After the Fox (1966) User Reviews

A bit uneven, but it's still unique and a lot of fun

[planktonrules · 7/10 · 1 May 2007]

Peter Sellers is a real enigma. During his career, he made many brilliant films with amazing characterizations (such as DR. STRANGELOVE, BEING THERE, THE MOUSE THAT ROARED and many others), but he also did a lot of amazingly limp films that he practically slept through (THE FIENDISH PLOT OF FU MANCHU and THE PRISONER OF ZENDA). AFTER THE FOX is unusual in that it isn't exactly brilliant but still is very good. As far as Sellers' performance goes, he did a lovely Italian accent and his character was pretty credible, though despite being the star of the film, he wasn't the standout performer (I think this was actually Victor Mature--doing a wonderful self-parody).

The Fox is a master criminal who escapes from prison rather easily in order to keep his sister out of trouble. At first, he thinks she's become a prostitute, but later he finds she's become (horrors) and actress!! Interestingly enough, his sister is played by Sellers' real-life wife, Britt Ekland and his love interest in the film was played by an unknown (but beautiful) Italian. Once out of prison, he learns about a big caper from Akim Tamiroff--smuggling in millions of dollars worth of gold into Italy. So, inspired by his sister's desire to be a movie star, he decides to make a fake film and use this as the cover to smuggle in the gold--and this is how Victor Mature comes into the film. He plays a parody of himself but is very vain and over the hill--telling everyone he's in his thirties even though he's pushing 60! I loved how he insisted he was so young when it was so obvious he wasn't--especially in the scene where Britt throws herself at him and runs her fingers through his hair--only to have them stained black by hair dye. Plus, he was so full of himself that he was gullible enough to believe he was making an art film when in fact Sellers and his gang obviously had no idea what they were doing.

By the way, how Sellers got all the film equipment was pretty interesting. As the film was directed by Vittorio DeSica, he himself appeared in a small scene. He and his crew were filming some Egyptian epic when suddenly the wind machines turned on at full blast. When they were finally turned off, all the equipment--even DeSica's platform and cameras--were missing--stolen by Sellers' gang.

Throughout the film there were many cute moments, but also towards the end the film did lag a bit and the ending seemed to be a bit of a letdown. I especially became bored with the chase scene and the ensuing courtroom scene. Still, it was original and moderately funny with some excellent performances.

By the way, the film clip we see of a younger Victor Mature in an older black and white film was from EASY LIVING--one of Mature's better films. I suggest you try to find it.

Surprising Sellers

[bradmagic · 7/10 · 24 May 2003]

When I found this film I had never heard of it. In glancing at its box I saw "Peter Sellers" and "Vittorio De Sica." Just those two names prompted me to take it home.

I was quite happy with what this film is.

The story is solid, and is what keeps this film running. Sellers does a good job, but I still enjoy his Pink Panther role, as well as his roles in Dr. Sstrangelove. Nevertheless, he does well as an Italian crook and "flamboyant" film director.

The comedy isn't too slapstick, it is smart. There are sight gags, there are setups and punchlines, there are one-liners, not to mention spoofed-themes, and pokes at other Italian film directors/producers.

I didn't exactly know what I would get with a De Sica comedy. He did a fine job, though. "Federico Fabrizi" sometimes looks and seems to be just like Federico Fellini. There are some moments where Fellini's 8 1/2 comes to mind.

A critic said that he didn't understand the ending. At first, I didn't. Think, though! Think! This is De Sica!

Take a look at this film, it's a good one.

Here is to Victor Mature !

[ragosaal · 7/10 · 13 November 2006]

"After the Fox" is a fine and entertaining comedy with Peter Sellers at his best right after a couple of "Pink Panther" titles, as a master thief who finds the way through which the police will guard his millionaire robbery while he is accomplishing it.

A good supporting cast with Akim Tamiroff, Martin Balsam and pretty Britt Ekland is there too. But what really surprised me is Victor Mature's convincing and funny performance as an aging star who refuses to accept the pass of time and his inevitable entering into more adult roles. I always had Mature has a just standard performer who couldn't help overacting and just helped in his career by his somehow interesting screen presence. In a likable character he does very good in this picture and is one of the highlights of the film.

Good for Victor in one of his last roles!

