How To Get Ahead in Advertising

Denis Dimbleby Bagley begins and concludes the 1988 film HOW TO GET AHEAD IN ADVERTISING by ranting about the gullibility of the public and the ease of selling them things not only that they do not need, but convincing them that treatments for what ails them really work.  Or, giving them the hope that it does, when perhaps all else indicates it may be a sham placebo.  In between these lengthy caustic speeches...... Bagley delivers several more.  To his boss, his wife, his dinner guests, himself, and an ever growing boil on his right shoulder.

The boil is a malicious and cynical little shit that speaks audibly and gets Bagley into some embarrassing situations with its remarks.  The timing of its arrival is interesting as Bagley, after suffering a nervous breakdown precipitated by his inability to compose a strong advertising campaign for pimple cream, has had a change (or obtaining) of conscience about his deceptive line of work. The lack of ethics.  The boil won't have it, and takes matters into its own, uh, well...

Writer/director Bruce Robinson's film then takes a rather innovative turn, leading to all sorts of ideas as to what this boil represents.  Duality? Id? Human nature? True self? Sin? You could spent hours counterpointing.  No matter your conclusions, it is inarguable that Robinson has fashioned an angry, relentless farce that leaves absolutely zero doubt as to how he feels about the profession.  Advertising represents a brand of evil on par with any delusions from the pit of hell in this movie, and when you consider what is behind an effective slogan and campaign, really consider, it's hard to argue.

But damn is this movie heavy handed and over the top.  Desperate at times.  Robinson's venom is so comprehensive I could just imagine his keystrokes couldn't keep pace with his brain.  The dialogue is so verbose I kept wondering of HOW TO GET AHEAD IN ADVERTISING might not have worked better as a one man show, with Bagley repeatedly pacing a stage.  Surely actor Richard E. Grant (who admittedly is quite committed and amazing in the role) could've pulled it off.  Maybe all the business with the boil, which straddles the horror/sci-fi line a few times, was ultimately unecessary, clever as it all may be.

The film wants to be a bitter little cult classic, but is too disorganized.  Also, Robinson allows many scenes (including the party late in the film) to go on too long.  The cast is fine, including Rachel Ward as Bagley's amazingly patient spouse.  Grant (re-united with Robinson after their collaboration on WITHNAIL & I) burns up the screen and goes on and on and on as if he's being paid by the word.  His rants may make your inner Socialist/Communist cheer, but in the end the points are so thoroughly beaten into the ground you may well feel compelled to dust off your copy of Margaret Thatcher's The Path to Power.