In a matter of a few short weeks (April 22nd in fact), Warner Bros' remake of a classic 1980s comedy arrives to British cinemas, with US audiences being able to go and see it from today. That comedy is Arthur, a film which is very dear to my heart and which was rather criminally one of only relatively few cinematic releases that Dudley Moore made, which is why I was initially somewhat frustrated that the unstoppable Hollywood remake machine had turned its attention to it. I do like Russell Brand- and I'm sure I'm probably in a dwindling minority here- and value his sense of humour above a number of less barbed and colourful (and thus far safer in my eyes), but in accepting the role of Arthur, he is filling some mighty big shoes. Dudley Moore, the original playboy character from the 1981 version of the film, had a certain unquantifiable essence that made him one of the most charismatic comic actors to have ever worked. While Moore may not have contributed massively to the comic film canon, the old adage states the brightest flame burns out the quickest, and what he did give to that universe was punctuated by moments of class that will likely see no equal. Because, despite the cliched implication of this sentiment: they just don't make them like him any more. So, in a celebration of sorts, and to herald the forthcoming release of Arthur, we thought it somewhat prudent to remind you lot exactly how good Dudley Moore was. Below is a mini-list of Moore's finest moments (mostly from his film career, but featuring one infamous radio moment that simply could not be ignored!) in no particular order: Moore's Finest Moments
Santa Claus: The Movie (1985)
A film that proved that Moore was more than just a comic, and though Arthur is widely panned by critics as a manipulative, sickly-sweet experience, it remains a firm, perennially returned-to Christmas classic of which Patch's story is definitely the most compelling aspect. Moore brings a family-friendly tenderness, and a heart-warming enthusiasm to the role, despite it being near thankless, thanks in part toa cliche-heavy, superficial script. It's definitely an indicator of range though, because it is very odd to think that this cheery elf- another of Moore's losers with a heart- is the same man behind Beyond The Fringe and the infamous Derek & Clive (see below). My affection for the film may have something to do with the subject matter (I will always be a hyperactive child when it comes to Christmas), but it represents an instant window into the past when my innocence and childish seasonal glee was a little less creepy.
Bedazzled (1967)
Every double act requires balance to make the dynamic work- Eric Morecambe needed Ernie Wise, Abbot would be nothing without Costello and even Penn needs Teller, and Dudley Moore's opposite number was the legendary Peter Cook, a man whose lascivious sense of wit and cutting charisma was the perfect counter-point to Moore's gentler (though occasionally just as naughty) sense of humour. In Bedazzled (another cruelly remade Moore classic) the Moore/Cook, the dynamic that the two had fostered through their TV partnership translates almost perfectly, and it is very obvious that the two were given free-rein to improvise and script their exchanges. Dudley Moore plays his archetypal charming loser, but it is his chemistry with Peter Cook (who has never been better) that shines the brightest.
10 (1979)
10 is almost like a sibling of Arthur, though with Moore playing his first, and arguably most memorable comparatively straight role: while in Arthur he isn't a particularly likeable character (oddly, we like him precisely because of his sociopathy) he is a winner, in 10, Moore is far more the loser. His sliding scale of rating women is pretty despicable, and there is a far amount of pleasure can be had in the ultimate resolution in the tragic comedy of George, at the same time as a great deal of laughter. The thing is, George is our loser, and the comedy of his situation works because it is infinitely possible to see ourselves in his character, and indeed the success of the film (despite the initial suspicions of its producers) had a lot to do with its pre-emptive tapping into a collective masculine anxiety concerning sexuality and sexual performance. It is a great performance by Moore, who does well to not simply evaporate in the face of Bo Derek's iconic swim-suit scene, which is the other great enduring memory I always had of 10.
Foul Play (1978)
Who'd have thought it, a Chevy Chase film that revels in its own silliness, and manages to convince that brainlessness is in no way a by-word for poor quality. No top-billing for Dudley Moore here, given the placements of Mr Chase, fresh from conquering laughter bones everywhere on Saturday Night Live (and long before he became an ironic, post-modern caricature of himself), and a very endearingly charming Goldie Hawn (who the film is clearly written for), but he does steal most of the focus when he is on screen as kinky conductor Stanley Tibbets. It's a Hitchockian (ish) comedy thriller, but don't watch it for that- instead watch it for the silliness generally, and the specific joys of one of Moore's first cinematic performances. Watch how much fun he has, it's hugely contageous.
Derek & Clive
Specifically, the must-listen moment is one that inspired a gush of air as everyone listening at the time gasped in response to some colourful, and flagrantly hedonistic use of the word cunt. There is such reckless abandon in the conversation between Moore and Peter Cook that it is impossible not to admire their bravery (or their downright obstinence in the face of supposedly acceptable conduct). Bravery in fact that was enough to inspire three separate British police forces to seek the pair's prosecution under obscenity laws- and we thought Russell Brand's Sachsgate was scandalous! The best thing about the various clips you can still find online, is that Moore seems to be the instigator of most of the vigorous vulgarity, despite it being Peter Cook who is generally held as the naughtiest of the two.
Arthur (1981)
Moore's greatest role? Undeniably so in my eyes. It is certainly one of the most endearing performances by a leading male actor, which helps what could have been a morality tale about success through conscious failure (choosing one thing over everything) become instead an aspirational story. It is wonderfully written, incredibly acted and hugely, hugely engaging, both in terms of its comedy, which lands perfectly, and its irresistible love story element, which defiantly sticks two fingers up at even the most cynical of loveless critics. This isn't necessarily even Moore's film, since Sir John Gielgud and the delectable Liza Minnelli are both exceptional in supposedly supporting roles (Gielgud to such a degree that a decision was made on the remake not to compete with him by changing the sex of the character), but without him it wouldn't have worked. Moore brings so much charisma and charm to the performance, and is so unselfish with screen focus (something I can't see Brand accomplishing, I have to say) that his own performance informs and encourages those of his fellows on screen. It's hardly praise enough, but if this article makes one person go back and enjoy a Dudley Moore film that they haven't seen in a while, then it's done its job, far as I see it. Dudley Moore's Arthur & Arthur 2: On The Rocks, were re-released on DVD this week. Arthur is released on 8th April in the US, and on April 22nd in the UK.