the way the final minute leading into the credits is played out, to offset the traditional production values.
It's straightforward, and unchallenging, and probably the best film about lateness ever made. High praise indeed, for something so mainstream.
ENJOYABLE, HECTIC COMEDY!
GrantCAGE6 August 2001
I've never really been a big fan of John Cleese as I haven't seen much of the stuff he's done in the past, but I liked him in this movie. Basically, headmaster Brian Stimpson (Cleese) has to get to Norwich for a very important and historical teachers' conference and, because of one silly mistake of getting on the wrong train because he misheared an instruction, he's left up the creek without a paddle! Throughout the movie we see John Cleese hurling from one disaster to another and taking drastic measures to not be late for this important event. The film is very 'slapsticky' in places and also damn funny in places too. As for the storyline (it's not so good), but the scripts work well with plenty of gags and funny, lighthearted moments. 8/10
Poorly executed and excruciatingly slow.
azarn-valo28 March 2010
Warning: Spoilers
Before I start I just want to say that I'm a *massive* fan of Cleese and virtually all of his work, from his acting performances to his work behind the camera. I'm very fond of so much of his filmography, from the Python series and films, to A Fish Called Wanda to Fierce Creatures and of course, the near perfect Fawlty Towers.
Because of this, I was recommended Clockwise.
I was expecting a feature-length symphony of chaos and Cleese-humour; Fawlty Towers, but given a budget and a 100 minute run time to wreak havoc for Cleese's character.
However, Clockwise is anything but.
The biggest problem with the film is its pacing. It is almost unbelievably slow. Of course, a slow buildup is often a benefit in such comedies; the story and circumstances slowly burn towards a riotous explosion of comedy, like Fawlty Towers has so often done. But in those instances, the slowness worked because we were always aware of the threat, of the tension, of the promise of what trouble is bubbling below the surface. In the case of this film however, I was bored almost to the point of turning off the movie.
Clockwise features entire scenes where characters do essentially nothing, or engage in so-called 'antics' that are virtually free of tension, suspense or humour. The scenes in the monastery, in the country fields, in the phone box or by the side of the road completely drain the film's energy. The very point of the movie is for us to feel the importance of every second tick by, to race against time, to be terrified of the prospect of being late--of missing the engagement. However, although Cleese's character is set up to be bordering on near obsession with these things, by the midway point he has seemingly abandoned these qualities and drifts through the film, even remarking that he doesn't care anymore. This character trait change is completely unprecedented, and makes no sense, to say nothing of how it drains the film of drama and comedy. I won't even touch on the bizarre and absurd sequence in which Cleese and his student take another man into the woods to steal his clothes by offering sex. It's barely usable in theory, and in execution, the scene is utterly groan-inducing.
The second major problem refers to the characters themselves and the way the film handles them. An entire slew of supporting characters are introduced (badly and uninterestingly), each of them supposedly being set up to antagonise and confound Cleese when he finally arrives. After we spend the whole film slowly and numbingly reaching Cleese's engagement, these characters are virtually forgotten, merely wandering into his speech session to distract him for a moment before being seated. The explosion of comedy and awkward confrontation, as was done so marvelously in A Fish Called Wanda, Fierce Creatures and Fawlty Towers, never occurs at all. The film's climax barely even occurs, and when it does, it's merely signposted by Cleese giving a bizarrely disjointed speech; a scene which doesn't seem to know whether it's suggesting that Cleese has lost his mind, or is merely winging it. Frankly, at this point, I didn't care. The subplots and ultimate conclusion of the story are never resolved. The film simply stops. Having Cleese's character no longer caring is fine, but this fact is never properly established.
Finally, the performances are either painful or boring. Everyone but Cleese seems to have turned their 'annoying-stereotype' meter up to eleven, screeching, whining and giggling in the most absurd ways. Meanwhile, Cleese himself plays the film surprisingly straight and subdued, barely every reaching his trademark levels of Basil Fawlty hysteria. This, despite the fact that he finds himself in situations that would make Fawlty collapse in agony. Naturally, I understand that we are dealing with different characters here, but since the film which to such arduous lengths in the first act to set up Cleese's neurosis, the fact that he sleepwalks through the rest of the film is genuinely bizarre.
