User Reviews

Alec Guiness has to be one of the greatest actors of all time, and his role in The Lady Killers does not buck the trend. From the first moment I saw his dark shape looming through the doorway, I knew the character would be well creepy. And boy was it! With that horrible grin, those horrible teeth and that horrible laugh, it's little wonder that even the grim Herbert Lom starts to get a little freaked out.

Nevertheless, Katie Johnson as the infuriating Mrs Wilberforce almost succeeds in stealing the show. There cannot be a more annoying person in the world, from the point of view of policemen, criminals and baggage handlers alike.

The best scene of all, in my opinion, is the very last one, but I won't spoil it for you if you haven't seen it. I haven't actually watched the re-make of the film, and I'm certainly a big Tom Hanks fan, but I think it must be hard-pressed to beat this hilarious original. 8 out of 10. Obviously, it's rather old-fashioned and might not appeal to everyone's sense of humour. Ko, Izzy.

The humor in this movie is not only British, which is notoriously misunderstood by American audiences (and vice versa), which is odd because both the writer and director were American, but it is also now five decades old. Only the best American comedies have lasted anywhere near that long (consider, for example, the sad fate of many of the movies that people thought were really funny in the 80s – Police Academy, anyone?). The reason The Ladykillers has not only survived but has now been remade is because the comedy in it is not only effective, but it is intelligent, and it is very difficult not to be impressed by a comedy with a brain.

Alec Guinness is in top form as the leader of the gang, whose members reflects criminals of all walks of life. The ingenious plan is to rent out a room from a sweet old lady while they pull off a heist. The comedy, for me, lies in the difference between what is planned and what is played out, particularly in the difficulties that the gang of criminals have in outsmarting a sweet old lady who acts like a grandmother supervising a group of unruly grandchildren.

The problem that the movie has is that the pace is very slow and much of the comedy has faded over the years, but structurally and intellectually it remains a respectable film, even more now in comparison to its disastrous remake. What went wrong in the remake is that they did not maintain who the character of Mrs. Wilberforce was, because it was the juxtaposition of her as a frail old woman surrounded by toughened criminals that made it funny when things kept going wrong in their plan. In the remake she is replaced by Mrs. Munson, a tough-talking woman who was to be feared from the outset. There is no irony in being overpowered by someone more powerful than yourself from the outset, which I imagine is why the remake also featured Marlon Wayans and a case of irritable bowel syndrome, which I have never seen used in an even remotely amusing way.

While the original film may be a bit too slow for modern audiences, it is indeed charming the way 87-year-old Mrs. Wilberforce continually foils their carefully thought out plans, many times inadvertently. Alec Guinness is wonderful as the band's leader, wearing outrageous false teeth, nearly rivaling Lon Chaney as the man of a thousand faces, and Peter Sellers is one of the criminals as well. I'm no expert about British comedies or Alec Guinness' early works, but I can certainly tell enough from watching this movie that the Coen Brothers' remake did nothing to impress the British about Hollywood's respect for the classics.

When it comes to comedy, my favourite source is fast becoming the Ealing Studios films of the late 1940s and 1950s. The British have a certain down-to-earth and somewhat-warped sense of humour, and 'The Ladykillers' is the most excellent example I've yet come across. The first Ealing movie filmed in technicolour, and the final effort of director Alexander Mackendrick ('The Man in the White Suit,' 'Whisky Galore!') before he moved to Hollywood, 'The Ladykillers' is a delightfully black crime caper of murder and betrayal, the darkest comedy since Charles Chaplin turned wife-killer in 'Monsieur Verdoux (1947)' {interestingly, the working title of the latter was "The Ladykiller"}. In the urban jungle of post-War London, a gang of five criminals – headed by the evil mastermind, Professor Marcus (Alec Guinness) – plan the theft of £60,000, masquerading as a rehearsing string quintet to fool their sweet, proper and slightly senile old landlord (Katie Johnson). After a seemingly-successful heist, the old woman happens upon the stolen "lolly," and her confused mind, not quite comprehending the gravity of her situation, insists that the men return the money. Fearing that she will bring their entire plan crumbling down, the five conspirators agree that the death of old Mrs. Wilberforce is an unavoidable necessity, and yet none of them can quite bring themselves to do it.

Above all else, what makes 'The Ladykillers' such a classic is its impeccable casting. Alec Guinness is almost unrecognisable as Professor Marcus, with the brilliant actor somehow finding a perfect balance of polite gentleman, calculating genius and cackling mad-man. The remainder of the criminal team comprises of the polite and civil Major Courtney (Cecil Parker), a no-nonsense foreign gangster (Herbert Lom), a child-like muscle-man with a warm heart (Danny Green) and an impatient Cockney Teddy boy (Peter Sellers, in one of his first major roles). Of course, the limelight is arguably stolen by the delightful Katie Johnson as the sweet, well-meaning grandmother who unknowingly resists all attempts to have her killed. Johnson, aged around 80 years at the time, won a BAFTA for her role, and plays her character with such warmth and innocence that you can't comprehend how anybody could even entertain the notion of knocking her off. The contrast and conflict between all the main characters provides the film's wacky core, and each man's inability to carry out the homicide leads to numerous thefts, betrayals and murders. Writer William Rose (and an uncredited Jimmy O'Connor) engineered the Oscar-nominated screenplay, the idea for which reportedly came to Rose in a dream.

