THE SPY IN BLACK (above), is notable not just for being the first screen collaboration of Michael Powell & Emeric Pressburger, nor for being a nifty wartime thriller with Conrad Veidt as a surprisingly sympathetic Nazi spy — it’s also the first known screen credit of one Graham Stark, seen at screen right — the larger bellboy.
Yes, that familiar soft, chewing-gum face, surmounted by a huge, angular cranium, like a baby snail peeping from under a cardboard box, is familiar to us from numerous Blake Edwards and Richard Lester films, the common link being Stark’s friend Peter Sellers.
Stark plays Inspector Clouseau’s sidekick, Hercule LaJoy in A SHOT IN THE DARK, for my money the funniest of the PINK PANTHER sequels, and he’s Auguste Balls, supplier of theatrical costumery and disguises in several later PP movies. He nearly bookmark’s Lester’s career, showing up in the early TV work and THE RUNNING JUMPING & STANDING STILL FILM, and again in the silent comedy credits sequence of SUPERMAN III, as a blind man with a runaway guide dog.
In TRJ&SSF, he’s recipient of the world’s greatest and most profound visual gag (starting 9 mins and 10 secs in) ~
He’s also directed a couple of nice silent comedy inspired shorts, and one feature film, THE MAGNIFICENT SEVEN DEADLY SINS, which is mainly, uh, not great, but has a nice Spike Milligan scripted chapter on the theme of sloth, a sepia-tinted silent which shows his true strengths — a shame Eric Sykes and Graham Stark didn’t get to make wordless feature films, their shorts were rather popular.
Graham Stark is still with us at 89 — a few years back, a student of mine tried to recruit him for a short film — he was up for it, but his wife wouldn’t let him come out and play. Still, he remains a grand old man of British comedy, part of a noble troupe who enlivened backgrounds or embodied inane stereotypes at the drop of a bowler hat, performing an essential service all through the fifties and sixties.