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Malcolm McDowell, David Wood, Richard Warwick, Christine Noonan, Robert Swann ... see more see more... , Peter Jeffrey , Arthur Lowe , Mona Washbourne , Ben Aris , Robin Askwith , Sean Bury , Geoffrey Chater , Graham Crowden , Ellis Dale , Richard Everett , Tommy Godfrey , David Griffin , Charles Lloyd Pack , Mary McLeod Bethune , Michael Newport , Anthony Nicholls , Brian Pettifer , Peter Sproule , Hugh Thomas , Simon Ward , Rupert Webster , Philip Bagenal , Richard Davies , Charles Sturridge , Martin Beaumont , John Garrie

Rebellious students at an English private school plan a violent revolt against their repressive environment in director Lindsay Anderson's highly acclaimed but extremely controversial drama. Centering... read more read more... on a small group of non-conformists led by Mick Travis (Malcolm McDowell), the film paints a distinctly negative picture of the British school system and, by extension, English society. Seeing the powers-that-be as humorless, bureaucratic, and needlessly restrictive, Mick and his cohorts indulge in small acts of rebellion, including sneaking into town to romance a local waitress. Their actions are discovered and punished with harsh beatings, leading the students to plot revenge. This effort culminates in the film's most famous sequence, a surrealistic depiction of a bloody uprising by the students against the adult world. Daring and unpredictable in content and form, If... mixes color and black-and-white cinematography as easily as it mingles satire with dark fantasy. The film's ambiguous attitude toward violence caused controversy at the time, as many commentators saw the film as a potential incitement to violence. It became a great success among younger, counter-culture audiences who appreciated the audacious shock tactics and embraced the satirical, anti-establishment message. Often compared to Jean Vigo's French classic Zéro de conduite, which also featured surrealistic boarding-school rebellion, If... has become a high point in the cinema of youth rebellion. Anderson and McDowell later collaborated on O Lucky Man! (1973), Look Back in Anger (1980), and Britannia Hospital (1982). ~ Judd Blaise, Rovi

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R, 1 hr. 51 min.

Directed by: Lindsay Anderson

Release Date: December 19, 1968

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DVD Release Date: June 19, 2007

Stats: 911 reviews

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Flixster Reviews (911)

  • stevenecarrier
    September 3, 2011
    stevenecarrier
    Lindsay Anderson's "If...." is a sly, confident film about anarchy. Not necessarily enjoyable but certainly always interesting. Anderson's use of color theory works well. The scenes that are shot in color (majority of the film) show the boys rebelling against the predetermined s... read moreet of rules (man made or natural) either externally or internally and the scenes shot in black and white are the boys complying to those same sets of rules (but usually in a more naturalistic sense, ex: cooking). Malcolm McDowell is excellent here in his first screen role. "If...." works better as a time capsule film because it's commentary has lost some of it's bite, but it's still very much worth your time and attention.
  • mumby1988
    June 24, 2011
    mumby1988
    In selecting the greatest high school movie of all time, there are a number of different 'schools' from which to choose. We have the light-hearted nostalgia of The Breakfast Club and Ferris Bueller's Day Off; the awkward indie spirit of Napoleon Dynamite and Grosse Point Blank; t... read morehe adolescent gross-out of Porky's and American Pie; and the twisted one-upmanship of Carrie and Heathers.

    But while all of these entries are valid and have their own merits (even Porky's), they cannot hold a candle to the overall winner: a film which combines earthy black comedy with artistic flights of fantasy, and savage satire of the establishment with personal quandaries about sex, servitude, romance and rebellion. And, as a bonus, it is the film which launched the career of Malcolm McDowell. The film is If...., the director is Lindsay Anderson, and the result is one of the greatest films of the 1960s.

    If.... might seem an odd choice for the greatest ever high school film when we consider the kind of schooling on which it focuses. Set in the fictional College School deep in the conservative heartlands of 1960s England, it explores the kind of education and school system which the vast majority of us will never have to endure. It's the kind of school that would serve as an ideal backdrop for a story like Goodbye Mr. Chips or The Browning Version: while capable of producing fine drama, it doesn't smack of rebellion, let alone revolution.

    Fortunately, If.... has both qualities in spades, and it captures all the essential elements of adolescence that have been replicated in often putrid detail by its American progeny. It manages to be aware of the intelligence and sophistication of public school while overtly and sarcastically mocking everything it stands for. The very title is an act of thinly-veiled defiance: If... is a famous poem by the staunchly patriotic Rudyard Kipling, with the extra '.' in the ellipsis being an impudent revision of the way of life it encapsulates. The final scenes in particular give new meaning to the poem's penultimate line: "Yours is the earth, and everything that's in it."

