It was a natural step for Tony Hancock in attempting to become successful in the medium of cinema. He longed for success in America and the only way he might have achieved this, was by making tailor-made films. "The Rebel" was the result. The year of the films release - 1961, saw Hancock at the peak of his popularity in Britain. At one stage, about 27% of the British population were either tuning into his radio series or were watching him on television. Such an achievement is seldom. "The Rebel" is a very good effort and I always enjoy the film. For the first time in his distinguished career, Hancock appeared in technicolour after four years of performing in black and white. I shall forever recall my inital surprise and slight bewilderment at seeing this comedy legend in colour. It took me a while to adapt to seeing Hancock in anything except monochrome. The story wisely has the comedian playing the same character of 23 Railway Cuttings and with the identical character traits. Hancock is wanting to better himself after feeling he has denied himself his true potential and calling in his life. He has endeavours in wanting to become a painter and so, he leaves his job as an office clerk and moves to Paris. Whilst there, "The Lad Himself" meets a fellow struggling artist and they share digs, hoping that success might beckon. It does but in ways Hancock never expected...... I am glad that Ray Galton and Alan Simpson wrote the script as who better to write for Hancock than those two individuals? The comedian collaborated with the writers on the story and whose name is listed during the opening credits under story. There are some great scenes here, such as watching Hancock attempting to paint various buildings around Paris, befriending the Avant Garde characters, getting mixed up with a criminal mob and other highlights. Watching "The Rebel," I sense a kind of loneliness with Hancock in his character. The way he has no family to speak of, not many friends, feeling somewhat dissatisfied with his lot in life, embarking upon his adventures in Paris alone and not knowing a single soul in France anywhere. However, he comes across as self-reliant, independent and determined to realise his dream as an artist. This film would mark the final time that Tony Hancock worked with Ray Galton and Alan Simpson. One of the most talented and successful collaborations in British comedy history would draw to a close. The film did respectable business at the British box office and a Gala reception was held in London for the films release. Unfortunately, America took little notice. Their loss! I highly recommend this film to anyone who is a fan of Hancock or of British comedy in general.

Hancock, fed up with office routine and given notice by his landlady, takes his artistic ambitions to Paris where, despite a complete absence of talent, he is mistaken for an artistic genius.

First on radio, then on TV, Tony Hancock established a persona in which bombast, arrogance, ignorance, vulnerability and hopelessness mixed to great comic effect. Ray Galton and Alan Simpson provided wonderful scripts, and Hancock's delivery was sublime. The Rebel takes that character - still called "Tony Hancock" and clearly in continuity with his TV existence - out of his familiar surroundings. But the words are still by Galton and Simpson, the delivery is still sublime, and everything which made the character great on TV is still in place.

Plotwise it is a bit silly, although it nicely lampoons artistic pretensions. It is also a pleasure to see a host of UK comic talent being put through their paces in support.

The film was not a great success. Hancock, always uncertain of his great talent, cannot have taken this well.

I have always liked this film and presented now on Blu-ray it shines as new with its wonderful late 50s, early 60s colour film. What a beautiful green those Southern Region trains are for the great opening gag while the advertising posters look almost unreal. Hancock is on top form, certainly in these early scenes with minimal dialogue and a hint of slapstick. Indeed for a good half the film is a joy to behold with marvellous photography and splendid exchanges between Hancock and, as good as she has ever been, Irene Handl. The film looses much in the scenes with the Greek millionaire, even if Margit Saad does as well as possible, as his wife and Hancock's prospective model. Everything returns to top form as we return to London and Handl does a complete reversal of her earlier part.