The Missionary – 1983 | 86mins | Comedy | Colour

Plot Synopsis

Michael Palin’s first solo film venture and one of the many backed by the new HandMade label, this is really a polished Ripping Yarn and brilliantly done. During work on Time Bandits, Denis O’Brien and George Harrison asked Palin to come up with a script idea of his own; the result was this stifling return to exploring emotion-concealing pride of British history with a more understanding, balanced style of writing. Gentle and understated, Palin’s solo writing credit retains brilliantly written parodies of the British upper classes, highlighting the sickening, money-loving, bloodthirsty, champagne guzzling, xenophobic attitude of the rich, while celebrating the eccentricity of organised religion and superior attempts to smooth the pleasures of the underprivileged.

Palin’s performance, typical of Ripping Yarns, is meek and mild, incorporating just a dash of adventure and sexual interest into his collected, God-fearing British characterisation. The ever-wonderful Maggie Smith, who would later work with Palin in A Private Function, contributes a quite stunning mixture of landed gentry’ wealth and free-spirited sexual energy. Denholm Elliott gives a peerless performance the Bishop of London, nervously explaining the job Palin is required for and peppering his speech with sporting terminology. Fellow British film icon, Trevor Howard, personifies the stuffy, over-privileged self-opinionated, Times letter pontificating against everything and anything that may affect his position as uncontrolled, wealthy bore. David Suchet has an unforgettable Scottish monologue pledging his healthy body to the worship of Smith; a doddery old Roland Culver plays doddery and old with skill. Graham Crowden does a good job of his vicar and Timothy Spall‘s manservant – with some hilarious fertility symbol dropping business all give the project class. But it’s the stately Michael Hordern, both providing off-screen narration and on-screen delight as the absent minded butler that effortlessly steals the film. Staggering round the enormous Ames estate, his hound, dog expression, misunderstanding; and petulant behaviour creates some glorious material, particularly opposite the sheepish Palin.