Mackendrick certainly had an inimitable style of comedy, and various little film-making quirks make 'The Ladykillers' particularly unique and memorable. Most of the violence is implied off-screen, and I absolutely loved the use of the approaching trains to signal that something unsavoury was about to take place. The blinding cloud of steam that accompanied each passing locomotive not only served to shield the audience from any unwanted violence, but also created a stifling atmosphere of the dreaded unknown; after all, the most unsettling thing is that which we can't see. In 2004, the talented Coen brothers attempted a remake of this black comedy classic, starring Tom Hanks, which was decent enough but ultimately disappointing. It makes you think: when two of Hollywood's greatest modern minds can't even come close to this Ealing gem, it really does allow you to appreciate what an outstanding cinematic achievement it was.

One of the Ealing studio's finest achievements, this immensely entertaining crime caper looks at first glance to be pure, inconsequential entertainment. But it doubles as a sly, subtle rummage around the psychology of the respectable, old-fashioned middle classes, with Katie Johnson deserving top billing alongside Alec Guinness (she doesn't get it) for her remarkable turn as the lady in question, the redoubtable Mrs Wilberforce.

No less than the not-quite-ruthless-enough gang of criminals who scheme in her house, she lives in her own private universe with its own particular rules and values. Though she begins the film as the stereotype of a maddeningly officious pillar of local society, it gradually emerges that there is a freer as well as shrewder spirit locked in there than meets the eye. The umbrella she is always losing (she herself suggests that she unconsciously _wants_ to lose it), the escapologist parrot, and most poignantly the memory of a 21st birthday party interrupted by the end of the Victorian age, all hint at an inner life that the comic plot could easily have done without. The screenplay, deservedly Oscar-nominated, has the genius and economy to provide us with all these hints without ever slowing down a tightly-edited and superbly directed narrative.

The other characters are a good deal simpler, but Alec Guinness is in impressively seedy form as 'Professor' Marcus and Cecil Parker makes an appealing Major. Peter Sellers and Herbert Lom don't have a great deal to do and don't try to hog the limelight, but there's a nice cameo from Frankie Howerd. Ealing went out on a high.

Where did they dig up Katie Johnson? How she balances the act of a sweet old lady who is respected yet still patronized with the toughness of a strong woman who upholds justice is a joy to watch. All the while completely unawares of the true danger surrounding her. Her performance is simply great and side-splittingly funny. The rest of the cast display their usual talents, particularly the fumbling of Cecil Parker and the mean looking Herbert Lom. It's also interesting to see a very young Peter Sellers who would soon hit his stride a few years later. The dark lighting and moody scenes are perfect for this comedy and are very typical of British films of the era, so the look is familiar right away as you begin to watch. The "Tea Party" scene is just a riot. Odd to see so many negative comments on the film - it's one of if not the best Ealing film and deservedly regarded as one the best comedies of all time. They just dont make them like this anymore.

I won't go on about this, but I think this is one of the funniest comedies I've ever watched. So did my ten-year-old, with whom I've watched it many times on tape. I say "one of the funniest" deliberately because this is about as good as it gets, and other comedies have reached that same asymptotic height -- "Dr. Strangelove," for instance, or "Some Like it Hot," -- but none have, or is ever likely to, exceed it.

Most of what can be said about this Ealing Comedy has already been said and I won't repeat it. I will add, however, one generally overlooked point. The principal cockatoo, "General Gordon," sees Professor Marcus's shadow on the door and squawks "SOS" in Morse code. One of the scenes I find most amusing, in a film filled with amusing scenes, is when Peter Sellers returns to the old house to find his four thuggish friends trapped in a room full of chirping old ladies in lavender and frothy lace. The thieves hold a cup of tea in one hand and a pastry in the other, except for Guiness who is draped scowling over a player piano that is tinkling out "Silver Threads Among the Gold."

If you feel yourself falling into a funk, this is the one to watch. Well, okay, it's the one to watch anyway. A non pareil, light years better than my spelling of French.

The innocent little old lady ("I'm so sorry to be a bother, gentlemen") played by KATIE JOHNSON (who died after doing one more film), is the real factor that gives the story a heart. After all, it's the brisk tale of a gang of criminals with a clever heist plan that goes awry thanks to the meddling of Miss Johnson. Without her highly amusing central role as the woman who unwittingly gives the gang shelter, it would be no more than a broad comedy.