Very clever, very delightful

[SybilLudington · 28 June 2003]

This is actually my favorite Peter Sellers film, and my favorite Neil Simon script, though I suppose I'm in the minority there. I just love it to pieces, though, and re-watch it at least once a year. Sellers as thief in prison, as devoted son and stern brother, as American tourist, and especially as a Felliniesque film director--it's just terrific stuff, he is so pricelessly funny, and yet there is somehow a little less of him and more of a script than there is in the Blake Edwards films, which is why I think I like it better. And I do think Victor Mature is marvelous in it too, with a touching wistfulness underneath all the vain posturing. Ditto the chief of police. The sets are fabulous too, and so is the Bacharach music, much of it deliciously cheerfully Italianate but also the wonderfully catchy main title sung by Sellers himself with the Hollies (that would be Graham Nash later of Crosby, Stills and Nash).

There are certain things about the film that remind me of The Producers, though the comedy style is not quite the same. But anyway, not to be missed!

Sellers is of course the best thing

[funkyfry · 6/10 · 6 November 2009]

This is one of those movies that, even though it's entertaining, I have to assume the main reason it was made was simply the availability of these particular stars in this particular place. Like the original "Ocean's Eleven" which was basically made because Sinatra and the "rat pack" were available in Las Vegas on particular dates, this film feels basically like an extended Italian vacation for Peter Sellers, his then-wife Britt Ekland, and graying American movie star Victor Mature (who essentially makes fun of himself in the film). There's very little of consequence in the film, and it's all very predictable plot-wise, but Sellers manages to salvage more than one scene with his zany improvisations on Neil Simon's funny story.

Sellers plays an Italian criminal mastermind who frees himself from prison and sets about importing stolen Egyptian gold by impersonating a new-wave movie director. "If only I could steal enough money to become an honest man," he laments as he frets about his movie-obsessed sister, played by Ekland.

There are just a handful of really memorable scenes here that basically make the movie, and all but one (with Ekland unknowingly smearing Mature's hair dye all over her face) primarily involve Sellers. First Sellers bursts into Mature's hotel suite in the gregarious manner of an Italian film magnate, kissing Mature on both cheeks like old friends and thoroughly annoying the agent played by Martin Balsam. In another, Sellers convinces the local constable Lando Buzzanca to let them operate without a permit, and ends up with the guy eating out of his hand ("good morning!") while he tears his office apart.

At times when Sellers is playing the director, you get a strong feeling that he's off the script and he's purposely skewering particular directors. It's all a bit weird, because the contrived film Sellers is making inside the film doesn't feel all that much more arbitrary or manufactured than the one we're actually watching.

De Sica's Comic "Masterpiece"

[shepardjessica · 7/10 · 18 August 2004]

This late 60's comic bumbling, silly fable with the Peter Sellers and his then (or soon-to-be wife) Britt Ekland AND Victor Mature..and Martin Balsam (OSCAR winner before this - who was also in ON THE WATERFRONT, PSYCHO, and BREAKFAST AT TIFFANY'S) is a comic easy fable about egos, movie-making and just "you know" 60's fun and I'm sure it bombed. Such a pity. This flick is a laugh-fest in the easiest fun way in 1966 that only an idiot COULDN'T ENJOY, unless he or she hates Italians OR Peter Sellers (playing an Italian). Joyeous stuff!

Not slapstick, not bathroom or mother-in-laws or Bob Hope stupid humor, this has a PLOT and conveys, so subtley, the joy of a crime-thriller while you're catching up to the maniacal silly plot. The acting is beyond talking about Oscar-worthy stuff. It's totally believable because of the story (AND Sellers sings the opening credits title song). It's quite unique and dedicated to 60's fun!

Ready! Set! No action!

[mark.waltz · 7/10 · 14 September 2020]

This delightful artsy caper comedy by Neil Simon joins him with Peter Sellers ten years before "Murder By Death" where a group of thieves (lead by Sellers) get together to film a movie (with Sellers taking on the position of director) while planning a big heist. Matinee idol Victor Mature spoofs his old image (having not had a big hit in years) and delightfully shows that he's still got it. Sellers, badgered by his controlling Italian mama, wants to pretend to at least competent at something honest, and with the law on his trail, he's got a lot of outwitting to try to do.

