PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Kodie Bird True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Fulke Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

JohnHowardReid Copyright 1961 by Independent Artists. Not copyrighted in the U.S.A. New York opening at the Plaza: 30 July 1962. U.S. release through Union Film Distributors: 30 July 1962. U.K. release through Rank Film Distributors: 21 May 1961. Australian release through British Empire Films: November 1961. 8,820. 98 minutes. (Available on an incorrectly framed Network DVD). U.S. release title: A COMING-OUT PARTY.SYNOPSIS: In 1942, aeronautical scientist Sir Ernest Pease is flown over enemy Germany to observe at first-hand the results of one of his radar experiments. When his plane is hit by anti-aircraft fire and he is forced to parachute to earth, he is captured and sent to a P.O.W. camp. Because of his aloof and taciturn nature, his fellow prisoners suspect him of being a spy. However, when word arrives from the War Office that he is a very important person, all hands join in arranging an escape. Following several unsuccessful attempts, Pease decides to take over. VIEWER'S GUIDE: Borderline (lots of bombast, anti-German sentiments, implied cruelty).COMMENT: Who else is better qualified to enact a "Very Important Person" than James Robertson Justice? Even the name sounds important. Mr. Justice is a master of the cutting remark, the caustic put-down. Acidic bombast issues as smoothly from his lips as invective from the most well-versed sergeant-major. And fortunately for us, Leslie Phillips and company are just the sort of scallop- brained officer talents to try the great man's patience.Of course no amount of bombast, no matter how entertainingly well- honed, will serve as adequate entertainment in a feature film if the surrounding story and characters are not likewise sharply drawn and delineated. Fortunately that is not only the case here, but an extra jester has been added to the pot. Two extra jesters in fact – both in the person of that superb mimic, Stanley Baxter. What is more, Baxter is not merely a bonus on the sidelines, but an integral part of the movie's cleverly plotted escape. As for the actual support characters, they are as entertaining a medley of reliable British types, led by Eric Sykes and Richard Wattis, as any Empire could boast. Annakin's direction is surprisingly skillful and assured. And as the film has been realized on a fair-sized budget, other credits are likewise first-class.OTHER VIEWS: It's not only Justice's film. The principal acting credit for its success must be equally shared with Stanley Baxter. As for the script credit, it does no disservice to the long, noble tradition of British POW movies, mostly because it re-uses so many of the standard ruses, devices, props and even characters.Fortunately there's still more than a bit of life left in the old genre. Spirited playing certainly helps. — J.H.R. in Photoplayer.

Cedric_Catsuits A sterling cast is largely wasted on this flimsy attempt at satire. Heavyweight JRJ's typically confident and purposeful performance is about the only thing making it watchable, although brief glimpses of comic genius Eric Sykes and twin roles from dour Scot Stanley Baxter do help lift this above the merely mundane.The plot is strong enough but is weakened because of the light-hearted treatment, and there is little attempt at creating tension or even realism. What passed for gentle entertainment 50 years ago would mystify most modern audiences who are raised on a diet of high-octane, high-speed thrills and laughs.As a piece of social history illustrating the British attitude to the war just 15 years after it ended, it has merit. Sadly as a piece of cinematic entertainment it does not.

ianlouisiana Although Stanley Baxter was principally known as an impressionist he was more versatile than the run-of-the-mill mimic.He had the actor's ability to assume a full personality rather than merely copy a voice or a look.In "Very Important Person" he plays a Scottish POW and his German captor,the latter role being perhaps the more challenging. Since the early 1950s there had been a whole sub-genre of war films featuring resourceful Brit POWs outwitting the plodding German prison guards and making plucky attempts at freedom.At one time there were so many chirpy cockneys digging tunnels that there were hardly enough left to stoke the boilers or peel the spuds. Normally the Germans were amazingly sanguine about it all,being sportsmen,but when the decidedly unsporting SS became involved things rapidly changed ."The Great Escape" marked the end of the "POW as naughty schoolboy" cycle of movies with its cold-blooded slaughter of dozens of unarmed British officers.That this film is a Christmas perennial says something rather disturbing about the British psyche - or the BBC.Rather daringly the Escape comedy was revived a few years later by American TV with "Hogan's Heroes". In 1961 we were just about on the cusp.Our boys were not having it all their own way - the Germans were clamping down - no more Herr Nice Guy. So when the wonderful James Robertson Justice is shot down and imprisoned under a false identity effecting his escape is going to require a bit of thought. Fortunately the Escape Committee,comprising a comforting number of British actors with experience in other POW movies is able to get him out so he can get on with his hush-hush war work back in Blighty. That is the bare bones of the plot,but the pleasures in "Very Important Person" are in the writing and the performances.It dates from the time when British movies were still made with craft and care and the audience able to recognise intelligence and wit in a screenplay without a laughtrack to tell them.Nobody thought they were making "Citizen Kane",but they took pride in what they were doing and the finished product is joined-up comedy film-making. 1960 saw the birth of the British Satire Movement - "Private Eye" began its existence,"Beyond the Fringe" opened in Edinburgh and soon the floodgates would open to a tide of Oxbridge men and women queueing up to be very rude to politicians and Royalty and be very handsomely paid for doing it - well it was more fun than working in a Merchant Bank I suppose.In some respects "Very Important Person " is a last hurrah for quality British comedy before OUDS or "Footlights" got their clever-clever cold-hearted hands on it. It was funny in 1961 and it is funny today.Far funnier than some onanist in a college scarf imitating Harold Macmillan.I think it's fair to say that Messrs Justice,Baxter,le Mesurier et al will be remembered with far more affection long after all the satirists have gone to that big JCR in the sky.

MIKE WILSON James Robertson-Justice plays (Sir Ernest Pease.) an important scientist sent on a bombing mission to see how a raid goes. As we can all guess, the plane is attacked and he parachutes to safety only to be sent to a pow camp,where he takes on the alias of Lt Farrow. When the senior British officer learns who he is, Farrow is helped to escape.The film is held together by Robertson-Justice, whose performance lifts the film out of the ordinary.