Ultimately, Clockwise is incredibly disappointing, and, despite the apparent love of it in certain circles, I feel should be avoided at all costs.
It's begging for a remake to inject some tension, suspense and genuine comedy into this simple concept.
Because of this, I was recommended Clockwise.
I was expecting a feature-length symphony of chaos and Cleese-humour; Fawlty Towers, but given a budget and a 100 minute run time to wreak havoc for Cleese's character.
However, Clockwise is anything but.
The biggest problem with the film is its pacing. It is almost unbelievably slow. Of course, a slow buildup is often a benefit in such comedies; the story and circumstances slowly burn towards a riotous explosion of comedy, like Fawlty Towers has so often done. But in those instances, the slowness worked because we were always aware of the threat, of the tension, of the promise of what trouble is bubbling below the surface. In the case of this film however, I was bored almost to the point of turning off the movie.
Clockwise features entire scenes where characters do essentially nothing, or engage in so-called 'antics' that are virtually free of tension, suspense or humour. The scenes in the monastery, in the country fields, in the phone box or by the side of the road completely drain the film's energy. The very point of the movie is for us to feel the importance of every second tick by, to race against time, to be terrified of the prospect of being late--of missing the engagement. However, although Cleese's character is set up to be bordering on near obsession with these things, by the midway point he has seemingly abandoned these qualities and drifts through the film, even remarking that he doesn't care anymore. This character trait change is completely unprecedented, and makes no sense, to say nothing of how it drains the film of drama and comedy. I won't even touch on the bizarre and absurd sequence in which Cleese and his student take another man into the woods to steal his clothes by offering sex. It's barely usable in theory, and in execution, the scene is utterly groan-inducing.
The second major problem refers to the characters themselves and the way the film handles them. An entire slew of supporting characters are introduced (badly and uninterestingly), each of them supposedly being set up to antagonise and confound Cleese when he finally arrives. After we spend the whole film slowly and numbingly reaching Cleese's engagement, these characters are virtually forgotten, merely wandering into his speech session to distract him for a moment before being seated. The explosion of comedy and awkward confrontation, as was done so marvelously in A Fish Called Wanda, Fierce Creatures and Fawlty Towers, never occurs at all. The film's climax barely even occurs, and when it does, it's merely signposted by Cleese giving a bizarrely disjointed speech; a scene which doesn't seem to know whether it's suggesting that Cleese has lost his mind, or is merely winging it. Frankly, at this point, I didn't care. The subplots and ultimate conclusion of the story are never resolved. The film simply stops. Having Cleese's character no longer caring is fine, but this fact is never properly established.
Finally, the performances are either painful or boring. Everyone but Cleese seems to have turned their 'annoying-stereotype' meter up to eleven, screeching, whining and giggling in the most absurd ways. Meanwhile, Cleese himself plays the film surprisingly straight and subdued, barely every reaching his trademark levels of Basil Fawlty hysteria. This, despite the fact that he finds himself in situations that would make Fawlty collapse in agony. Naturally, I understand that we are dealing with different characters here, but since the film which to such arduous lengths in the first act to set up Cleese's neurosis, the fact that he sleepwalks through the rest of the film is genuinely bizarre.
Ultimately, Clockwise is incredibly disappointing, and, despite the apparent love of it in certain circles, I feel should be avoided at all costs.
It's begging for a remake to inject some tension, suspense and genuine comedy into this simple concept.
Underrated Comedy
KirkieRobRoy26 November 1999
A much underrated comedy detailing the collapse of a stern, disciplinarian headmaster during a chaotic journey to deliver a speech at a convention of snobbish educationists.