That's not to say that ALEC GUINNESS, HERBERT LOM, PETER SELLERS and CECIL PARKER aren't superb as the gang members, but Johnson is the story's most necessary ingredient. Her dotty ways are endearing long before the plotters show up at her residence, pretending to be musicians.

The misadventures that occur the moment they show up at her doorstep keep the story flowing along at a rapid pace--beginning with the escape of one of her parrots that leads to some inventive gags. But that's only the beginning. All the other mishaps lead to a rather surprising ending.

Definitely a comedy to check out if you want a real good time! Expert script, costumes, performances and some catchy background music, all done with style and wit in the best British manner.

When film studios are churning out rubbish like 'The Full Monty' and 'American Pie' under the heading of comedy, you have to wonder what sort of brainless morons are filling cinemas with laughter. It is nothing short of tragic that gargantuan amounts of cash are being expended on useless blow-outs like Titanic,Star Wars- The Phantom Menace, and just lately, The Beach. When Ealing Studios ceased production, the cinema world was suddenly very much poorer.

The Ladykillers is undoubtedly one of the finest comedies ever made, certainly the best Ealing film of them all. Here is a film from the golden age of British cinema that will forever amuse and entertain. It is easy to be nostalgic about these old films but they are still held in high regard for a good reason-they were made by people who knew the art of film making. Moreover, they were made at a time when a trip to the cinema was still a special occasion. So they were made with love and care and with respect for the audience.

The Ladykillers is unusual for an Ealing comedy, being made in colour. It would have worked just as well in black and white, possibly even etter.( I have watched it in black and white on TV by turning the colour controls off!) The location shots, which were done around the back of King's Cross station in London, capture forever something of the old London I used to know as a child.

I suppose they best description for this film is a comedy of a bank robbery gone wrong. The ensemble acting is of the highest order; Katie Johnson as Mrs. Wilberforce just about steals the film from Alec Guinness. The hilarious script leaves you wanting more, even though a lot of the comedy is based on sight gags; the extended scene when the supposed 'musicians' come downstairs one by one while the Boccherini Quintet continues playing is wonderful, as are the moments involving General Gordon the parrot. The cinematography is beautifully realised and so British.

Having read all of the comments on this film, I was suprised that so many American film lovers liked this film - British comedy like this doesn't usually travel well across the water. So a sincere big thank you to all of you guys over there who commented favourably on The Ladykillers.

I don't think that we will ever see the return of institutions like Ealing Studios again, so The Ladykillers should be watched, enjoyed and loved by generations of film lovers to come.

This is an excellent droll black comedy and featured by a British all-star-cast such as Alec Guinnes , Herbert Lom and Peter Sellers and originally written by Willian Rose ; being produced during the golden decade of Ealing studio . It deals with an eccentric man named professor Marcus , (Alec Guinness who had said that he based his characterisation on theatre critic) , actually a robber , and his crew called Major Courtney (Cecil Parker) , Mr. Harvey (Herbert Lom) , Mr. Robinson (Peter Sellers , though Richard Attenborough was originally considered for this role) and One-Round (Danny Green, though Tommy Cooper was suggested for the role but stage commitments prevented him from auditioning) pose as a band in order to rob an armored truck , all under the nose of his unsuspecting landlord , a sharp old woman (Katie Johnson) . The robbery took place in Cheney Street near its junction with Battle Bridge Road, immediately to the west of Kings Cross station . Then they rent a room in an old woman's house, but soon she discovers the plot and they must kill her, a task that is more difficult than it seems . The greatest criminal minds of all time have finally met their match.

The picture is a funny and droll comedy especially in the parts happen the antics and flops one time the robbery was committed . Interesting and fun story by William Rose who claimed to have dreamed the entire story from start to finish . The laughters and chuckles are varied and giggles are based on diverse personalities and differences among protagonists . It's an agreeable movie for the youth and old people who will enjoy enormously and with lots of fun . This is a top-drawer comedy with a rather darker, more satirical edge to them than the rather cosy and parochial British comedy more typical of the era . Alec Guinness -in similar role to Tom Hanks many years later- is terrific as the leader , if you like Guinness manic performance , you'll enjoy this one . Special mention to Katie Johnson as the old landlady , though the producers originally rejected director Alexander Mackendrick's choice of Katie Johnson for the role of Mrs. Wilberforce on the grounds that she might be too frail for the project, and so they cast a younger actress -who died before filming began . Colorful and glamorous cinematography by Otto Heller . Enjoyable musical score by Tristram Cary , adding the Minuet from Luigi Boccherini's "Quintet in E major, Opus 11, Number 5" , each time one of the gang members is killed, the arrangement of the music changes from quintet to quartet to trio etc, as if it is being played only by the surviving members of the gang . The motion picture was masterfully directed by Alexander Mackendrick who directed excellent films ; as he debuted in 1948 with the Ealing comedy classic Whisky Galore! (1949) and went on shooting : The man in the white suit , The 'Maggie' , Sammy Going South , A High Wind in Jamaica and Sweet Smell of Success . The flick will appeal to Alec Guinness and Peter Sellers fans and black comedy buffs . Rating : Better than average , worthwhile seeing , and it has been voted as one of "The 50 Greatest Comedies Of All Time".

