February 1st | 4 films
On February 27th, discover the comedic brilliance of Dudley Moore as TCM showcases several films that feature that larger-than-life personality which particularly shone from the 1960s through the 1980s.
Sources state that Moore was born on April 19, 1935, and grew up in Dagenham, Essex, England. His deep musical abilities were cultivated throughout his life, including studies at the Guildhall School of Music and his matriculation under an organ scholarship at Magdalen College at the University of Oxford (whose other notable attendees include Cardinal Thomas Wolsey, Oscar Wilde, and Charles Spencer, 9th Earl Spencer). That tremendous gift for piano and composition would be presented in many of his projects, often within the scope of character development.
As member of the comedic quartet, Beyond the Fringe, Moore would enjoy theatrical fame and accolades in the United Kingdom and the United States in the 1960s, which would eventually transition to the small screen. His career in television began with the late ‘60s/early ‘70s BBC sketch comedy series Not Only…But Also, which also kicked off a longtime working partnership with fellow Fringer Peter Cook.
Progressing into film, Moore would often play the underdog, particularly in the form of whimsical, yet all-too-human characters who deeply crave the unattainable. These performances would frequently present an infectious, fun-loving personality peppered with an irreverent wit and cheekiness.
Refashioning the dark and cautionary Faustian legend into a comedy and written by Cook, in Bedazzled (1967) Moore plays Stanley Moon, a somewhat timid restaurant cook who is so enamored of his co-worker (Eleanor Bron, who ‘90s Britcom lovers will recognize as Patsy Stone’s mother on Absolutely Fabulous) that he makes a literal deal with the devil, putting his soul on the line to change his life and win his crush over. In this case, Mephistopheles takes the form of George Spiggott (Cook), who is all too eager to grant Stanley his seven wishes, but true to his trickster nature, finds constant loopholes in each scenario that leave Moon dissatisfied and disillusioned. To add to the fun, the seven deadly sins are personified as supporting characters, with Raquel Welch as Lust, Barry Humphries as Envy, and others as Sloth, Gluttony, Anger, Vanity and Avarice. This film would eventually be remade in 2000 starring Brendan Fraser and Elizabeth Hurley.
Having relocated to the United States to continue pursuing his movie career, Moore truly came into his own on American shores through his role in 1979’s 10. Directed by Blake Edwards, Moore is once again the underdog, this time as a highly successful composer who is going through what many people do once they reach a certain age: a midlife crisis. As George Webber, not only does his character focus on his getting older, but he’s begun to reevaluate himself and relationships in relation to his age. His actress-singer girlfriend Samantha Taylor (Julie Andrews) is closer to him in age, chronologically, but his questionable and often inappropriate behavior has stunted their relationship. While driving down a Beverly Hills street, a fateful stop at a traffic light changes the course of George’s life. He spots Jennifer (Bo Derek) in another car, decked out in a bridal veil. George becomes absolutely infatuated with her and begins to follow her to her own wedding, going so far as to enter the church and observe the vows. As George cannot get over how pretty he finds her, his desire for her turns into a borderline obsession. Along with a back and forth with Samantha on where their relationship is going, George is so determined to find Jenny, he visits her father’s dental practice under the guise of needing work done (and receives treatment for multiple cavities to humorous results), proceeding to fish for information on his daughter. Armed with the information he needs to find the girl of his dreams, George then impulsively heads to the same Mexican resort where Jennifer and her husband are spending their honeymoon. While he continues to observe her from afar, he finally gets her to notice him through a seemingly altruistic, magnanimous gesture. Once he does get the chance to be in the presence of the object of his desire, he learns that she is not as perfect and flawless as he fantasizes that she is. The film was nominated for two Academy Awards in the Best Music category for Henry Mancini. Moore, Andrews, Derek and Mancini would each be nominated for a Golden Globe in their respective categories, along with the film itself receiving a nomination for Best Picture-Comedy or Musical.
This wouldn’t be the first time Moore would portray a wealthy man, but how about one who literally has everything to lose? In fact, that’s how we meet Arthur Bach in Arthur (1981). Having imbibed quite a bit, he is carousing the streets of New York in a chauffeured car and has procured the services of a prostitute. Taking her to a fancy restaurant that’s patronized by members of high society, including some of his family, he is not exactly the star of the social register. His butler Hobson (John Gielgud) is there to cater to his every whim, but does give him some tough love when needed, loaded with sarcasm. While shopping at a department store, the pair observe Linda Marolla (Liza Minnelli) shoplifting a scarf and being confronted by security. Arthur takes a liking to her and her gumption and helps her get out of the sticky situation. They strike up a relationship, but a major obstacle threatens their budding romance. As the ne’er do well heir to a substantial fortune, the rather immature Arthur is under massive pressure to marry an equally wealthy heiress (Jill Eikenberry) or else be completely cut off financially. Despite his wealth and privilege, this ultimatum to marry someone he doesn’t love has finally allowed Arthur to admit he wants that lady that comes from an entirely different world. Moore was nominated for the Best Actor Academy Award for this role, with Gielgud winning the Oscar for Best Supporting Actor. The film’s signature song, “Arthur’s Theme (Best That You Can Do)”, would earn an Oscar for Best Music, Original Song for writers Peter Allen, Burt Bacharach, Carole Bayer Sager and Christopher Cross (who provided the vocals), as well as a Golden Globe win for Best Original Song-Motion Picture. Golden Globes would also be awarded to Moore and Gielgud, as well as a nomination for Minnelli in their acting categories. A less successful sequel, Arthur 2: On the Rocks, was released in 1988 and Arthur would be remade in 2011 with Russell Brand in the title role, and Helen Mirren as Hobson.
Moore’s illustrious film roles include 30 Is a Dangerous Age, Cynthia (1968) and 1984’s Micki + Maude (in which he would pick up another Golden Globe), along with multiple television parts. While he continued to work, Moore would have many health issues throughout the 1990s, and he passed away in March 2002 at the age of 66. Whether in television, theater or film, one could not deny that Dudley Moore had an overflowing amount of talent. To possess such a deep comedic ability and astonishing musical prowess is a rare gift indeed.
