[3][4] Study of absurdity in a suburban family: father rebuilds the Old Bailey in the living room, and the son teaches weighing machines to sing in the attic.

Producer Michael Deeley and director Peter Yates wanted to work on a project together and saw the play at the Royal Court Theatre.

Film-wise one has been here rather often before, and the feeling of familiarity is increased by the high incidence of type-casting: notably Alison Leggatt as the matter-of-fact mother, Mona Washbourne as the invalid aunt and Peggy Mount as the daily who consumes the left-overs.

But at least the latter, conducting his weighing machines, provides the only memorable (if oft repeated) image in a film so visually ineffectual, particularly during the longish fantasy trial, that one might get the message just as well blindfold.

"[5] New York Times critic Howard Thompson wrote that the film was "a new serving of British-stirred froth that weighs almost as much as Big Ben.