Plans to remake Ladykillers (1955) date back to 1998 when Robert Harling was attached to direct. Modern adaptation älso titled Ladykillers was directed by Cohen Brothers , Joel and Ethan , in 2004 , being a remake of the 1955 comedy ,this new version of the classic movie results to be as entertaining and amusing as the British film ; the story revolves again around professor who puts together a group of thieves to rob a loot, being starred by Tom Hanks , Irma P Hall , Tzi Ma , Marlon Wayans , Ryan Hurst , Tzi Ma and J.K. Simmons . Prior to filming, Tom Hanks as a Southern professor had not seen Ladykillers (1955) as he did not want it to prejudice the way he acted in the remake.

When I first saw this film I was somewhat amazed by what appeared to be a lazy construction. The first half of it, leading to the armored car robbery, was fairly straightforward, as "Professor" Marcus and his cronies put together their plan, and carry it out, with little Mrs. Wilberforce used as an unwitting courier of the cash. But from the end of the robbery to the conclusion the film seems to straggle on. It is only upon watching it three or four times that the mutual destruction of the criminals makes more and more sense, and the permanent victory of the little old lady caps off the film very satisfactorily indeed.

Mrs. Wilberforce, elderly, crotchety (but in a gentle and genteel way), and very moral, is the personification of an earlier Britain - the Victorian/Edwardian period, where right was right and wrong was wrong. She is able to survive in her little corner of London because she is frail and the local authorities (the police represented by Jack Warner and Philip Stainton) "control her" by showing a degree of respect for her feelings and opinions. At the beginning of the film she is shown making her complaint (a daily occurrence) which they know are a nuisance and time-waster, but which they allow her the luxury to bring up. In her costume throughout the film, her real symbol is her umbrella. She always carries it, even when it is sunny out. The umbrella is a symbol of respect too - in one scene a police officer stops her to return the umbrella when she leaves it behind accidentally. Umbrellas are for protection, like Victorian morality is supposed to be. Interestingly enough, at the tail end of the film, when she is convinced by the police (who don't realize it) to keep the stolen money, her morality is dented, and she abandons her old umbrella.

Professor Marcus and his gang invade her home (peacefully, to be sure, as amateur musicians). They represent more modern times. Major Claude Courtney (Cecil Parker) is the military man, no longer a figure of respect but of shriveled honor - a comment (maybe) of the decline of the military and aristocracy and upper classes in 20th Century England. One Round and Harry are the urban proletariat - the uneducated lugs (although with a struggling morality that surprises them) and the "teddy boys" ready to break down society for fun and profit. Louis, with his vague foreign appearance and menace, is the waves of immigrants who have entered Britain, changing it's old courtesies and tolerance for age, honor, and justice. And Professor Marcus - he is a variant in the intelligentsia - an opportunist ready to get ahead by subterfuges (like pretending to play "Boccherini" quintets), and always ready with some sophistry as an argument (like his argument about the robbery boils down to some pittance added to the insurance premiums of England). They don't represent all of 20th Century England, but it is an intriguing cross section.

The film has lovely, unexpected charms to it. In the middle of planning the demise of Mrs. Wilberforce, Marcus and his cohorts (and Mrs. W.) find her elderly friends have come over for a weekly visit. For at least an hour or two these guests are in the house. Mrs. Wilberforce is as upset about it as Marcus and his gang, but her anger is at the thieves - she insists (as though they were going to do so) that they refrain from doing anything that would embarrass her before her oldest friends. Louis, the only one who is not there (he's parking the getaway car on a side street) returns to be handed a teacup, and to watch the others assisting the old ladies in the singing of "Silver Threads Among the Gold". Guinness's look of helplessness at the player piano is a sight to behold.

There are small treasures. When (at a moment of fear and excitement) Marcus , the Major, One Round, and Harry leave the bedroom, they accidentally leave the "Boccherini" piece playing on the record player. Louis has no intention of leaving to assist them (in feeding medicine to Mrs. Wilberforce's parrot), but just sits staring angrily into space, as the record continues playing. Then it starts skipping. Louis picks it up, looks at the label, and smashes the record he's come to hate.

Another great moment is when Mrs. Wilberforce starts reminiscing to the others of her coming out party on January 22, 1901. She describes how she was finely dressed up, and all her friends came, and they had a splendid time dancing and eating. Then came word from her father they had to end, because the old queen died. And everyone left. Miss Johnson relays that dialog with as sweet softness, which her age makes one momentarily remember the end of the Victorian age (for it is the death of Queen Victoria that ended her party). But after she leaves the room the entire effect is marvelously punctured by Danny Green (One-Round). Looking totally baffled, he turns to the others and asks, "What is she talking about? Old Queen Who?"

