Review: Burke & Hare

Set in Edinburgh, Scotland, in the 1800s, Simon Pegg and Andy Serkis star as the title duo, ne’er-do-well Irish immigrants who find a lucrative trade in supplying Dr. Robert Knox (Tom Wilkinson) with cadavers for anatomical study. Knox is rivalled by Dr. Alexander Monro (Tim Curry), who tends to get all the freshly hanged bodies of criminals for his own school, but Burke and Hare have a unique way of acquiring cadavers: murder. How long can Burke and Hare keep making a killing (quite literally I might add) until the militia (headed by Ronnie Corbett!) catch on? Meanwhile, Burke is smitten with an enterprising, wannabe actress (Isla Fisher, of all people), who needs funds to put on an all-female stage play of Shakespeare’s ‘Scottish play’. Jessica Hynes plays Hare’s opportunistic wife, Hugh Bonneville is a local Lord, Christopher Lee plays Old Joseph, and Bill Bailey is a hangman who serves as the film’s narrator.

 

I wouldn’t exactly call this a return to form for director John Landis (“The Blues Brothers”, “An American Werewolf in London”, “Trading Places”), but this 2011 grave-robbing comedy is at least a whole lot more watchable than his last release, 1997’s “Susan’s Plan”. As written by Piers Ashworth and Nick Moorcroft, it’s not gut-bustingly funny, but better than you’ve heard, and a pleasant diversion for 90 minutes or so. One of the five (yes, five!) production companies credited is Ealing Studios, and whilst it’s a very different company today, you’d do best to think of this as more of a witty (if lesser) Ealing film than a film from the director of hilarious films like “The Blues Brothers” and “Spies Like Us”. Not every comedy is going to be a laugh-a-minute, and this is certainly the case here, presumably intentionally. Having said that, it’s still not as funny as it should’ve been. You would also be best advised to forget any notions you have of the real-life Burke and Hare, because in Landis’ version, the duo are likeable scallywags, and in one case, a light romantic lead. Also, the ending is complete bullshit, historically speaking. I must admit that I’m very much interested in this story, having seen at least three films featuring the title characters or at least fictional versions of them. “The Body Snatcher” (starring Boris Karloff, Bela Lugosi, and Henry Daniell), in particular, is an excellent film, even if the characters are renamed. So, although this film isn’t as good as it could’ve and should’ve been, it’s not bad.

 

The film definitely starts well. Tim Curry’s very first moment on screen is hilarious. He’s a sadly underused talent. In fact, he’s sadly underused here, the highpoint whenever he’s on-screen. Although Tim Burton and Terry Gilliam tend to be better directors of macabre comedy, Landis shows an adeptness for British black comedy by having the film’s narrator (Bill Bailey, in a role that really ought to have gone to a Scottish comedian like Billy Connolly) also be an executioner. I also love the idea of an all-female version of ‘The Scottish play’. I mean, it’s terrible, but funny at the same time. And at least it’s Scottish. There’s some good lines, throughout, particularly a scene where Fisher and Pegg describe their jobs in euphemisms. Pegg refers to his work as ‘Surgical Supplies’. Even better is Pegg’s line ‘Y’know, I had confidence in a fart once. And I shat all over myself!’. I’m still laughing at that one right now. I also laughed at Serkis’ idea of foreplay.

 

As with any Landis film, careful attention has been paid to casting, with cameos by such luminaries and Landis favourites as Jenny Agutter (“An American Werewolf in London”), Ray Harryhausen (stop-motion FX whiz of “Jason and the Argonauts” fame), Michael Winner (director of “Death Wish”), John Woodvine (“An American Werewolf in London”), and Costa-Gavras (a director who does cameo duty in several Landis films). Christopher Lee appears in a funny, but blink-and-you’ll-miss-it cameo as Old Joseph. After this and playing a leper in “Season of the Witch”, I must admit I’d be OK with Lee retiring at this point. His recent roles haven’t seen him in a very dignified light, nor gotten much use out of him for the genuine talent he has been for so many decades. I also think comedian Ronnie Corbett (isn’t he like 90 as well?) is not especially well used as a member of the constabulary. I’m not the biggest fan of Tom Wilkinson and find him a far too ubiquitous presence in films, but he’s quite fine here as Dr. Knox. Isla Fisher is also quite amusing and adopts a not terrible Scottish accent as well.

 

The biggest assets of the film are its two perfectly chosen stars, with Serkis the more naturally scummy of the two, and Pegg the classic ne’er do well. They have a fine chemistry between them, and whilst I might question the cuddly treatment of the characters, it’s no fault of the actors. Topped off rather appropriately by a Proclaimers song (yes, that one), this film is pretty watchable. It isn’t exactly good per se, and it probably should have been better. It is, however, a lot better than it could’ve been. Landis shows himself to be a bit rusty, but that is unsurprising for his first theatrical film in over a decade. The film is a pleasant diversion at the very least. Just don’t expect consistent belly laughs, because it’s not that kind of comedy.

 

Rating: C+