    Like many films of the counter-cultural period, If.... depicts the relationship between the older and younger generations as being one of bitter opposition. The older generation, embodied by the masters, parents and prefects, are entrenched in the pre-war, imperial mindset with an emphasis on serving one's country and knowing one's place. The younger boys, including Mick Travis, feel no attachment to these values, regarding them as irrelevant, out-dated, stuffy and dull.

    But while there is this broad divide in outlooks between the generations, there are instances of crossover on both sides. Some of the teachers harbour relatively subversive thoughts and attempt to convey them, such as Graham Crowden's history teacher who cycles right into the classroom and then proceeds to outline his own peculiar take on key historical events. The headmaster is less successful in this, calling Travis into his office and repeating the phrase "I understand" to a point of desperation.

    Just as not all of the teachers are straightforwardly stuffy and backward, so not all the students in If.... are didactic flag-wavers. The students who rebel are not politically motivated like their counterparts in Zabriskie Point; in the words of the headmaster, "You're not rebels. That would be too easy." Travis may have posters of Lenin and Che Guevara on his wall, but his monologues are more concerned with the beauty of freedom, and the need to live a truly meaningful and joyous life even in the shadow of a possible nuclear holocaust. He rejects and flouts all forms of authority, despising the very essence of anything which inhibits him from free expression and the passionate act of being himself.

    One aspect of free expression on which If.... focuses is sexual liberation. In one of the film's more surreal segments, Travis and one of his friends steal a motorbike and drive some distance to a roadside café. Once there, they order coffee, Travis plays some classical music on the jukebox and, without any notice or questions asked, begins an affair with the waitress. In other section, a young boy spots Wallace training on the parallel bars, and they develop a homoerotic relationship. Anderson may not be encouraging free love in the now-clichéd manner of hippie movies, but he uses these scenes to reinforce his point about needing a society shaped by the people, rather than the other way around.

    If.... is Anderson's stand against the traditional values of England - everything from duty and propriety to the barmy traditions of private clubs. The film is part of his continued attempt to destroy the post-war malaise of British cinema, just as his political heroes had tried to destroy it through guns and social democracy. Throughout the film we see bastions of the community attempting to drill their students with values of 'honour', 'duty' and 'fighting the good fight', only for these ideas to crumble into absurdity and insignificance when applied.

    Two examples perfectly illustrate this point. The first comes at the three-quarter mark, where the chaplain gives a sermon on fighting for Christ, and how desertion or failure to fulfil duty is the greatest and most unforgivable of sins. But less than ten minutes later, he is cornered by Malcolm McDowell during the war games and becomes a quivering coward, terrified by the prospect of there being real bullets in Travis' gun. At the end of the film a visiting General gives a speech about how "the cynics" have nothing to replace the old values which they criticise. But what starts as convincing soon descends into the absurd: he speaks about discipline, only for his public to stumble into the aisles in blind panic while the stage beneath him goes up in flames.

    The film is built around the central performance of Malcolm McDowell, who is little short of magnificent. It's a very close rival for his work in A Clockwork Orange, which could be described as the more cynical cousin of this film. Stanley Kubrick and Lindsay Anderson may direct in totally different ways, but they both use McDowell superbly, utilising those huge, puppy-dog eyes, perfect hair, curled lips and upstart demeanour. And then there is the voice, which is note-perfect when delivering his poetic musings and savage put-downs to the uptight prefects.

    There is a further comparison with Kubrick in the idea of discipline and degradation being used by the establishment in a manner which ultimately destroys it. The brutal scene of Travis being caned repeatedly in the gym is like an artier, moodier version of the boot camp scenes in Full Metal Jacket. Travis may not take on the psychotic quality of Private Pile, but his experience of brutality makes him more determined than ever to fight against the system and reclaim his identity.

    The visuals of If.... are distinctive in their combination of colour and monochrome cinematography. When the film was first released, people read into the black-and-white sections as having some deeper artistic meaning, with a variety of theories being posited. In fact, these sections exist for the simple reason that Anderson ran out of money - or, as in the chapels scenes, it was quicker and easier to light for monochrome on a tight production schedule. Whichever is the more true, the film benefits from its unique look - it's a happy accident which reinforces the artistic and personal tone even if it doesn't bring much in the way of meaning.