Mrs. Rossano Brazzi (Lydia) is very funny as Sellers' mother, clonking him over that has every chance he gets because he won't stay around and take care of her like all of her other friends who join her in belittling him. A very funny opening in the desert shows how a truck filled with gold bullion is sidetracked into being stolen. Britt Ekland is definite eye candy, and Akim Tamiroff and Martin Balsam are very funny as well. The gorgeous scenery is another plus, as well as the Burt Bacharach musical score which includes a snappy theme song. 60's mod cinema rarely gets better than this!

A laugh or two here and there

[RedCupCoffee · 6/10 · 3 September 2022]

Another Sellers gem. More characters actors being silly and over-the-top. A wild ride of a story, lots of hijinks. The scenery is gorgeous, the people are beautiful. Sellers is in rare firm, fast, witty and present. It's the kind of movie you get a laugh or two but something you keep on while doing your nails. If you're a Sellers fan you'll appreciate it. This felt more like a showcase for his wife's career than an actual classic Peter Sellers movie, as she keeps up with the action and the blends seamlessly with the pace, she has a face that the camera loves. Overall, it showcases the genius that Peter Sellers can mimic anyone, anywhere and with perfect ease.

Very funny film!

[RufusT · 8/10 · 28 April 1999]

While certainly not one of his greatest works, Peter Sellers nonetheless shines as Aldo Vanucci, aka "The Fox". He underplays the role in his early scenes, as the scheming criminal, but pulls out all the stops when the character hits upon the idea to masquerade as "Fredrico Fabrizi" the great neo-realist. Much like the scheme inspires Vanucci, the disguise inspires Sellers, and his wildly inventive genius kicks into high gear.

Equally funny is Victor Mature as aging, past-his-prime movie idol Tony Powell. It's a well-written part (by Neil Simon), but Mature really brings him to life, and rather than merely making him a buffoon, which would have been easy to do, he gives him a quality of sympathy; deep down, despite all his posturing and pompousness, Powell probably knows he's on the decline.

All-in-all, a very funny film, with a truly inspired Sellers performance, even if it's not his best. Even a little really good Sellers goes a long way. He's sadly missed.

Excellent

[Apollo15AnnoPianoCatDogSnailAnt · 6/10 · 22 April 2020]

It's a good flick w lots of intrigue and funniness.

A mess.

[MOscarbradley · 3/10 · 5 December 2019]

A mess but one that's partly redeemed by a real star performance, "After the Fox" was a daft caper comedy made in Italy by none other than Vittorio De Sica with a screenplay by the American playwright Neil Simon and starring Peter Sellers as an incompetent Italian criminal, (lots of disguises and silly voices), though in the end it isn't Sellers who redeems the film but Victor Mature, wonderful as a vain, ageing movie star, talked by Sellers, posing as a Neo-Realist director, into making a movie as cover for a heist. Subtle it isn't and as a satire on the movie business it never rises above pantomime, (De Dica appears as himself). It's also only sporadically funny, proving that farce, even with Sellers in the lead, wasn't really De Sica's thing.

A GREAT STUDY IN HUMAN EGO

[jawlaw · 9/10 · 10 June 2004]

This much forgotten film has kept me in stitches for years. My brother and I quoted lines from it for years on appropriate occasions. What a surprise to find that Victor Mature was very funny. You have to see it to believe it.

In this clever little film Neil Simon crafted one of his greatest screenplays and the actors translated it into one of the most humorous off-beat comedies of the 60's. It is hilarious even by Coen brother and Zucker brother standards.

Essentially this film is a study in human ego:

Aldo Vanucci (Peter Sellers) wants to be seen as the great master thief.

His sister (Britt Ekland) wants to be a film actress (pronounced "film akdress")

Aldo's mother wants to be the mother of famous children ("my son the director" "My daughter the akdress")

The Agent (Martin Balsam) is proud that he can see through everybody--save himself.

Tony Powell, famous film star, (Victor Mature) is an aging actor that won't accept that he's an aging actor. He wants to play young man roles even though he is in his 60's.

The Police chief wants to say "Gooda Morning" in the movie so he'll get his "Warhol allotment."

The whole town of Savalio wants: "To be inna movie."

This film is a scream. If you watch this and don't simply crack up, its obvious that farce is not your fare. It's okay--farcical humor isn't for everyone. CAVEAT: If you like this check out "The Wrong Box."