The film may not be the best "black comedy" in cinema (MONSIEUR VERDOUX and KIND HEARTS AND CORONETS are just as good choices for that slot) but it is in the top ten films of that type. And ten is what I give it here.

In a swift and somehow creepy way, a man casually sneaks after an sweet innocent old lady, (Mrs. Wilberforce). The old lady have just been in the local town, just doing her normal routine and right now she is heading home, she opens the door to her house and goes in, not knowing that she's been followed, and that the mysterious man himself is standing right outside on the doorsteps to her lopsided house. The doorbell is heard and the old lady curiously opens the door to be met by a joker-ish face, (Professor Marcus). His intentions seems innocent and he just want to rent a room, where he can practice with his amateurish orchestra band, which consists of Major Courtney, Mr. Harvey, Mr. Robinson and One-Round, but Marcus and his companions real intentions is to make a genius robbery, and use Mrs. W's old house as an disguise, because the police will never suspect them to be hiding in there, and best of all, Mrs. W will never notice a thing... or will she?

This is... as said many times before, an outstanding performance of both acting and writing, a culmination of wonderful British actors and a touch of Ealing Studios, with other words, this movie kills me every time. The characters alone could make this movie work, because it offers maybe the best set of thieves filmed in movie history, and maybe also the funniest. As said, in this movie we get a good set of classic characters, we have the coward, the temperamental, the unlucky, the dumb and finally the clever one, and then we get the most sweet little old lady set on this earth, what a good job you did there Katie Johnson.

This movie was also the first quality picture Peter Sellers was in, but not the movie where he gets the big leading role. His role as "Mr. Robinson" is by the way, just unbelievable good and so entertaining, even if the role is little he always manage to plant his acting mark. It's like this movie is remembered most by Sellers performance, and not all the other good stuff we get, and here I especially think about Katie Johnson's and Alec Guinness's characters, but thats just the way Sellers acting works - he always outshines the others.

Watch this wonderfully dark comedy immediately, you wont regret it.

A comedy from another place and another time, that right now seems so long ago and far away, `The Ladykillers,' directed by Alexander Mackendrick, stars Alec Guinness, Cecil Parker, Peter Sellers and Herbert Lom, and stands as a perfect example of how charming, delightful, civilized and yes, `funny,' a film can be when approached with intelligence and respect for the audience. Guinness plays Professor Marcus, who puts together a gang to pull off the `perfect' robbery he has concocted. But, as it always is with all things `perfect,' it quickly goes awry for the gang, thanks to the involvement of an old lady (Katie Johnson), in whose house Marcus has taken rooms. And as the situation in which the gang finds themselves escalates as they try to put things to rights, the audience is treated to an exemplary piece of truly humorous and memorable cinema. Guinness anchors the farce with a superb characterization (even to altering his appearance with false teeth) of the Professor. It's a prime example of just how great a character actor Guinness was; as in all of his films, he creates a total character of Marcus, inside and out, beginning with the attitude and right on down to the smallest details that many actors would deem insignificant. There is a studied consistency he maintains throughout the film that would stand up to the closest scrutiny; it is not by accident that he is considered by many to be one of greatest actors of our times. And how great to see the youthful Peter Sellers in one of his earliest roles. Watch closely and you can see traces of the unique mannerisms that would mark his career; the slight hesitations, the inward, subtle consideration of the status quo and the sense he conveys in a split second that Murphy's Law is about to go into effect. He makes Harry, a member of the hapless gang, a memorable character. Herbert Lom (as Louis, in this precursor to his pairing with Sellers some twenty years later in the `Pink Panther' movies), Parker (Major Courtney) and Danny Green (One-Round) round out the gang, the likes of which you have never seen before, nor in all probability will ever see again, because-- as the saying goes-- they just don't make ‘em like this any more. The supporting cast includes Jack Warner (The Superintendent), Philip Stainton (Sergeant), Kenneth Connor (Cab Driver) and Ewan Roberts (Constable). Clever and sophisticated, `The Ladykillers' is a testimony to just how grand and uplifting comedy can be, without resorting to the gross and often unpalatable `humor' upon which so many of today's contemporary comedies seem to depend. Not to say that today's comedies are no good; it's just that they so often lack the esteem and the `humanity'-- not to mention the longevity-- which lends itself to a film such as this one. Movies like this will be around long after most of the addle-brained Saturday Night Live induced fare is gone and forgotten. With the added bonus of having Guinness and Sellers together, this is a true classic in every sense of the word. This is what the magic of the movies is really all about. I rate this one 10/10.