    If.... remains as incendiary and as perfectly formed as it was over 40 years ago. Anderson's masterful yet understated direction gifts us with a series of properly believable performances, and his balanced of the natural and the surreal is effortless, particularly in the final shootout. While the revolutionary zeal and optimism surrounding it have long since faded, the film remains both a truthful product of its time and a work of timeless genius. It is an extraordinary piece of British cinema and is essential viewing.
  • fb100002359227440
    June 21, 2011
    fb100002359227440
    A great satire counterculture of the British's traditional educational system. An Lindsay Anderson's masterpiece with the strange dark humor and surrealist of the Mick Travis's films. Perfect. Fresh.
  • ajv2688
    April 18, 2011
    ajv2688
    This movie is reminiscent of Zero de Conduit, a movie where the students stage a resistance to their teachers. This movie is more violent, though. Plus, it's presented in a way that makes the audience unsure as to weather the events are actually happening or if they're all in t... read morehe student's minds. Pretty good, but it could be better.
  • matertenebraum
    February 10, 2011
    matertenebraum
    Like so many other British films of the same time "if...." is a classic. The storyline, direction, location and acting are all stunning and as an allegory the film has as much to say today as it did when it was first released, onto an unsuspecting public, in the late 1960's. Much... read more has been said by other reviewers about Lindsay Anderson, Malcolm McDowell and the film as a social satire, so there seems little point in going along those, well trodden, paths. I guess one aspect of the film, which always struck me as pivotal, but which hasn't been mentioned, is the inverse negative correlation between the story of Mick (Malcolm McDowell) and that of Jute (Sean Bury). While Mick starts out as a mild non-conformist who becomes increasingly disaffected with society, as represented by the school, Jute, who is initially an outsider, a new boy who doesn't know the rules, is gradually accepted and becomes an active member of that very same society. Mick's initial revolt is that of returning to school still sporting a moustache. But although he is flouting the rules by virtue of not being clean shaven, it is done on a purely personal level and he takes great pains to hide his facial hair from those in authority. Later his actions become, by stages, increasingly confrontational and open. Jute on the other hand is first shown as a small, almost lost, boy with large, frightened, puppy-dog eyes who doesn't even know that prefects are not addressed as "Sir", let alone the myriad of other complex rules that make up the society into which he has been thrust. Gradually we see his self assurance blossoming as he is accepted firstly by the other "scum" and later by the powers that be. The small socially isolated boy of the first scene is later seen playing an active role in a rugby match, sharing an impromptu meal with the other scum, confidently carrying a trophy in College Hall and finally taking an active part (as an altar boy) in the very celebration of traditional values that Mick has, by then, utterly rejected. A thought provoking film, which like that other celebrated allegory from the same era, "Lord of the Flies" (1963), has many levels and can be as deep as you wish it to be. Utterly Brilliant. Oh yeah and my favourite quote was from Mick when asked why he was sporting a moustache, his answer, "To hide my sins".
  • jjnxn
    October 23, 2009
    jjnxn
    Stream of conciousness crap, an unpleasant way to waste a couple of hours.
  • SirPant
    September 29, 2009
    SirPant
    Surreal, eccentric and thoroughly British. A real classic revolutionary film that still feels contemporary and fresh! Great cast and great direction, everyone should watch it at least once!
  • 76Majikat
    April 17, 2009
    76Majikat
    It was clear to see Malcolm McDowell shine through against the rest of the cast here and I'm sure this film helped launch McDowell's career into some pretty controversial roles, however I found the whole film pretty dull and pretty to watch with quite a pointless plot.

    I have ... read morea feeling I might be in a minority here with my rating here.
  • rubystevens
    April 10, 2009
    rubystevens
    death to the oppressor. the original display of malcolm mcdowell's psychotic charm. the influence of jean vigo's brilliant anarchist zero de conduite is most evident in the last scene
  • SarahG1988
    January 10, 2009
    SarahG1988
    Director:Lindsay Anderson
    Released: 1968
    Stars: Malcolm McDowell, David Wood, and Rupert Webster
    Genre:Drama
    Country: UK

    In an indictment of the British Boys School, we follow Mick and his mostly younger friends through a series of in... read moredignities and occasionally abuse as any fond feelings toward these schools are destroyed. When Mick and his friends rebel, violently, the catch phrase, "which side would you be on" becomes quite stark

    If.... is considered one of the great British films of the 1960s and one of the best that our country has prodcued. If.... says everything about Britain; from the class system to the ridiculous public school system that we still have in this country over 40 years on. If.... is a bizzare, yet enagaging film which I admired a lot.