Cleese begins in a very restrained way and is watchable and funny as he gradually descends into anarchic despondency. The pathos as he finally delivers his speech, in an ill-fitting (stolen) tasteless outfit, surrounded by the detritus of his dreadful day, is genuinely moving as well as funny.
Best line, from Cleese, as yet another possible means of reaching his goal emerges: 'It's not the despair: I can cope with the despair. It's the HOPE - that's what's killing me.' Almost the perfect motto for Scotland football supporters, you might say.
Probably alone in the world, I rate this movie superior to the overly foul-mouthed and Americanised Fish Called Wanda. A host of grizzled British character actors, including the magnificent Alison Steadman, keep things going.
I wonder what happened to the sherry glasses?
Cleese begins in a very restrained way and is watchable and funny as he gradually descends into anarchic despondency. The pathos as he finally delivers his speech, in an ill-fitting (stolen) tasteless outfit, surrounded by the detritus of his dreadful day, is genuinely moving as well as funny.
Best line, from Cleese, as yet another possible means of reaching his goal emerges: 'It's not the despair: I can cope with the despair. It's the HOPE - that's what's killing me.' Almost the perfect motto for Scotland football supporters, you might say.
Probably alone in the world, I rate this movie superior to the overly foul-mouthed and Americanised Fish Called Wanda. A host of grizzled British character actors, including the magnificent Alison Steadman, keep things going.
I wonder what happened to the sherry glasses?
Cleese is at his best.
Hey_Sweden4 April 2015
Pleasant and funny, if not uproarious, comedy is an ideal vehicle for the legendary John Cleese. He plays Brian Stimpson, the strict, demanding headmaster of a private school. His big character detail is that he lives life by the clock. Everything must be done when it is scheduled to be done. Therefore, it becomes an unending headache for him when everything goes wrong while he is on his way to speak at a headmasters' conference. Before the day is over, he'll have the cops after him, he'll enjoy some R & R at a monastery, he'll hitch a ride with Laura Wisely (Sharon Maiden), one of his students, and he'll hook up with an old acquaintance, Pat (Penelope Wilton).
This enjoyable little effort seems somewhat forgotten when one looks at Cleeses' career. Therefore it could use some more exposure. Seeing that it takes place over the course of one day, it's paced pretty well, and everybody in the cast gets into the spirit of the thing. Young Maiden is appealing as Laura, and the top notch British cast also includes Stephen Moore, Alison Steadman, Joan Hickson, Pat Keen, Sheila Keith, Tony Haygarth, and Geoffrey Palmer. Cleese is perfect as the anal retentive, somewhat uptight person who gradually loosens up, a la Steve Martin in "Planes, Trains & Automobiles". And just like that other film, there is a certain lunacy in what can only be described as a comic nightmare. Things just keep getting worse for Stimpson, and you can't help but feel bad for him while also chuckling at these misadventures.
The ending is not all that satisfying, but getting there is still fun.
Seven out of 10.
This enjoyable little effort seems somewhat forgotten when one looks at Cleeses' career. Therefore it could use some more exposure. Seeing that it takes place over the course of one day, it's paced pretty well, and everybody in the cast gets into the spirit of the thing. Young Maiden is appealing as Laura, and the top notch British cast also includes Stephen Moore, Alison Steadman, Joan Hickson, Pat Keen, Sheila Keith, Tony Haygarth, and Geoffrey Palmer. Cleese is perfect as the anal retentive, somewhat uptight person who gradually loosens up, a la Steve Martin in "Planes, Trains & Automobiles". And just like that other film, there is a certain lunacy in what can only be described as a comic nightmare. Things just keep getting worse for Stimpson, and you can't help but feel bad for him while also chuckling at these misadventures.
The ending is not all that satisfying, but getting there is still fun.
Seven out of 10.
I can take the despair......
FlashCallahan27 September 2022
Warning: Spoilers
Brian Stimpson allows plenty of time for his train journey to a Headmasters' Conference, but unfortunately he gets on the wrong train and misses his connection. As a result, he commandeers a car driven by student Laura to take him there.
