“You see, a soul’s rather like your appendix — totally expendable.”
Genres, Themes, Actors, and Directors:
Response to Peary’s Review:
I’m essentially in agreement with Peary’s review — though I disagree with his assertion that its “delight today is to catch a nostalgic glimpse of [the] once-wonderful comedy team”. Indeed, most modern viewers will never have heard of Cook-and-Moore (unless they’ve seen the duo in The Wrong Box), and will primarily be familiar with Moore from his later (solo) work, in 10 (1979) and the Arthur films. Therefore, the film must stand on its own as a comedy — and to that end, I believe it still “works”. While it may not be uproariously funny, the very premise itself — that “Cook’s Satan is more of a prankster than Evil personified” — is clever enough to keep one consistently engaged; I found myself especially eager for the “inter-vignette” moments, to see where and how Cook would next be wreaking gentle havoc on the Earth (by, for instance, “ripping out the last page of Agatha Christie mysteries, scratching record albums, making grocery bags tear open, setting wasps loose on picnickers”:
… or “calling up women and revealing to them their husbands’ infidelities”:
… as Peary writes in his Cult Movies 2 review). It’s all good fun, and certainly worth a one-time look by film fanatics, especially given its (onetime?) cult status.
Note: Raquel Welch’s appearance here — as Lust personified — is brief but memorable.
Redeeming Qualities and Moments: