Nothing But the Best

Nothing But the Best is a British black comedy film directed by Clive Donner and released in 1964. The film stars Alan Bates, Denholm Elliott, and Harry Andrews, and is based on the satirical short story "The Best of Everything" by Stanley Ellin. The movie captures the ambitious climb of the protagonist, played by Bates, through the echelons of the British class system and his relentless pursuit of social status and wealth by whatever means necessary.

The film is set in the swinging sixties, a period characterized by a vibrant youth culture, a flourishing pop scene, and a transformative narrative of social mobility in Britain. Alan Bates takes on the role of James Brewster, a sharp and ambitious lower-middle-class man who is unsatisfied with his lot in life and is eager to ascend the social ladder. Brewster is quick-witted, good-looking, and, above all, extremely cunning, harboring aspirations that significantly surpass his humble beginnings.

Brewster works as a junior-clerk in a real estate office but has his eyes set on far greater prizes. Frustrated by the slow pace at which his career advancements are moving, he concocts a series of increasingly morally dubious schemes to escalate his social and professional standing. His plans take a crucial turn when he befriends Charlie Prince, played by the impeccable Denholm Elliott. Charlie is a down-on-his-luck, upper-class slob who, despite his social status, has fallen out of favor with lady luck and is in dire need of financial assistance. Brewster, in a stroke of deceptive genius, uses Charlie as his entry ticket into the sophisticated, high society.

The film becomes a sardonic comedy of manners as Brewster manipulates everyone around him, including his employer played by Harry Andrews, to gain wealth and prestige. He betrays, swindles, and charms his way to the top, exposing the hypocrisy and rottenness that can lie at the heart of the class system. This is all done with scathing wit, underlined by the satirical script penned by Frederic Raphael, which gives the narrative both humor and a cutting edge.

Bates' character studies a range of self-improvement guides and emulates the behavior, speech, and mannerisms of the upper class, all while maintaining a veneer of smooth, cheeky amiability. Meanwhile, Denholm Elliott's portrayal of Charlie Prince adds depth and a morsel of tragicomedy to the film, his ignorance of Brewster's true motivations highlighting the gullibility of the aristocracy. Harry Andrews offers a solid performance as a typically stiff-upper-lip Englishman, providing a foil for Brewster’s conniving ambitions.

The director, Clive Donner, injects the film with a stylish energy that reflects the transformational period it portrays. The aesthetic of Nothing But the Best is a snapshot of London in the 1960s, with its rising middle class, modernist architecture, and the cultural juxtapositions it enables. It also evokes a biting critique on materialism and the lure of capitalism, as the protagonist eschews any sense of a moral compass in favor of personal gain.

Comedic moments abound throughout the film, with many scenes leading to wry chuckles rather than outright laughter, a decision that maintains the film's darker undertones. The humor is British to the core – understated, clever, and dry. The narrative unfolds with a witty and acerbic touch that communicates its themes through the characters’ ironies and contradictions.

Nothing But the Best is a film layered with themes about class, ambition, and integrity. It critiques social structures while showcasing a man who plays the system to his advantage. There's a sense of ugliness behind the practiced smiles and calculated maneuvers, but that's all part of the biting statement the film makes about the lengths to which ambition might drive an individual.

The cinematography contributes to the film's sharp tone, with London's cityscape providing the perfect backdrop for the moral and social climbing that takes place. The writing is smart, and the characters are all distinct and engaging, especially Bates’ James Brewster, who is complex and incredibly compelling, so much so that audiences might find themselves begrudgingly rooting for him despite his nefarious deeds.

To sum up, Nothing But the Best is a classic British satire from the 1960s, an era that was all about challenging and changing social norms. It is witty, intelligent, and offers commentary on society and ambition that still resonates today. With strong performances from its cast and a dynamic script, this film is a darkly humorous tale of one man's quest for social ascension at any cost.