They are pursued by Stimpson's wife Gwenda who is mystified at seeing her husband with a young girl and gives suspicious chase.
On the way, Stimpson encounters old flame Pat, who is also dragged into helping him beat his deadline.
But when the car is destroyed, he and Laura have to rob a salesman of his vehicle. Stimpson eventually arrives at the conference in a bedraggled state, followed by his wife and her charges and the Police, who want to arrest him for car theft........
if anyone wanted a Fawlty Towers movie, this is the closest thing you are going to get to it. It's a Sunday afternoon movie for sure, harmless and funny in a way that only the British could do.
Everything that Stimpson goes through is a nightmare for commuters and good timekeepers alike, as we begrudgingly empathise with his toils of the day. And just as soon as you think that nothing could go anymore wrong for him, it happens and then some.
Cleese is on top form here, straight faced throughout, with an authoritarian complex that just makes his character all the more hilarious when desperation sets in.
The rest of the cast are wonderful, and there are so many familiar faces throughout the film, that it only adds to the enjoyment. I have no idea how people find this film in other territories, but this quintessential British comedy of the highest order....
They are pursued by Stimpson's wife Gwenda who is mystified at seeing her husband with a young girl and gives suspicious chase.
On the way, Stimpson encounters old flame Pat, who is also dragged into helping him beat his deadline.
But when the car is destroyed, he and Laura have to rob a salesman of his vehicle. Stimpson eventually arrives at the conference in a bedraggled state, followed by his wife and her charges and the Police, who want to arrest him for car theft........
if anyone wanted a Fawlty Towers movie, this is the closest thing you are going to get to it. It's a Sunday afternoon movie for sure, harmless and funny in a way that only the British could do.
Everything that Stimpson goes through is a nightmare for commuters and good timekeepers alike, as we begrudgingly empathise with his toils of the day. And just as soon as you think that nothing could go anymore wrong for him, it happens and then some.
Cleese is on top form here, straight faced throughout, with an authoritarian complex that just makes his character all the more hilarious when desperation sets in.
The rest of the cast are wonderful, and there are so many familiar faces throughout the film, that it only adds to the enjoyment. I have no idea how people find this film in other territories, but this quintessential British comedy of the highest order....
If you like British humor, you will like this one.
axelfinnur17 January 2022
I watch Clockwise not really knowing what to expect. It surprised me, better then expected. It is not perfect but John Cleese delivers good performance and the supporting actors are solid threw the hole movie.
It has a good running time and dose not overstay its welcome. I would recommend this movie if you are looking for something light and easy to have a good laugh over.
It has a good running time and dose not overstay its welcome. I would recommend this movie if you are looking for something light and easy to have a good laugh over.
A John Cleese classic
wrxsti5411 July 2021
Warning: Spoilers
I'm not sure how I missed this Cleese comedy/farce but his role as lead actor, the punctilious British high school principal Brian Stimson, guaranteed a look and you'll not be disappointed. Cleese's comedic timing is unsurpassed in the genre of British comedies. Whilst this lacks the sheer unrelenting intensity of Fawlty Towers and isn't as edgy as the many Monty Python TV shows and movies, it wonderfully takes the Mickey out of the English obsession for punctuality. It takes a man ruled by the clock and weaves an unfolding tapestry of disasters that befall him when he uncharacteristically misses a train to Norwich where he was due to give the keynote speech as the newly elected chairman of the British Headmasters Conference.
The movie has numerous peripheral delights - a snapshot of mid '80s English life: the hymn sung in the school assembly, the strict uniform code even at an obscure state school (called a Comprehensive), the pay phones in the iconic red phone boxes, the quirky cop cars and cameos by English car marques unknown outside the former British Empire such as an Austin 1100 and a Ford Cortina. Anyone familiar with English TV dramas will notice a minor Whos Who of British acting talent most particularly amongst the stuffy private school headmasters at the conference. English viewers will puzzle at precisely where this all takes place and wonder at what major train station terminus would have trains to Norwich and Plymouth departing next to each other and where a road turnoff one way is to Northampton and the other is to Norwich.