At any rate, the finale of this film (I won't give it away) surely made Fellini blush--he is so well lampooned by Simon. This film hands out the ultimate insult to the avant guard film crowd of the 60's. It has the courage to insinuate: "We don't get your films and that doesn't make you smarter than us!"

Trying to Figure out a Fox

[[e-mail] · 6/10 · 30 March 2011]

After the Fox (1966) is as hard to categorize or rate (in terms of number stars) as it might be to actually catch the animal in real life.

After the Fox has an A+ list pedigree; it stars Peter Sellers (Dr. Strangelove), is directed by Vittoria De Sica (The Bicycle Thief), with the screenplay by Neil Simon (The Odd Couple) and music by Burt Bacharach (What's New Pussy Cat), with the title single by the Hollies (Long Cool Woman – in a Black Dress).

After the Fox is not the best work for any of the members on the list above. It is somewhat slow to start and uneven. However, After the Fox has so many scenes and characters that are sensationally clever it would be a shame to avoid viewing.

After the Fox is the first screenplay written by Simon and the setup and dialog in the restaurant negotiation scene is as good as any Simon and Sellers have been involved. There are many other scenes in After the Fox that take full advantage of Simon and Seller's artistic skills.

Victor Mature (Samson and Delilah) plays the vain heavy Heavy – Tony Powell. The role is a parody of Mature's screen persona and he is brilliant. After the Fox smartly uses a love scene between Mature and Lizbeth Scott in Easy Living as part of the setup.

Maria Grazia Bucella plays the "sister" of the bad guy - Okra. Bucella's beauty is so overwhelming, she commands virtually every scene in which she is involved. Also Bucella displays a wonderful ability to play dead-pan humor.

Bond Girl Britt Ekland (The Man with the Golden Gun) plays Gina Vanucci/Romantica. She seems somewhat miscast. Ekland and Sellers were recently married and it is rumored Sellers insisted she be in the film as the lead actress.

After the Fox seems to struggle in the sense that it is caught between trying to be a farce (stealing gold), slapstick comedy (police chases), parody of Italian Art house film (Sellers as Fabrucci/Fellini) and parody of Hollywood (Mature as Powell). Trying be all of those aspects is problematic. None-the-less, After the Fox is well worthy of a viewing.

After the Fox is available at NetFlix via online streaming and the quality of the picture is very good.

Frantic farce, yet slow on laughs...

[moonspinner55 · 4/10 · 15 January 2011]

Jailed in an Italian prison, the Fox--one of the last of the world's master criminals--escapes from his cell upon hearing of his sister's escapades; he gets the bright idea of going after a stolen fortune in gold bars recently smuggled out of Cairo, plotting to intercept the shipment at sea while pretending to be a film director making a neo-realist love story in an Italian village. Screenwriter Neil Simon and director Vittorio De Sica poking fun at European movie-making, with Peter Sellers in the disguise-laden lead. Overlong comedy should work, and intermittently it does, however De Sica's pacing is leaden and Simon tries working too much into the scenario (which culminates with a slapstick car chase followed by a pseudo-serious courtroom finale). Sprinkled with funny asides, the picture is utterly inoffensive and innocuous...and it should have been much better. Burt Bacharach composed the forgettable score (his and Hal David's title song performed by The Hollies with Peter Sellers is easily their weakest). ** from ****

Do you know how many good kisser are starving in Italy?

[Mr. OpEd · 18 February 2001]

"Do you know how many good kisser are starving in Italy?" That's just one of the excellent lines from this underrated movie. The credits alone sound like the plot for a waco 60s jet-set movie: Vittorio De Sica directing a Neil Simon script? You've got to be kidding. True, the film sags and lags at parts, but between Peter Sellers, Victor Mature (truly awesome here), and the mouth-wateringly hummana-hummana Brit Ekland, the movie has enough going for it that it remains a favorite. And that incredible Burt Bacharach score! I swear that if you're depressed and listen to this music (available on CD as I write this), you'll be cured for life!

An enjoyable farce with The Fox

[SimonJack · 7/10 · 24 September 2017]

This Italian-made comedy has Peter Sellers in the role of a master crook of many disguises. There's an old saying, "The clothes make the man," that might apply here. Because, except for a mustache and a little rearrangement of his hair, Aldo Vanucci – aka, "The Fox," is able to pass himself off as any number of people not readily recognized by the police. Of course, we in the audience recognize him right away. But his neat suit leaving the prison doesn't arouse the guards to check to see closely that it is not the prison psychiatrist leaving, but Vanucci. Then policemen walk right by him on the street when he appears as a priest with no facial changes at all; and then in a formal Army uniform as an officer, with a mustache.

