ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

DipitySkillful an ambitious but ultimately ineffective debut endeavor.

pointyfilippa The movie runs out of plot and jokes well before the end of a two-hour running time, long for a light comedy.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

gemmaharris "Hope never dies in a man with a good dirty mind."Hoffman is my favourite film and it shouldn't be - It's slow, not particularly creative, poorly received at the time... so why do I love it so much? Two words. Peter Sellers.Sellers hated this film so much that he wanted to burn the negatives and re-shoot the whole film. His reason? It showed too much of the REAL Peter Sellers, who was well known for the comedic roles he could hide behind. Consequently very few cinemas showed it and even Sellers himself bad mouthed it in interviews. Plus the fact that EMI deliberately tried to sabotage Bryan Forbes' first film. It wasn't the great start it deserved.So who is Hoffman? He is a lonely, manipulative middle aged man who "traps" young, pretty girl into spending a week with him with the intention of fulfilling his fantasies. From the first frame you feel uncomfortable as Sellers opens the door to Sinead Cusack's "Miss Smith". Instantly you know this will not be like any other Sellers film. You can tell why Sellers wanted it destroyed. It's a shame that over the years the film has essentially been swept under the carpet and has only recently been shown on television after a 20 or so year dry period. It really is a gem. It's uncomfortably romantic and Sellers performs at a level that is matched by his Chauncey Gardiner and Strangelove characters.

craig_carr I went into this not expecting much given that a lot of Sellers' output is somewhat dire. However, I was pleasantly surprised by this relativity unknown movie. Sellers plays an older man who is attempting to romance a younger woman by coercion. At the start of the movie we are not sure of the setup, Sellers ramps up the creep tension in the opening scenes, this is a long way from his usual slapstick but effectively done. I'm not sure Sellers is a good actor in the traditional sense, his expressions and speech are somewhat over-mannered, but it's effective in this setting. The target of Sellers' affection spends the first 30 minutes of the movie screwing up her face like a naughty 5 year old, but she is redeemed by her almost unbearable cuteness. Anyway, without giving too much away, she is forced into a choice. What transpires is quite interesting, in the context of the movie the decision she makes is assumed to be the correct one given the context, a happy ending as such. However, to the modern viewer the situation seems more morally ambiguous and the rationale implied somewhat self serving and narrow, who is exploiting who? An interesting movie for both Sellers' performance and as a time capsule of 60s morality.

Maddyclassicfilms Hoffman is directed by Alvin Rakoff, has a screenplay by Ernest Gebler based on his novel and it stars Peter Sellers and Sinead Cusak.If you want to see what a good actor Peter Sellers was when he wasn't playing overtly comical characters then this is definitely one to watch. Sellers performance as a lonely man desperate for a relationship with a woman who ordinarily wouldn't look at him twice is one of his best and is actually quite heart breaking.Benjamin Hoffman(Peter Sellers)is in love with his young secretary Janet Smith(Sinead Cusak)who's engaged to another man. He gets Janet to spend a week with him at his flat. At first she is quite put off by him and he comes out with some bizarre comments and acts like a lecher but that all seems to be a facade to give him courage to even speak to her.As the film goes on you realise he really does care about her and wants to take care of her.It certainly is a somewhat odd love story and Hoffman's behaviour is quite creepy at times and you do wonder why Janet doesn't just leave him. The film is a must see though for the performances of Sellers and Cusak, the pair carry the film and in Seller's hands Hoffman is a pitiable, complex and desperate man as opposed to the sick creep he could have been played as. Cusak's Janet is defensive, nervous and awkward and more than holds her own alongside Seller's.

MARIO GAUCI This is at once one of Peter Sellers' least-known and more interesting vehicles; the film is virtually a two-hander – with Sinead Cusack (daughter of actor Cyril and later Mrs. Jeremy Irons) as the young girl blackmailed by a middle-aged colleague (Sellers) into becoming his lover, because he knows of her boyfriend's involvement in a robbery.While the film is considered a comedy, it doesn't sound like it from that synopsis; it's really a character-driven piece on a serious theme – mid-life crisis – which has been treated several times over the years, though rarely in such perceptively intimate detail (for which it was deemed tasteless at the time). The humorous element (if one can call it that) springs from the fact that Sellers' character – who had been fantasizing about Cusack for months – doesn't have the courage to do anything with her once they're together! Incidentally, Hoffman's innately cruel nature was so similar to the real Peter Sellers that one might be inclined to think that his dialogue was improvised – but this wasn't the case! With this in mind, the film can be seen as talky (though Ernest Gebler's script, adapted from his own novel, does contain a smattering of good lines), low-key and claustrophobic (the narrative strays only occasionally from Sellers' flat, and the two almost never interact with other people) – not to mention repetitive and overstretched at 113 minutes! One particular sequence included an ambitious shot lasting for some 18 minutes, which certainly belied the rumors that Sellers had suffered brain damage during that infamous incident from the early 1960s in which he suffered no less than seven heart attacks in one day. The film's happy-ending-of-sorts, then, is highly improbable – but I guess it works well enough in this context (given that Cusack's boyfriend is depicted as a one-dimensional character and, therefore, no match for the intellectual Sellers).Gerry Turpin's cinematography of the bleak London settings is one of the film's main assets, while the tone of romantic melancholy – inherent in Ron Grainer's score and his Don Black-penned theme song, "If There Ever Is A Next Time" (sung by Matt Monro) – infuses the whole film and even serves as exposition for the main narrative during its deliberately vague early stages. By the way, director Rakoff had already handled the same material as a TV production starring Donald Pleasance; at his own admission, the film version was too slow – because the pace seemed to be dictated by the lead actor – and professed to having misgivings also about the choice of music. As for Sellers himself, he was so disappointed with the final result that the star offered to buy back the negative from the producer and shoot it again from scratch (the film, in fact, was such a resounding flop that it wasn't shown in New York until 1982)!