This movie is worth seeing if only to watch one of the world's greatest comedy actors weave his onscreen magic.
The movie has numerous peripheral delights - a snapshot of mid '80s English life: the hymn sung in the school assembly, the strict uniform code even at an obscure state school (called a Comprehensive), the pay phones in the iconic red phone boxes, the quirky cop cars and cameos by English car marques unknown outside the former British Empire such as an Austin 1100 and a Ford Cortina. Anyone familiar with English TV dramas will notice a minor Whos Who of British acting talent most particularly amongst the stuffy private school headmasters at the conference. English viewers will puzzle at precisely where this all takes place and wonder at what major train station terminus would have trains to Norwich and Plymouth departing next to each other and where a road turnoff one way is to Northampton and the other is to Norwich.
This movie is worth seeing if only to watch one of the world's greatest comedy actors weave his onscreen magic.
To enjoy many times
jéwé12 April 2001
A very funny film, in my opinion the best Cleese available. Cleese himself always ignores this film when talking about his cinema-work and the title is never mentioned when Cleese's films are named by the critics. It seems, for some vague reason, that there is nothing between Monty Python and 'A Fish called Wanda'. Rubbish, see this one. I also liked 'Fish' the first time around but got bored very soon by repeats. Not this one. Like 'Mr Hulot's Holiday' and 'Gregory's Girl' and film to watch many times. Script scores high in the family's 'citation index'. Nine-twenty Linda...
Nothing funny about this movie
melkiades3 November 2003
I think that I will never understand parts of British comedy. I found that movie to be extremely boring, and did not even smile once. I found the comedic style to be pathetic, and I was feeling bad for the actors throughout the whole film.
I think that the sense of humor is very cultural and can hardly be compatible between cultures. To me, the best comedy comes from France and from Québec, and seeing how many people loved this poorly written movie is far from convincing me otherwise.
That said, Peter Sellers is one of my best actors. The movie The Party is amazing and I must have watched it over 20 times. I can't possibly understand how John Cleese can be considered a comic actor in comparison to Sellers, the greatest master of comedy.
cheers, melkiades
I think that the sense of humor is very cultural and can hardly be compatible between cultures. To me, the best comedy comes from France and from Québec, and seeing how many people loved this poorly written movie is far from convincing me otherwise.
That said, Peter Sellers is one of my best actors. The movie The Party is amazing and I must have watched it over 20 times. I can't possibly understand how John Cleese can be considered a comic actor in comparison to Sellers, the greatest master of comedy.
cheers, melkiades
A film for dutiful Englishmen and Swedes
hawkan29 November 2000
I read comment from John Cleese where he said that the only countries where this film was successful were Sweden and England. Countries with many dutiful people and where the time is very important. 15 minutes late arrival to a meeting is a catastrophe in Sweden. If you are late to a movie you will be sure to here some annoying comments. This film is about a headmaster who is a "timefreak". On his way to a important meeting in Norwich, he takes the wrong train and the catastrophe is a fact. Or...? Very funny, one of my favourite comedies of all time.
Sporadically funny and very much carried by Cleese
jimbo-53-18651131 December 2014
Brian Stimpson (John Cleese)is an uptight headmaster who likes everything and everyone to run like clockwork. He is due to attend a conference in Norwich, but unfortunately this seemingly straight forward trip proves to be anything but this and Stimpson finds himself facing setback after setback.
Whilst watching Clockwise, I couldn't help but feel that I was basically watching a feature-length episode of Fawlty Towers. This, in part, is down to Cleese's portrayal of Stimpson which he plays in a very similar manner to Basil Fawlty in Fawlty Towers. If you think about it the plot elements and scenarios that Stimpson faces aren't too dissimilar to Fawlty Towers - Stimpson, like Fawlty, is generally well-meaning, but ends up finding himself in fairly precarious situations more often not through basic misunderstandings. There's nothing wrong with any of this per se, but if you draw comparisons with Fawlty Towers (which it's almost impossible not to do if you've watched that series) then this film comes off as not being as well written or as funny. That's not to say that it isn't funny because it is, but it's only sporadically funny and isn't a laugh riot or ROFL funny.
