Oh lucky man rapidshare

Monty : Try not to die like a dog. Sign In. Play trailer Comedy Drama Fantasy. Director Lindsay Anderson. David Sherwin screenplay Malcolm McDowell based on an original idea by. Top credits Director Lindsay Anderson. See more at IMDbPro.

Trailer O Lucky Man! Photos Top cast Edit. Arthur Lowe Mr. Duff as Mr. Duff …. Graham Crowden Stewart as Stewart …. Mona Washbourne Neighbour as Neighbour ….

Philip Stone Jenkins as Jenkins …. Michael Bangerter William as William …. Bill Owen Supt. Barlow as Supt. Barlow …. Lindsay Anderson. More like this. Watch options. Storyline Edit. Follows the literal and associated life journey of middle class Brit Mick Travis Malcolm McDowell , representing the "everyman", as he tries to make his mark in his so far young life.

He is able to make great strides in his traditional view of success by being what those in authority want him to be. As such, he achieves in a few weeks what it usually take years for others, namely having his own sales territory, the northeast and ultimately Scotland, for Imperial Coffee. He is also able to garner a plethora of fringe benefits from this job, including women throwing themselves at his feet.

But he will ultimately face a struggle in class and authority warfare, which culminates with his encounter with the Burgess family, wealthy industrialist Sir James Burgess Sir Ralph Richardson and his daughter Patricia Dame Helen Mirren , who Mick wants to marry, the former who is contemplating investing in the shady dealings in Zingara.

Richards Arthur Lowe Munda Helen Mirren Carding Michael Medwin Good Lady Geoffrey Palmer Oswald Pearl Nunez Naidu Jeremy Bulloch Alan Price Colin Green Guitar Clive Thacker Tolly drums Dave Markee Bass Guitarist Ian Leake Streaky roadie Bart Allison Wallace John Barrett Bill Margot Bennett Coffee Picker James Bolam Houston Rest of cast listed alphabetically: Lindsay Anderson Film Director uncredited Jill Goldston Alan Price's voice and style are very suitable to both the urban and the rustic portions of the film.

The way the music is used adds to the stylization of the whole film, along with Anderson's alternately soothing and jarring cuts between scenes. It creates an effect that reminds me once again of "Tom Jones", the novel moreso than the film, the way the chapters have their own sort of integrity. This is also similar to "A Clockwork Orange", and there are many of what seem to be deliberate references to that film in this one -- I think it's safe to say after digesting the ending of the film that it's all part of the gradual integration of Mick Travis into the actual McDowell.

There's a line of graffiti clearly visible which reads: "revolution is the opium of intellectuals. This sort of simple cynicism, very much like Mick Travis', that assumes the ability to enjoy watching the apocalypse is the same as being able to laugh at it. Surreal, often hysterically funny, sometimes surprisingly sad, full of sly political and social satire, and jammed with wildly brave film-making choices, along with one of the great movie song-scores of all time by Alan Price.

Its Candide meets s Great Britan as a young man rambles through life in a series of absurd adventures, with the great supporting cast Ralph Richardson, Helen Mirren, etc. The three hour running time may sound daunting, but it flies by as we watch our hero Mick Travis Malcolm McDowell, whose real life pre-acting experiences were the jumping off point for the story slowly become wise to the ways of the world through a series of bizarre encounters, arrests, love affairs, and everything else that can befall a young man on the road.

A must see film for anyone who appreciates unique films and British humor. MissSimonetta 10 September The movie is a bizarre odyssey through s Britain, with the innocent every man Mick Travis serving as a sort of Adam stumbling outside of paradise note how often he is shown munching on apples. His adventures are black comic, grotesquely sexual, and even frightening, yet in the end, in the face of massive disillusionment with the human race, Mick reaches a sort of enlightenment in what may be the most cautiously optimistic ending in cinematic history.

Lindsay Anderson's direction is marvelous, combining the classical epic, musical, and in some cases silent cinema to create an entirely unique movie experience. Malcolm McDowell who also co-wrote the script is just perfection as Mick Travis, innocent and idealistic but never one note or dull.

I wish that someday he'll get one last chance to play a similarly fantastic role. Alan Price's music is very early s and catchy. His music acts as a sort of Greek chorus for Mick's adventures.

The s was one of the greatest decades for movie-making worldwide, and if you love this decade, then you owe it to yourself to see O Lucky Man!

A social satire that works more in the form of an absurdist deluge, "O Lucky Man" suffers like its protagonist from an excess of ambition and an absence of common sense. But strange things have a way of happening to Mick. He finds himself alternately interrogated by the military, threatened by a mad scientist, and a pawn in capitalism's greedy game.