"After the Fox" is set in Rome and the Italian coast, where it was filmed. It's a good comedy of antics and situations that Sellers was master at. He is joined by Victor Mature, who plays an aging but still screen idol actor, Tony Powell. Also in the cast are Britt Ekland as his sister with her wannabe stage name of Gina Romantica. Martin Balsam plays Harry Granoff, Powell's frustrated agent. And one of the best supporting actors for mid-20th century comedies, Akim Tamiroff, plays Okra. Several other good small roles add to this fine comedy.

Maria Grazia Buccella plays Okra's sister, but The Fox doesn't know it at the time and he's attracted to her on their first meeting. It's a hilarious scene and one of the funniest of all time in the movies. The Fox is supposed to met Okra in a well-known Italian restaurant that caters to tourists. They won't be so conspicuous there. The sister is sitting alone at a table and Okra is sitting at the table behind her. They are seated back-to-back, their chairs touching. She mouths the words that Okra speaks, in perfect sync so that one thinks it's really she who is speaking with the broken, deep male voice. The Fox thinks it is her voice at first and is taken aback. Okra tells him to sit down and that he is speaking through her because they wouldn't draw attention as would two men talking.

A lengthy conversation takes place, and The Fox comes on to her during this. Her lip-synching is so perfect, it is one hilarious scene. Later on, Okra and The Fox have a similar scene when we see two horses drinking at a fountain, and hear the voices of the two men as they talk. One would think it was the horses (by ventriloquism) until the camera pans back and we see that Okra and The Fox are each driving a carriage with passengers.

Things go into high gear when The Fox commandeers a film company truck and equipment to stage a fake movie in a small coastal town. It's there that they plan to land two tons of gold bars the Okra's gang managed to steal from Cairo, Egypt. The whole town gets involved. I can only imagine that the cast, film crew and all the people of that village must have had a fun time making this movie there.

One last good element of this film is a crazy vehicle chase. Okra tries to flee the scene with the gold all by himself in the movie production truck. He turns on a smoke screen first and takes off. By this time the police have arrived, and the crazy chase with The Fox and police in pursuit winds up and down and around the roads from the village. The smoke screen is so dense after a while that we can't see the vehicles. Anyone who has seen "The Pink Panther" knows how this chase will end.

It's a funny and very enjoyable film with more than a little satire of the Italian and Egyptian police, and of foreign filmmakers.

Here are some funny lines from the film. For more, see the Quotes section on this IMDb Web page for the movie.

Gina Romantica, watching a movie in a theater that stars Victor Mature, "He's a good kisser." Aldo Vanucci, "Do you know how many good kissers are starving in Italy?"

Aldo Vanucci, to the Police Chief after townsfolk boo him, "We should have a talk in your office before they kill you."

Police Chief, as he holds a cigar box open for Aldo, "Have a cigar." Aldo Vanucci, "Oh, I couldn't take your last one." Police Chief, "Thank you."

Gina Romantica, to Tony Powell, "You're even more beautiful in person than you are in real life."

Aldo Vanucci, to Tony and Gina, "When I give you the signal, do nothing, absolutely nothing."

Bikini Girl comes to see Aldo, who doesn't know she is Okra's sister. She says, "He doesn't let me talk to anyone. I haven't used a telephone in six years. If he knew I was here, he would kill me." Aldo Vanucci, "That swine."

Fox Between Panthers

[TheFearmakers · 6/10 · 4 July 2022]

Victor Mature plays an aged, has-been actor who spends so much time bickering with agent Martin Balsam about doing or not doing a French existential film, you'll simply want things to narrow into what the real movie's about...

And AFTER THE FOX doesn't mean what follows but who's following Peter Sellers' criminal named Fox: He broke out of prison, in disguise, and there's plenty of humor but not enough laughs outright...

Shame since the cinematography's so gorgeous, a satire on the pretentious side of 1960's French New Wave cinema, ironically directed by 1950's minimalist BICYCLE THIEVES auteur Vittorio De Sica, who doesn't allow either his funny (Sellers) or straight man (Mature) enough time together...