Cleese is excellent in this film - whether he's playing it straight as the uptight head master or resorting to blind panic in the latter parts of the film it generally works and I found him to be funny in both respects. I also thought that the late John Bardon was great fun in a minor role as a train station guard. There were other performances that weren't so great; I thought that Sharon Maiden was rather bland and wooden (It's no surprise that she didn't have a great career after this film was made). Steadman has become reliable in later years, but I didn't think she was great in this film (although in fairness she wasn't given much to work with).
Clockwise is a film that I would recommend watching, but it isn't a laugh riot and is only sporadically funny. To be honest, I thought it started to run out of steam towards the end. As I've mentioned, Cleese is excellent and really carries the film and it's worth watching for his performance alone.
Whilst watching Clockwise, I couldn't help but feel that I was basically watching a feature-length episode of Fawlty Towers. This, in part, is down to Cleese's portrayal of Stimpson which he plays in a very similar manner to Basil Fawlty in Fawlty Towers. If you think about it the plot elements and scenarios that Stimpson faces aren't too dissimilar to Fawlty Towers - Stimpson, like Fawlty, is generally well-meaning, but ends up finding himself in fairly precarious situations more often not through basic misunderstandings. There's nothing wrong with any of this per se, but if you draw comparisons with Fawlty Towers (which it's almost impossible not to do if you've watched that series) then this film comes off as not being as well written or as funny. That's not to say that it isn't funny because it is, but it's only sporadically funny and isn't a laugh riot or ROFL funny.
Cleese is excellent in this film - whether he's playing it straight as the uptight head master or resorting to blind panic in the latter parts of the film it generally works and I found him to be funny in both respects. I also thought that the late John Bardon was great fun in a minor role as a train station guard. There were other performances that weren't so great; I thought that Sharon Maiden was rather bland and wooden (It's no surprise that she didn't have a great career after this film was made). Steadman has become reliable in later years, but I didn't think she was great in this film (although in fairness she wasn't given much to work with).
Clockwise is a film that I would recommend watching, but it isn't a laugh riot and is only sporadically funny. To be honest, I thought it started to run out of steam towards the end. As I've mentioned, Cleese is excellent and really carries the film and it's worth watching for his performance alone.
Dead boring and rather stupid
gcd701 March 2008
Warning: Spoilers
"Clockwise" is a dead boring, mostly silly and rather stupid story about an extremely efficient, amazingly punctual headmaster who finds his whole world coming apart at the seams when his strictly organised schedule goes awry. Director Christopher Morahan is unable to do anything with Michael Frayn's terribly bland plot, which is full of unfunny antics and awfully ridiculous situations. Some mildly effective humour is not enough to save the picture.
Even ingenious British comic John Cleese is not able to transform the mirthless goings on, and being typically typecast doesn't help his cause. Luckily for the lanky comedian he was able to bury the memory of this disaster, and thus resurrect his career, with "A Fish Called Wanda".
The support cast are totally uninspired, and George Fenton's music is not much better. Put plainly, "Clockwise" is never wacky enough or straight enough. This disappointment tends to sit on the comical fence, which inevitably backfires.
Sunday, December 17, 1995 - Video
Even ingenious British comic John Cleese is not able to transform the mirthless goings on, and being typically typecast doesn't help his cause. Luckily for the lanky comedian he was able to bury the memory of this disaster, and thus resurrect his career, with "A Fish Called Wanda".
The support cast are totally uninspired, and George Fenton's music is not much better. Put plainly, "Clockwise" is never wacky enough or straight enough. This disappointment tends to sit on the comical fence, which inevitably backfires.
Sunday, December 17, 1995 - Video
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