He never did get another star vehicle like this again, and it's a shame. But "O Lucky Man" is a hard film for me to love. It is a brilliantly shot film, with a solid rock score by Alan Price that sounds a bit like Badfinger did. What grates is its dyspeptic, nihilistic tone, not to mention a catch-as-catch-can randomness and assorted left-field oddities. It's bizarre hearing McDowell in the DVD commentary talking about how director Lindsay Anderson kept railing about tightening up the story's construction; the final result on screen is as slapdash as one can imagine, with Travis sent in every possible direction without apparent motive.

One quibble: Why is he playing Mick Travis again? The character here is nothing like the antisocial character we saw in "if McDowell barely seems to be playing the same character from scene to scene. He's alternately an eager go-getter, a cynical corner-cutter, and a wide-eyed innocent.

The basic idea was taken from McDowell's own experiences as a coffee salesman, but the coffee-seller angle is abruptly dropped so the movie can have some fun with Mick being captured by the military, falling unconscious in a church, and then hitching a ride back to London, his job forgotten for the rest of the movie.

Anderson and screenwriter David Sherwin want to pack everything in they can think of, and then twist the reality around to confuse and challenge the viewer. I don't think you can challenge a viewer before bringing them along somewhat, like getting them into the story or else liking the protagonist. The story never stays in one place long enough to develop momentum. Worse, McDowell never finds the character that would impel us to take his side, the way he did with "if The film's restless spirit does keep things hopping, and so does the brilliantly eccentric Graham Crowden in three roles, each madder than the last.

The acting is pretty solid around McDowell, and there's a good moment here and there, like an interrogation scene where Philip Stone, one of McDowell's castmates from "Orange", asks Mick if he believes in the "brotherhood of man".

Mick says yes. If "O Lucky Man" offers any answer, it's to keep your mouth shut, believe in nothing, and enjoy yourself as best you can while you can. It's an answer some can take to heart, but "O Lucky Man" lacks the craft or apparent interest to sell it to the rest of us. TheFearmakers 7 July Which ranges from being witness to a severe auto accident to a nuclear power plant's time-ticking emergency meltdown to a rural hospital using humans as lab rats or sheep , McDowell is, once again, the perfect cinematic pawn As the songs seem intentionally simplistic, and, at first jamming in a studio separate from the action, both worlds eventually converge, providing our wandering nomad a literal ride that eventually breaks through the linear salesman story.

But, alas, the second half gathers moss while it peters out slowly All this following a rather clumsy anti-corporate message as Travis becomes part of Mirren's father's billion dollar business, idealistically related to director Lindsay Anderson's politically-charged IF But here he's a spontaneous deer caught in mazy headlights, like only McDowell can pull off Yet it's that too.

What films do we include in our top lists? Off I go with Mick Travis McDowell in his crazy surreal journey up and down, back and forth, "around the world in circles" along with the Alan Price's band that provide the music commentaries in the traditions of a Greek Chorus or Brecht's Theater whichever you prefer.

And in the end we find themselves in. Well, can't tell you. You have to find out for yourself. I saw it again yesterday, and it still stands as one of my favorite films. This time, though, I noticed that it was much darker than I remember. The good things and the bad things happen to our hero, Mick Travis, and I think that he really changed - he started to think more and smile less.

The look on his face in the end of the move after asked to smile was not that charming, winning smile that he had in the beginning. It was pain, confusion, and anger. Wonderful film - I am never tired of it. Even though, I know all the turns on the Mick's way to the top and back, it is still so interesting to watch him. I believe it was best McDowell's performance. I know that his most famous one was in Kubrick's Clockwork Orange but my favorite is the everyman Mick Travis who just wanted to succeed.

Young Helen Mirren was lovely as Patricia who traveled in her own crazy circles; the rest of the cast did great job, each of them playing more than one character. Alan Price - I love his songs to the film very much. Possibly the best use of a rock soundtrack in a film. I am a proud CD owner and I listen to it constantly in my car. It is short, unfortunately.

I didn't quite know what dystopian meant until I read it years ago in a review of "A Clockwork Orange" and looked it up. Dystopian: relating to or denoting an imagined place or state in which everything is unpleasant or bad. The film seemed to draw a lot of energy from Kubrick's "A Clockwork Orange" mainly through Malcolm McDowell's performance — he even gets beaten up by homeless people in both movies.

In "O Lucky Man! Viewed 45 years later "O Lucky Man! Most of the characters climb onto their soapbox at one time or another.

Lindsay Anderson's sense of satire often ran to explosions or mowing people down if you remember the ending of "If". But it was the 70's and self-indulgent movies were de rigueur, however based on length alone, this one would have to take the cake. It's long, really long, and to emphasise the fact, some of the actors reappear a number of times as different characters, the way a marching band will come around again and again in a long parade. Although the British establishment was in director Lindsay Anderson's sights, other things were happening in the 70's to make any viewpoint fuzzy: Vietnam, drugs, hippies, strikes, left wing militants, Watergate and disillusionment with institutions everywhere.