I found "The Ladykillers" to be a mildly amusing 1950s British comedy, and not quite the laugh-out-loud riot that some other reviewers have suggested.

Mrs. Wilberforce is a somewhat dotty elderly widow who lives alone in a house at the end of a cul-de-sac near a train station. She's looking to rent out a room and is approached by "Professor Marcus" (Alec Guinness). He rents the room and explains that he's part of a quintet of musicians and would like to have the others over for practice.

The others arrive with their instruments and they pretend to practice in Professor Marcus' room (by playing a record) while actually plotting a heist at the train station.

Part of that plan relies on the kindness and gullibility of their host, Mrs Wilberforce. They plot to have her unknowingly collect and deliver the stolen goods back to her home. The gang would then split the cash and part ways with the widow.

All goes according to plan until Mrs. Wilberforce is on her way home with the loot and complications arise.

Then it all goes to Heck, and takes a rather dark turn at the end.

Y'know, in retrospect, I think I may have enjoyed the film a bit more if the visual effects and dubbing weren't so bad. You're already suspending disbelief because the plot elements really don't add up to anything remotely realistic; and when you see the painfully obvious background projections and poor sound dubbing it definitely takes you out of the moment.

Oh well, one and done!

Soon after this atmospheric black comedy begins, aged widow Johnson putters around her house (situated near a railyard) as an imposing shadow seems to peer at her from every window (accented by dramatic music.) When she opens the door, there stands Guinness, in one of his amusingly creepy personas. He rents a room from the lady and arranges to have his cronies come over to practice their quintet. Unfortunately, he has something else in mind and the quintet is merely a cover for a greater plan. The film has detail, wit and character to spare. Guinness (and his friends, played by legendary character actors like Sellars and Lom) are a funny, motley lot. However, the story really belongs to Johnson. Shamefully underbilled and unsung, she perfectly embodies the role at hand and is incredibly memorable in her understated sweetness and supposed vulnerability. This is a woman who looks for the best in everything and everyone and fights injustice whenever she encounters it. Johnson gives a quiet, yet towering performance and it is astonishing how disrespectful her billing is in the film and how little she's been given even in recent packaging. There is nothing wrong with Guinness's work, but this is Johnson's film. (Ironically, according to Robert Osborne, a younger actress was cast in the film, to be made up as older, because the producers felt that the sometimes demanding director would be too much for Johnson to bear. However, that actress died before filming, so Johnson was used and got on fine!) It is truly the type of film that won't be made again. (It may be RE-made, but never with the same quaint, understated style, nor with such polished actors.)

Mrs. Wilberforce (Katie Johnson) lodges five elegant men (Alec Guinness, Cecil Parker, Herbert Lom, Peter Sellers and Danny Green) in her home, who intend to rehearse string quintet music. Indeed, they are five small-time thieves having a very well planned strategy to robber an armored car. They use the naive Mrs. Wilberforce to bring the stolen money to her home. When they are leaving the house, an incident with the dumb One-Round (Danny Green) reveals the plan to the old lady. The success of the robbery fails due to the human element. The gang decides that she must be eliminated, but none of them has courage for killing her. A very funny end closes this great sarcastic black humor British comedy. Maybe what it is more amazing is that this film was made in 1955, and in 2003 it remains very funny and has not aged. The performance of the cast and the direction are fantastic in this movie. Katie Johnson is very irritating with her naive logic and procedures. An enjoyable classic in the genre, indicated for all public. As another user commented in IMDB, "a comedy that will live forever". My vote is eight.

Title (Brazil): `O Quinteto da Morte' (`The Quintet of the Death')

Otto Von Bismarck once remarked about the special providence God has for drunks, babes, and the United States of America. If he had ever seen The Ladykillers he might well have added daft little old ladies who are in a world all their own.

This was sadly remade by Tom Hanks a few years ago, and the remake wasn't necessary. The charm of this comedy is its British origin and characters, a little old lady whose coming out debut coincided with the death of Queen Victoria, clashing with a gang of crooks all of whom are quite modern characters circa 1955.

One of the crooks Alec Guinness rents a room from Katie Johnson who was 77 at the time this film was made. He brings his fellow heist accomplices over to plan an armored car robbery, similar to what he did as an amateur crook in The Lavendar Hill Mob.

But as the final touch to his plan, Guinness involves Johnson in the plot as a dupe in which she goes to pick up a trunk where the money has been stashed. Against the advice of some of his gang, particularly Herbert Lom. But Guinness has his way and soon regrets it.

Other members in the Guinness gang are Danny Green, Cecil Parker, and a young Peter Sellers.

All I can say is it is a special providence indeed that protected Katie Johnson from these criminals and come out the way she did at the end of The Ladykillers.

Very possibly the best thing to come out of the Ealing Studios. This sardonic gem ranks up with Casino Royale as one of the Perfect Storms of British comedy, and fifty years after it was released, it inspired a much less funny big-budget Hollywood remake (in which Tom Hanks showed us he's no Sir Alec Guinness).

