“Do you still love us,” Peter Sellers’ daughter Sarah asks
her father after he has frankly told his family he was leaving them. As Sarah
comes to embrace her father, Peter replies “Of course I do sweetheart,
just not as much as I love Sophia Loren.” What The Life and Death
of Peter Sellers, HBO’s Golden Globe winning biopic, teaches
us is that to Peter Sellers, Sophia Loren could be a country cottage, a Rolls
Royce, or even Peter Sellers. Inevitably, Sellers, a charismatic comedian in
countless films of the 60’s and 70’s, was a man more in love with
himself, as both an actor and an icon, than he could have ever been with anyone
else.
Beginning with a fledgling radio career in comedy in1957 and ending with a
starring role in the 1979 film Being There about a mentally challenged gardener,
Peter Sellers’ (Geoffrey Rush) professional life was almost as unstable
as his personal life. Through four marriages, several British and American Academy
Award nominations, and a multitude of flops and retreads, Sellers’ life
ends up being an all too-familiar cliché about Hollywood stars. But what
brings fresh insight and entertainment to watching it unravel is a brilliant
performance by Geoffrey Rush and playful direction from Stephen Hopkins.
Before Sellers was Inspector Clouseau or Dr. Strangelove or even a family man
with moderate success as a radio personality, Peter Sellers was a mama’s
boy. His motivation and his ambition were all fueled by Peg Sellers, played
charmingly by Miriam Margolyes. When Peter is turned down for his first possible
film part before he could he even audition due to his “unpleasant”
looks, Peg reminds Peter to never settle for how other people define him.
Unfortunately, Peg’s advice turns dark. Her motherly whispers encourage
Peter to abandon the most stable parts of his life in order to succeed as a
star. When Peter co-stars with Sophia Loren in The Millionairess,
his luck and charm turn against him. As most comedians, Peter Sellers was a
jester, only interested in amusing those he wanted to please. Sophia Loren was
his first misestimation as to how others perceived him. After filming completed
on The Millionairess, and Sellers believed he had dutifully
courted Loren, he invites her to a romantic dinner. After Loren realizes Peter’s
advancement, she tells him to go home to his wife Anne (Emily Watson). Peter
takes this as a positive sign, “Yes, you’re right, she should know.”
Sophia Loren becomes just another part that Sellers thinks he needs to fulfill
his stardom, just like the home movies he creates with his children, which end
up being starring vehicles for Peter, the actor and director. Seller’s
big break comes as Inspector Clouseau in Blake Edwards’ The Pink
Panther. In one take, Sellers goes from screwball comedian to improvising
genius, just by spinning a globe and falling on it as he attempts to use it
to brace himself. Also with that scene, a very strange relationship is born
with Sellers and director Edwards (John Lithgow). For 20 years, the pair would
make 7 movies together. Sellers thinks Edwards “gets” him, but eventually,
he would toss aside his friend’s good will just as he did with those closest
to him.
Sellers most memorable and acclaimed role, or I should say roles, was in Stanley
Kubrick’s Dr. Strangelove. What’s most amazing
about these scenes in the film is Geoffrey Rush’s dead-on impersonation
of Peter Sellers doing President Merkin Muffley and Dr. Strangelove.
Due to the costume, makeup, and set design, we really feel like we’re
watching Sellers on the set. Eventually though, despite Sellers’ brilliant
performance, he still manages to disappoint Kubrick (Stanley Tucci). After agreeing
to play four roles, Peter feels he can’t do it and walks on to the set
with a cast around his foot and a doctor’s note. Once again, Sellers wants
to live his life on his own terms, even if it means disappointing those closest
to him.
After these relatively early successes, Sellers’ life and career take
a downturn. He marries Swedish actress Britt Ekland (Charlize Theron), enlists
the help from a fortune teller to the stars (Stephen Fry), and proceeds to make
one flop after another. His coldness to his family never ceases. At one point,
Peg tells Peter, “You missed Sarah’s birthday. The press pay a lot
of attention to these things.” Peter’s cold ambivalence eventually
comes back to haunt Peg in the end.
It’s only when Peter identifies with a novel about a mentally challenged
man, who is so simple and understated, in the novel Being There, that he begins
to gain perspective on what it means to be cherished by those who love you.
His Oscar-nominated performance in the movie version of the book remains a bright
spot in an otherwise tumultuous downward spiral. It’s with this performance
that the audience can attempt to sympathize with an otherwise charming yet indifferent
man.
Just as Sellers was a master of disguise and character, Geoffrey Rush recreates
the enormity of Peter Sellers’ gift. Rush, who’s played versatile
parts before (Shine, Pirates of the Caribbean),
brings charm and sympathy to the vain and narcissistic Sellers. In addition,
Rush plays small parts as disguises of his co-stars, an attempt to show each
character through Sellers’ eyes. As a scene ends, Rush takes over and
narrates what Sellers would think of the scenes we just witnessed. Though it
doesn’t quite work as a plot device (it tells us what to think about what
we’ve just seen), it demonstrates Rush’s ability to play many different
characters well. Emily Watson is equally effective as Sellers’ first wife,
and ultimately only love (besides his mother). She is calm and restrained and
without hysterics packs her bags and begins anew. John Lithgow and Stanley Tucci
play wonderful supporting roles, as does Stephen Fry. Ultimately, Charlize Theron
is the lone blemish on an otherwise finely acted film. Though it’s plausible
her character has no depth written for her, Theron does little to resuscitate
it. Her presence appears to be for star-quality alone.
In the extras, we’re treated to several deleted scenes which provide
a little more insight into the story as well as showcasing a few more supporting
characters that Rush plays. A “Making of” trailer does little more
than summarize the film, but a few brief words from Blake Edwards makes us crave
more historical context. There are two commentaries – one with Rush and
director Stephen Hopkins and another with writers Christopher Markus & Stephen
McFeely. Each do a good job of filling in the holes in Sellers’ biography
and personality – a more fulfilling reason to watch the film again, rather
than the usual set anecdotes we hear on other commentaries.
The Life and Death of Peter Sellers is another triumph for
HBO Films. With no equal in budget and talent, HBO continues to make
studio-quality films for the small screen. Additionally, Geoffrey Rush proves
he’s one of our finest actors today, both as a comedian and a dramatist.
To play one of film’s most versatile actors takes another of equal talent,
and Rush fits the bill. While the film does follow the typical plot points of
the greedy and remote Hollywood star, fresh direction, fine performances, and
a fascinating character make this film a cheerful portrayal of an otherwise
troubled man.
DVD Film Score: B+
DVD Special Features Score: A-
Overall Score: B+
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