To show how much the 70's were playing with the filmmaker's heads, the sanest, calmest and most enlightened group in the film are the members of the rock band whose song lyrics punctuate proceedings every now and then. I really do rather love this film - it's my version of chocolate, or a bottle of wine - when I've had a day so bad that I want to bury myself, I stick O Lucky Man on.

Whether it's the hippy groupie Helen Mirren, who comforts us I mean Michael, the 'Lucky' Malcolm MacDowell but then returns as a posh daughter of an exploiting tycoon but is then on the streets in another twist of fate, or the lovely and great parade of every English character actor of the period, again not just dressing up as one person, but appearing as another, later.

Or maybe it's the rubbing shoulders of the rather bizarre with the comforting normality and homely - MacDowell driving round the country in an old rep-mobile, a Ford Anglia, should be boring and not work, but it does.

Arthur Lowe 'blacking up', after being his usual uppity businessman just couldn't happen today. He and his band are Mirren's idols, as their old Dormabile is that how it's spelt? Many topics that pop up in 'A Clockwork Orange', in which MacDowell starred, of course, are found here - youthful aberration, retribution and Society's responsibilities toward those and how far must a government go in the fight for a happy, homogenised population.

But, O Lucky Man is an all round sweeter and more palatable fare than the acerbic and often nasty A Clockwork Many don't get this sprawling epic, that spans both discs of the DVD here - and that's fine. Just take the occasional Pythonesque gags with the societal paranoia, throw in those odd but so-familiar character actors, the naffness of the period - clothes, hair, cars - and you do have a Cult in my opinion minor classic.

Do Enjoy!! The intent of this film review is to encourage the viewing of this underrated film O' Lucky Man, by a largely neglected English film director Lindsay Anderson. Lindsay Anderson directed a trilogy of films around the central character of Mick Travis; they follow his travails through lives vicissitudes.

The first film if The second film O' Lucky Man covers his experiences in the world of work how he attempts to cope with having to make a living for himself in the dog eat dog world of 's England. I have to correct the misstated description here on IMDb of the film being a 'musical', it is NOT a musical, this is to clear up any misconceptions of people who could easily be put off watching it by taking this literally.

Musicals in the popular consciousness conjures up the considerations of Oklahoma, and Mamma Mia where the films characters sing about their lot, whereas O' Lucky Man uses music as a 'soundset' to set or underline film scenes in an organic way with the musicians featuring an integral part of the film as characters in the films story.

This is an important and not semantic delineation of the use of music as an essential element in the films storytelling. The third film of the trilogy is Britannia Hospital a savage satire of 's Britain of the fault lines of contemporary society, where no side comes out completely unscathed from Lindsay Anderson's biting criticism.

It features Mick Travis as an investigative journalist endeavouring to undertake an expose of the Hospital to uncover its 'secrets'. The Hospital really stands as a metaphor for British society containing all of its foibles and idiosyncrasies. The three films don't need to be viewed in sequence they stand as individual works in their right they merely cover the journey of self discovery of Mick Travis through the formative period of his existence.

To refer to this 3 hour monstrosity as simply "self-indulgent" would be an understatement of breathtaking proportions. I write this brief review as a warning, and nothing more. To waste time critiquing its many pointless scenes would be useless, since many are just forgettable. But what we have here is a very talented cast wasting our time and theirs with several useless, random scenes barely intertwined into a dated critique of capitalism.

And don't believe what you've heard about the music, either. Even that is bad. The basic plot synopsis that you will read on this site and in many film review books covers only a small fraction of what this film actually contains. It plays like a series of twenty minute short films, held together only by McDowell, and the little rock band.

As good as McDowell is and he acts well here too even he can't sustain your interest. I mean this film is BAD. About the only other positive aspect of this is a young Helen Mirren who looks kind of like Jennifer Lawrence in American Hustle. That's as good of a compliment I can come up with. That's how bad this is. Don't see it! Only for McDowell and Mirren. The Hound. The "play" is already "in progress" when we enter the "theater," and it's up to us to make "life selections.

The condemnation is broadly based, with all stratas of society coming under its ax. All have the potential for "game playing" and Travis plays into its fold with wildly fluctuating results.

Anderson touches a remarkably wide number of areas and topics to satirize, and the film's length tends to accommodate them in quite biting manner. His opus here joins "If. McDowell lends his unique presence to the lead role. Actually, his Travis doesn't have that much dialogue, yet McDowell dominates the film every inch of the way.