Leaving the best scenes to Britt Ekland as The Fox's film-buff little sister he lives to protect, even more important than the plot to recover his previously stolen loot. But, like that bogus art film (badgered by noisy, annoying villagers), all that matters is the deliberately pointless running around, which is entertaining yet tiresome. And not always in that order.

One of his most underrated film

[flavellsemail · 7/10 · 12 June 2020]

Upon looking for the next film to watch with sellers I found this. I loved the song in the trailer as it was so daft and funny. I read how this is a comedy / farce so maybe was lucky to expect some daft slap stick comedy.. Within the first 5 mins that was exactly what I got.

I feel this role was perfect for sellers as he got to act/dress as different characters and Peter sellers does that so well. Nice performance by Victor mature and Martin balsam also. I liked how the film ended (not so much the scene before the very end) but the comedy is all the way through the film.

Alot of People are saying this is a rip off of pink panther which I understand but he plays a different character in this role. Not as clumsy or as daft much more a fox =)

Fun but still missing a little something

[blott2319-1 · 7/10 · 15 August 2020]

You can definitely feel the writing hand of Neil Simon in After the Fox. It has his brand of witty comedy and also a bit of silly slapstick for added laughs. While the comedy wasn't always effective in this film, when it worked I was laughing a lot. Peter Sellers is a big reason why the comedy was clicking, because he has a ton of talent and can make even boring scenes funny with the right look or some inflection in his line-reading. In many ways this reminded me of a Blake Edwards film because of the style of jokes and probably because Sellers was delivering them. Unfortunately, I think the movie would have been better served with a director more adept at comedy like Edwards. It's not that Vittorio De Sica is completely inexperienced with the genre, or that he filmed any of this movie poorly, but there was something that felt missing in the way the film was presented. It seemed the script called for things to get pushed to an even wackier and outlandish place, but it never went there, and they played certain scenes straight that needed a madcap feeling.

That being said, I still found many of the elements in After the Fox to be delightful. This isn't the first time I've seen a movie where the plot revolves around a fake movie being made in order to cover for something else that is going on, but I liked the way that plot was presented this time. The kind of rambling and nonsensical scenes that we see the protagonist invent on the spot feel like things I've seen in real movies. I laughed out loud more than once thinking of real-life directors that I imagine work with this exact kind of insane format that lacks any structure or logic. (Some of them are definitely Italian, too, so that made the setting of this film a bit more humorous.) One of the elements I didn't love in After the Fox was the family relationship stuff. It felt like a shoddy attempt to create motivation for our main character, and didn't amount to much in the storyline. There were certainly some jokes that sprung out of the family drama, but it never struck me as vital to the plot. There are no other specifics that I can point to as flaws in After the Fox, but I still felt it was not quite as good as it could have been. I'm certainly thinking about watching it again, and I hope it will click more next time, but for now I'd only call it good and not great.

Very Italian and very funny.

[RRenee · 8/10 · 10 July 2000]

As a comedy for an American audience, After the Fox is a pleasant diversion, especially the classic performance by Victor Mature as the aging Hollywood hunk who can't accept reality. But for any person who has spent any time in Italy--whether in an urban center such as Rome or the Italian equivalent of Mayberry--this movie is hilarious. The writers and performers have captured the essence of the Italian personality as well as the spirit of the abrasive American personality. Since this film was shot entirely on location, we get a real sense of Italy as a place. Peter Sellers posing as the self-important filmmaker Federico Fabrizi with Fellini black-rimmed glasses and all gives an excellent performance. I love this movie.

Needed a Re-write

[trescia-1 · 7/10 · 15 December 2021]

I'm just writing this review to explain how I would have changed the ending if I had gone back in time, been given the chance to re-write the script, and then had my version filmed.

But, of course, that didn't happen.

As far as we know.

Anyway, this movie has such an all-star cast, crew, composer, director-- where did it go wrong? The answer is the mediocre ending. Even if you LIKED the rest of it (as I did) the ending is a flop. It feels as if it were pasted-on in order to make it a "crime doesn't pay" moral lesson, tacked onto a film that in NO WAY should have such a sappy ending.

So what should it have been? Glad you asked!