I bring up the contrast between Tom Hanks and Alec Guinness because it's central to why the Ealing Studios, modest-budget British original production is so much better than its 21st century remake. Alec Guinness plays a low-key, understated fake British professor and amateur criminal kingpin and still manages to be funnier than Tom Hanks' over-the-top, wildly over-acted caricature of a caricature of a "professor" from the Southern US.

Guinness's deft comedic touch demonstrates his versatility as an actor - very careful asides by modern cinematic standards (British or American) distinguish his performance and contribute to the classic character of the original version of Ladykillers. Guinness's use of subtle incongruities in his character's persona do the comedic work, in contrast to the other characters' enjoyably absurd dialogue and the slapstick which winds through the plot.

Herbert Lom and the other actors portraying the "musicians" of the gang all pull their oars, delivering professional and hilarious performances (and again, much less over-the-top than the modern, American interpretation of the film).

Without spoiling the movie for anyone, I can say that the comedic timing and (for the time and technology) good production values are spot on, and this film's reputation as a classic of dark comedy is wholly deserved. This is one of the movies people should study before setting out to film comedy.

Alec Guinness strikes again with his fantastic acting prowess in another Ealing comedy, The Ladykillers. The 1955 film directed by Alexander Mackendrick pins Guinness along with Cecil Parker, Herbert Lom, Peter Sellers, and Danny Green as a group of criminals posing as a quintet to attain board that is to become their headquarters while staying under the radar. In what the quintet believe will be an easy match in the elder woman they have chosen to rent the room from, they quickly realize they are the ones being played for fools.

In desperate need of a hideout and headquarters for a heist, he is planning, Professor Marcus (Alec Guinness) thinks he has struck gold when he sees an elderly woman who has a room for rent. Professor Marcus thinks planning around an elderly unsuspecting woman will be an easy task so he rents the room and introduces his cohorts Major Courtney (Cecil Parker), Mr. Harvey (Herbert Lom), Mr. Robinson (Peter Sellers), and Mr. Lawson (Danny Green) to his border Mrs. Wilberforce (Katie Johnson). They believe they have her convinced that they will be using the room to practice their quintet. As they advance their plans to rob a bank, they are stunned by the Victorian charm and naivete of Mrs. Wilberforce and how it is overcoming their robbery plans. After attempting to scheme, Mrs. Wilberforce, the 5- some get what they deserve when she begins to scheme them as well.

Alec Guinness was just phenomenal in this screwball comedy with nods to dramatic spoofs. The shadowy way in which Guinness is introduced to both Mrs. Wilberforce and the audience is in the most ominous way, yet when his face is revealed from the shadows, we see Guinness character with a ridiculous prosthetic denture bringing about laughs. More so than The Lavender Hill Mob, Guinness proves he can act in a comedic role that mixes with the dramatic at breakneck paces with The Ladykillers. Guinness also acts very well in this film within an ensemble. Sharing screen time with many notables including Peter Sellers, Guinness subtly steals every single scene in which he is on screen. One of the best aspects of this film is the brilliant way in which it was lit. The lighting is very deliberate and changes throughout the film enhancing the mood and action on screen. British comedies are just wonderful in their use of dialogue. The lines in The Ladykillers were beautiful and is a sincere treat for audiences. The perfect music and score, brilliant color, fantastic dialogue, and incredible Alec Guinness make The Ladykillers a joy to film audiences everywhere.

This wonderful comedy is one that is truly remarkable, and perhaps worthy of more praise. Its main merit is the superb Oscar-nominated screenplay, that was full of black humour and wit. I particularly loved it when Mrs Wilberforce tells the police constable to "buzz off", something you don't expect her character to say. The cinematography is also excellent, with lovely sets, and doesn't look like it was filmed at a studio. The film is also helped by a brilliant music score, that is not only atmospheric but quite haunting as well. There is clear evidence of detailed direction, and the fast pace of the film ensures that the film rarely slips from its focus. My favourite scene has to be when Danny Green's character is standing on a chair, and he falls through the seat, and can't get his legs out. What made this movie though was the acting. Alec Guiness is deliciously seedy as the professor, and while Herbert Lom, Cecil Parker and Peter Sellers have a little less to do, they are all excellent as the men who plan a robbery. However, the film belongs to the marvellous Katie Johnson, in a wonderfully dotty performance as the elderly spinster who proves to be more of a match for them. Overall, a wonderful film, that is thoroughly entertaining. 10/10 Bethany Cox.

A pitch-black comedy from the Ealing team. To my shame, I'd never seen THE LADYKILLERS before now, but it's a story that has certainly stood the test of time and is much better than the maligned remake that came out a decade or so ago. The story, of five criminals who pull off a gold bullion robbery but who are then thwarted in their plans by the interventions of their well meaning elderly landlord, is perfectly written and memorable indeed.

