| RATING: | 80% |
| FORMAT: | DVD |
A contrived but rather clever exposition of a consequentialist morality that equates the evasion of political responsibility (for ones actions) with social snobbery. The latter is seen as a means of protecting people from truly growing up, since hurting those deemed less than ourselves is viewed as being of no ethical importance. Moreover, social snobs require that their so-called inferiors approve of being looked down upon by creating the fear of being labeled either impertinent or insolent - or both. However, when someone with self-respect confronts someone without it, the desire to destroy the self-respecting person becomes paramount for the phoney self-respect of the snob.
Adapted from J B Priestley's stage play of the same name, this chamber piece is an excellent representative of the well-made play school of stagecraft. Not learning the objective lessons of experience is also focused upon in a tight script that is all lean and no fat. Sophistical arguments are employed to evade moral responsibility as though one had the right to do as one pleases - like a child. To never accept that adults cannot do this without accepting the inevitable results when mistakes are made, as a result of an immature acting-on-impulse rather than forethought.
Where this movie fails lies in its not presenting the economic case for ending snobbery - improved efficiency and productivity by hiring the best people, not just those of a certain social class. And paying higher than the market rate to get the best people to provide for the so-called living wages claimed by the poor; leading to the ability to hire less staff, reduce costs and - thus - increase profits. Without this as an argument, mere exhortations to businessmen's better nature will largely fall on deaf ears.
Alastair SIM is excellent as the eponymous inspector; especially given the fact that he is not a character in his own right but simply the conscience of the group of people whose life he temporarily invades. The play is opened out well and we are not left feeling that this is merely a filmed play, but a movie in its own right. The other actors individualize their archetypal roles well - especially Eileen MOORE, who eloquently expresses with her eyes the act-in-haste; repent-at-leisure nature of her character - mixed-in with her yearning for true maturity.
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