The bad guy should get away with it. Every sane person in the audience knows that "The Fox" will ALWAYS triumph-- and includes stealing the gold back from the fat guy who steals it from HIM.

That's all. We don't even need to know how he did it. Just "cut to" a smoky cabaret and The Fox in disguise, and his gang appears to cry in their vino about the lost loot, and (surprise) the gold is right under their noses-- the cutlery and all the plates are not just "golden" they ARE gold. (Hence the need for the gorilla searching people on the way out).

Ah yes. If only.

And now presenting "Okrascope"

[theowinthrop · 5/10 · 20 March 2005]

I recall this film when I saw it once on television in the early 1970s. While I see it has gotten many favorable write-ups on this thread, I have to admit it disappointed me. It was that long, long (too long) series of third rate films that Sellers got involved in after his peak in the middle 1960s, when only an occasional film ("The Wrong Box", "There's A Girl In My Soup") reminded people of the comic and acting genius he was. In my memory the only good performance was that of Victor Mature as the aging actor, who is best recalled by the public in that he is always in a role wearing a trench coat. The highpoint of Mature's performance is when he, Balsam, and several others are stuck in a car that is stalled on a railway track, with a train bearing down on it - and Mature is screaming the most. Finally the train passes them and they are safe. Everyone is just silent and sweaty from their near-thing ordeal, and Mature suddenly smiles and acts as though he could have told them not to worry.

But the best line I remember deals with Sellers and fellow conman Akim Tamiroff. Sellers has to introduce Tamiroff (named "Mr. Okra") to Mature, Balsam, Britt Eckland, and the others on the film set. He says, with great formality, "This is Mr. Okra...inventor of "Okrascope"." I am still waiting to see what "Okrascope" was.

What a Fantastic movie

[Bobby-27 · 10/10 · 22 October 1998]

Without a doubt Peter Sellers is the finest of them all, But Victor Mature steals this show. Gina Romantica and cast are so entertaining. I love this movie, we lost Peter too soon. We need him now, what a loss.

a golden cast

[killercharm · 7/10 · 6 February 2022]

This flick is made by a golden cast, crew, writers and the rest. So Italian, so de Sica, so Sellers. Aldo "The Fox" Vanucci (Peter Sellers) has escaped prison because he wants the gold of Cairo. I see scenes from this movie in others, e.g. Austin Powers: International Man of Mystery. And why not, this thing's a scream.

Time Wounds All Heels

[Orpheus_Dude · 1/10 · 23 December 2018]

Although things have somewhat improved, Americans still basically hate watching foreign films with subtitles. So think of all the wonderful, classic Italian films - from the likes of Fellini, Antonioni, Bertolucci, and Visconti - that were relegated to "art house" cinemas, because subtitles would never be able to draw large enough audiences.

Today I still see viewer reviews on IMDb blasting a film because it has subtitles, is in black-and-white, or is shot in Academy ratio (4:3) as opposed to widescreen.

So in the 1960s, American - and in this case, British - studios made their own "foreign films."

"After the Fox" might have been amusing in 1966 but time has not been at all kind to it. In fact, it was never the hit it was intended to be. Even if it was meant to be a parody of Italian films, it fails. Neil Simon, who wrote the screen play, dismissed it. The New York Times critic Bosley Crowther summed up his review, "It's pretty much of a mess, this picture. Yes, you'd think it was done by amateurs."

It is atrocious that a director of Vittorio De Sica's caliber - the man who made masterpieces such as "Ladri di biciclette" and "Il diardino dei Finzi-Contini - made such a film, filled with non-Italian actors screaming at each other in overly stereotypical Italian accents.

In 2018 it is an unwatchable embarrassment. Even the chameleonic Peter Sellers is reduced to the lowest forms of attempts at humor.

I love film. I have a fairly large collection (over 2000 on DVD) from the 1920s through the latest. For me, the best films of the last two decades (at least) have come from other countries, but for the large part remain unknown in America because of subtitles.

I made it through about 50 minutes of "After the Fox" and simply had to turn it off. There is nothing remotely funny about it today. In fact, because of the stereotypical behavior that reduces a potentially interesting storyline to trash, I think it would be the stuff of which inspires protests. Think of it as the Italian equivalent of blackface, or casting Asian characters with Americans in makeup.

Don't bother with this sad flop in the 21st century unless you have to see all the films of Sellers and De Sica, even at their worst.