Much of the running time seems to consist of various famous actors playing the most sinister folk imaginable. Alec Guinness's creepy old fellow is the most sinister of the bunch, of course, but it's Herbert Lom who really shines as the incredibly dark and murderous Louis. Watch out for a youthful Peter Sellers and cameos from a couple of future comedy greats, Kenneth Connor and Frankie Howerd, playing a cab driver and barrow boy respectively.

THE LADYKILLERS isn't really laugh out loud funny, but there are plenty of set-pieces guaranteed to raise a chuckle; the hunt for the escaping parrot is a personal favourite scene of mine, and of course the last half an hour marks the movie at its murderous best. The best thing about it? Katie Johnson's delightfully barmy old lady who acts as both lynchpin and catalyst of the whole thing...

Sir Alec Guinness. Young Peter Sellers. An Oscar-nominated screenplay by William Rose. An old British woman who foils them all. With all of these factors racing towards the finish line, one could imagine the hilarity that was to follow. Alas, after the first twenty minutes, it seemed to all come to a screeching halt. Yes, there were comic moments, genius creativity, and excitement in the air, but as a whole, "The Ladykillers" was more a hodgepodge of could-be-great ideas mixed together with poor execution and a misuse of the actors' ability on-screen than a laugh-out-loud comedy. Yes, this was a "dark" comedy, and the ending solidifies that idea, but what was lacking within the story was the actual comedy itself. With such actors like Guinness, or Peter Sellers, or Danny Green; director Alexander MacKendrick had loads of opportunity to transform this film into a cult classic, to unleash the potential hidden within his players. Too bad he missed the opportunity. With a intriguing story, a fun old lady, and a misused cast, "The Ladykillers" may have been bold for the time, but today it just felt stale, slow, and misplaced. How could a film with so much potential fall so flat?

Our story begins promising; with a little old lady (Ms. Lopsided) talking to the police about how there weren't aliens in her friend's garden. As she travels home a looming figure follows her. MacKendrick does a great job of creating early tension, this unknown of who is going to arrive at the door or what the motives may be. As Guinness rings the bell, the shadow is revealed to have large fake teeth and a comb-over. This random act of costume design demonstrates the ability of comedy on both the part of the actor and the director. As Guinness swoops into his charming devilish self, the dynamic between him and the old lady becomes the crux of this film. MacKendrick must realize that the two have chemistry (or that the two were the obvious focus of the film) because he focuses his entire remainder of the film on these two alone, oddly leaving everyone else in the wake of unknown. As we are introduced to the rest of the string quartet, as audience members, we have hope that these actors will provide us with genuine laughs. Perhaps some comedic parody or defined character humor, but there is none. Sellers is left with a cardboard character worthy of mere facial expressions and overblown acting. He is wasted because MacKendrick is too focused on Guinness. The same can be said for everyone else in the background the focuses more on cliché than on actual substantial characters. Major Courtney, One Round, Harry, and Louis are lost within the scene, leaving the audience to care nothing for them, giving us a less-involved ending.

With our major actors in no position to lead, we are left with a story that remains the excitement of this film. The heist scene alone is worth watching this movie for 90ish minutes. To have early scenes (and scenes after) carry the same theme song throughout, but then have no music at all during the heist – only enhanced the experience. Again, MacKendrick had to have known that he had a great script, I just wish he could have managed his actors a bit more. The choreography for the heist, as well as the cinematography, was pure caper. It was executed as well as any Michael Mann film could have dreamed. Everything from the actual robbery all the way until Mrs. Lopsided's role in the scheme was introduced was finely tuned. Even the escape, which kept me on my toes, seemed well developed and enjoyable – but then again, we seemed to come to another hodgepodge thematic and tone downfall. The introduction of the other old ladies was fun, but after that – when the group begins to implode, it just doesn't feel right. I was ready for the dark comedy, but there are always two parts to this – both the darkness and the comedy – and "The Ladykillers" was lacking in the latter.

So, the mix of bad characters with substantial plot really made this should-have-been great film into just another decent 50s British film. If MacKendrick would have focused a bit more on the actors' abilities than I think he would have had a solid film, but without it – it just felt disjoined, poorly edited, and a splattering of good points with bad. Overall, just a mediocre film.

Overall, I just wasn't as impressed as I wanted to be. It began with quite a bit of excitement and creativity, but by the end I just wanted it to be over. I wanted to get to know the other characters more; I wanted to see them evolve like I did the story. I had high hopes for Sellers, whom is merely a background character – demonstrating none of his ability. Guinness does shine, but he cannot carry this entire film. The old lady made me laugh, and while the reimagine is no better, I can see why the Cohen's wanted to remake their version. That final scene with the old lady was phenomenal, but why couldn't the rest of the film follow suit. Decent – but nothing worth keeping or watching again or again.

Grade: *** out of *****