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John Edward Boulting [3] (21 December [2] 1913 – 17 June 1985) and Roy Alfred Clarence Boulting [4] (21 December [2] 1913 – 5 November 2001), known collectively as the Boulting brothers, were English filmmakers and identical twins who became known for their series of satirical comedies in the 1950s and 1960s.
The title is a well-known English expression indicating smug and complacent selfishness. [4] The trade unions, workers and bosses are all seen to be incompetent or corrupt. The film is one of the satires made by the Boulting Brothers between 1956 and 1963.
Seagulls Over Sorrento is a 1954 British war drama film made by the Boulting brothers based on the play of the same name by Hugh Hastings. The film stars Gene Kelly and was one of three made by Kelly in Europe over an 18-month period to make use of frozen MGM funds. The cast features John Justin, Bernard Lee and Jeff Richards.
The Guinea Pig is a 1948 British film directed and produced by the Boulting brothers, known as The Outsider in the United States. The film is adapted from the 1946 play of the same name by Warren Chetham-Strode .
In July 1963, it was announced that David Susskind would make a film of the play as a co-production with the Boulting brothers, with John producing and Roy directing. Roy Boulting was writing a script with Naughton and Susskind and was hopeful that Peter Sellers , who had made several films with the Boultings, would play the father. [ 13 ]
He is best known for two of his novels, Private's Progress and Private Life, both of which were adapted into Boulting brothers films: the former as Private's Progress (1956); and the latter as I'm All Right Jack (1959). Hackney also co-wrote the script of I'm All Right Jack, which was a satire of trade unions. [3]
INTERVIEW: Four decades of free-to-air Tour de France coverage is coming to an end in the UK and Boulting, the voice of ITV’s long-running broadcasts, believes it is a symptom of the decline of ...
The Monthly Film Bulletin wrote: "For once, the familiar Boulting Brothers' formula of uninhibited contemporary satire has placed itself in an extremely invidious position. Jokes about colonial administration, U.N. efforts to quell local revolutions, and American and Russian spheres of influence, have uncomfortable topical parallels; even if ...