    If.... was one of those films that I have been meaning to catch for ages. Yet I didn't realise just what an interesting film it was. Interesting,that relationships between the students and the house masters, one which is clearly lead by Travis(McDowell) and one which I'm sure is evident in many schools around the country. What is great about if... is that despite it essentially being about a public school, it draws upon aspects of all types of british schools. as you watch you begin to draw parrarells with your own education and reminise about many fellow students who have, like in the film-stood up to teachers. Comments indeed where you wish you could say something along those lines.




    The thing I hate about you, Rowntree, is the way you give Coca-Cola to your scum, and your best teddy bear to Oxfam, and expect us to lick your frigid fingers for the rest of your frigid life."




    What Anderson depicts in this film is just how ridiculous the public schoo system is. For instance we see the majority of the students somehow trying to make something out of their life, trying to be an individual. Mainly Travis and his three friends who have a rather revoultionary attitude to all things about sex, war and authority. Throughout the film the three gradually discuss parts of life and what they'd like to do, slowly drawing up to a climax.

    If... is an incredibly surreal account of teenage rebellion and one which will capitvate and make you think. Anderson switches from b/w to colour on may occasions. Again, adding to the surrealness of it all. If is imepcably directed with some interesting crane shots.

    If was McDowell's debut. From watching this I could see straight away why Kubrick picked him for the part of Alex in A Clockwork Orange. His mannerisms and charisma just shine in this film and you are really rooting for his character. Travis has some brilliant lines in this, made even more engaging by the delivery of McDowell. Also worth mentioning Arthur Lowe in a supporting role and the characters of Rowntree and the rest of the House masters.

    Overall, If... isa suurealist take on a British Tradiation and with a revolutionary take on it. What is brilliant is just how relevent is still feels and it hasn't aged a bit. Close to perfection for me. Here are some other quotable lines..

    One man can change the world with a bullet in the right place

    Highly recomended.

    9/10

View All If.... Reviews

Critic Reviews

Variety Staff
July 6, 2010
Variety Staff, Variety

Punchy, poetic pic that delves into the epic theme of youthful revolt. Full Review

Dave Kehr
May 9, 2007
Dave Kehr, Chicago Reader

The film finally succumbs to its own abstraction with an ending that satisfies neither symbolism nor wish fulfillment. Full Review

Elliott Stein
May 9, 2007
Elliott Stein, Village Voice

A film of tremendous resonance, coming when it did in 1968 with the force of a grenade. Full Review

Vincent Canby
May 20, 2003
Vincent Canby, New York Times

If . . . is so good and strong that even those things in the movie that strike me as being first-class mistakes are of more interest than entire movies made by smoothly consistent, lesser directors. Full Review

Cole Smithey
January 18, 2012
Cole Smithey, ColeSmithey.com

...a bold commentary on the adverse effects of abusive regimented indoctrination techniques used by British boarding schools and military outfits alike. Full Review

Eric Melin
October 27, 2011
Eric Melin, Scene-Stealers.com

If.... is more than a little dated, and some patches get pretty long, but it feels alive ... and that's important. Full Review

August 24, 2010
Film4

Amongst the greatest British films of the post-war years. Full Review

Bill Weber
September 16, 2008
Bill Weber, Stylus Magazine

Its poetics of insurrection still resonate with any armchair anarchists who've even fleetingly wished death to their oppressors. Full Review

Jeremy Heilman
January 17, 2008
Jeremy Heilman, MovieMartyr.com

Lindsay Anderson's boldly allegorical drama If... features a sly script that very slowly reveals just how strongly it is protesting against authority. Full Review

Jeffrey M. Anderson
January 10, 2008
Jeffrey M. Anderson, Combustible Celluloid

McDowell is part of the reason the film works so well. In his first movie role, he has a James Dean-type physicality, fearless and entrancing. Full Review

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    • Mick: The thing I hate about you Rowntree, is the way you give Coca-Cola to your scum, and your best teddy bear to Oxfam. And expect us to lick your frigid fingers for the rest of your frigid life.
    • Mick: There's only one thing you can do with a girl like this. Walk naked into the sea together as the sun sets. Make love once... Then die.
    • Peanuts: Paradise is for the blessed. Not for the sex-obsessed.
    • Mick: One man can change the world with a bullet in the right place.
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