Robert Carlyle Goes 'The Full Monty'

'British comedy' is a tricky thing, and it is only recently that it is really gaining 'mainstream popularity' in America. Relying heavily on subtlety (never big in the U.S.) and deadpan response (which, with the exception of Bob Newhart, has been all but non-existent on the American scene), British comedy has had to 'chip away' in its attempt to swim the Atlantic. Whether it be 'wild and wooly' ('Monty Python', 'The Young Ones', 'League of Gentlemen'), or 'dry and wry' ('Fawlty Towers', 'Jeeves and Wooster', 'As Time Goes By'), British comedy has struggled to get past its 'cult' status, and expand beyond public television airing.

What makes British comedy great is that (so unlike most American comedy) it demands something from its audience. Generally, you have to have a bit of intelligence, and you're going to be in a rough spot unless you've read a book now and again. That's not to say that all intelligent people are going to find British comedy particularly funny (though it has been my experience), but especially unintelligent people are probably going to have a hard time thinking it's funny.

As I say, the popularity of British comedy has been growing. 'Monty Python' has been snowballing its way into the culture for decades, certain shows suddenly had fad-like followings ('Absolutely Fabulous' for one), and people were actually starting to pay attention to the fact that some of the more popular 'American' shows were ripped off ('Man About the House', 'Steptoe and Son', 'Til Death Do Us Part', etc., providing the content).

And so, the stage had been set for some British movies to have a shot at breaking the barrier. Most of these movies, coming out in the last seven years or so, still never completely made it to the mainstream, though some have made it into some slightly different, 'more popular' cult status.

'The Full Monty' (whether or not it is a 'prime' example of British comedy), however, managed to cause quite a stir.


I will skip to the main joy of this movie, lest anyone get the wrong impression of what is going on, and that is that the movie manages to make some fairly serious statements, but it does so without preaching, pandering, or otherwise turning into a commercial.


In 'The Full Monty', Robert Carlyle ('Trainspotting', 'Plunkett & Macleane', 'Angela's Ashes') plays Gary Schofield, a mostly down-on-his-luck, divorced father full of bile. Schofield can actually be pretty well described as being the character that one of Carlyle's other characters, Frank McCourt's father in 'Angela's Ashes', thought he was. Schofield is a likable, decent chap whose main problem actually is that he can't catch a break, as opposed to that just being an excuse after coming home drunk every night.

Gary Schofield, known as Gaz, is unemployed in a sea of unemployment, and like a lot of others, is having trouble paying the bills. He's also got a son, and he's desperate to 'toe the line' so that his son can look up to him in the midst of his ex-wife's (perfectly reasonable) demands for support.

The main problem for Gaz is that his whole town is desperate for work, so much so that before long his old boss finds himself in line for the dole as well. Gaz quickly hits on an idea when he learns that a male 'entertainment' revue is cashing in, even in this town of desperation. If they can make money in their thongs, Gaz can break the bank if he 'goes the full monty'. All he needs is a few blokes to stand next to him while he does it.

Recruiting from his fellow workers, and his old boss, Gaz starts putting together the 'show', and after some auditions to round out the cast, the boys set down to learn to dance, conquer inhibitions, and make some dough.


Where this movie (pretty obviously) gets its charm is in the semi-sub-texts. It's the struggles with doing the thing that really make the thing. A small group of men who have had a good part of their dignity taken away from them, intend to give a bit more away, and some of them are pretty torn over whether they can bring themselves to do it. On a similar note, we have the mixing together of Gaz, this idea, and his son, and all the questions this mixing implies. Is a stripping dad a good role-model, for one.

In the end, we address these issues. One member of the group, the overweight one, bows out. It might have seemed to him a good idea at the time (or as something to joke about, but not actually do), but he can't avoid the image of himself as being utterly unsexy. Gaz also, at the zero hour, can't seem to bring himself to go through with it. He, however, being confronted by his image of himself as 'man' and 'father'.

Both issues are taken in hand by a wife in the one case, and by the crowd (and a son) in the other. Perhaps women (and men who deserve the title) are more cerebral. Perhaps sexy is as sexy does. Perhaps being a man has to do with who you are, and not what you do. Whatever the case, both men learn something about those around them, as well as about themselves. The crowd is not more boisterous, more interested, and more affectionate because these men are 'going the full monty', but because they know the story, and there's nothing more sexy (or more manly to a son trying to respect his father) than doing whatever it takes. Because, actually, they are going the full monty in another sense.



Luckily (if we aren't trying to be depressed), this is all delivered to us with at least a bit of an attempt toward being 'on the sly', and in the midst of a bawdy, hilarious comedy. You probably won't cry (and whether you should or shouldn't might be up for debate), but you will definitely laugh.


The cast of the film is comprised of 'irregulars', just as it should be, and while you probably won't recognize most of them, their performances will leave you wondering why you don't.



If you're still wondering if you'll like this movie, it falls in line quite well with other recent British/UK 'despite trying to crush the workers under your boot' movies such as: 'Billy Elliot' and 'Brassed Off'.